DASH Archives - September 2004

Welcome to the DASH list

In response to your request at either SIGGRAPH 05 -or- ISEA 05 you
have been subscribed to the DASH list.  My next post will be the
first official announcement of the list and I invite you to send
this on to interested colleagues and lists.

The following information includes details of how to manage your
subscription to DASH.

The Digital ArtS Histories list is a venue for exchange of information
about the field of Electronic and Digital Arts Histories.  It is:

1. Moderated to maintain focus and exclude SPAM
2. Intended to cover all the arts
3. Archived

You can send email to the list :
   DASH@jiscmail.ac.uk

You can leave the list by sending email to:
   listserv@jiscmail.ac.uk
with the subject blank and the content:
   SIGNOFF DASH
and you can rejoin the list with the content:
   JOIN DASH your-first-name your-last-name

Alternatively you can go to http://www.jiscmail.ac.uk and manage your
subscription, send messages and view list archives from there.

Please circulate to interested colleagues & lists
Apologies for cross postings (the usual oxymoron)

Announcing the DASH list

Following on from the recent meetings at SIGGRAPH 05, Los Angeles and
ISEA, Helsinki the DASH list has now been established and is active.

The Digital ArtS Histories list is a venue for exchange of information
about the field of Electronic and Digital Arts Histories.  It is:

1. Moderated to maintain focus and exclude SPAM
2. Intended to cover all the arts
3. Archived

You can join the list by sending email to:
   listserv@jiscmail.ac.uk

with the subject blank and the content:
   JOIN DASH your-first-name your-last-name

and you can leave the list with the content:
   SIGNOFF DASH

You can send email to the list:
   DASH@jiscmail.ac.uk

Alternatively you can go to http://www.jiscmail.ac.uk and create
and manage your subscription, send messages and view list archives
from there.

Next April the fifth Creativity and Cognition conference in London will
include a stream focusing on histories.  The deadline is approaching
and I encourage all DASH members to participate:

5th CREATIVITY AND COGNITION CONFERENCE
CALL FOR SUBMISSIONS

http://research.it.uts.edu.au/creative/CandC5/

Creative process and artefact creation: practice, digital media and
support tools

April 12-15th 2005
Goldsmiths College, University of London, UK

Submission Deadline: 1 October 2004

Creativity and Cognition 5 will take place in London in April 2005. The
general theme of the conference is creative processes and the creation
of artefacts: understanding creative practice, art works employing digital
media and creativity support tools.

Ernest Edmonds University of Technology, Sydney, Australia
Conference Chair

Linda Candy University of Sydney, Australia
Programme Chair

Robert Zimmer Goldsmiths College, University of London, UK
Local Organization Chair

Mark Bishop Goldsmiths College, University of London, UK
Treasurer

THEMES

CREATIVE COGNITION AND TECHNOLOGY TRANSFER TO PRACTICE
Co-Chair: Thomas T. Hewett, Drexel University, PA USA

Theoretical and practical approaches in psychology, cognitive science,
computer science, design and the humanities in relation to
creative practice.

CREATIVE WORKS, REFLECTIVE PRACTICE AND PRACTICE-BASED RESEARCH
Co-Chair: Janis Jefferies, Goldsmiths College, University of London, UK

Examples of works employing digital and related media and collaborative
partnerships between practitioners from different backgrounds as well
as reflective accounts of individual practice.

RETROSPECTIVES IN CREATIVE PRACTICE AND RESEARCH
Co-Chair: Paul Brown, Birkbeck College, University of London, UK

Historical accounts of the development of creative practice
employing digital and related media.

SUBMISSION

Electronic submission of full papers and proposals can be made at the
Conference web site from August 2004 and at the latest by 1 October.
All submissions will be fully refereed by an international programme
committee. Accepted papers and statements will be published in the
conference proceedings.

http://research.it.uts.edu.au/creative/CandC5/

Origins of Virtualism: An Interview with Frank Popper Conducted by Joseph 
Nechvatal is online at 
http://www.eyewithwings.net/nechvatal/popper/intervewww1.html


This is the entire unedited interview that appeared in the Spring 2004 issue 
of the CAA Art Journal pp. 62 — 77 (images by Josph Scheer, Matthias 
Groebel, Michael Rees and Victoria Vesna). www.collegeart.org

The interview was begun June 17th, 2003 Paris and concluded July 28th, 2003 
Paris.

Hope that you enjoy it in its entirety.


Dr. Joseph Nechvatal

143 Ludlow Street (#14) New York, NY 10002
+
93 Blvd Raspail 75006 Paris


WWW: http://www.nechvatal.net

-:*:-.,*:-.,_,-:*:-.,*:-.,_,-:*:-.,*:-.,_,-:*:-.,*:-.,_,-:*:-.,*:-.,_,-:*:-.,*:-.,_,-:*:-.,*:-.,_,

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/

Congrats to Paul and everyone else responsible for going forward and creating this forum, which no doubt will serve as an important step in building an international dialogue on Digital Art History

 

 

Best wishes,

Michael Masucci

EZTV

Los Angeles

www.eztvmedia.com

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I 2nd Michael's welcome to Paul and the list.

FYI:
Stephen Jones a pivotal figure in the international electronic arts
community recently opened the International Digital Art Awards at VCA
Gallery University of Melbourne Australia. Stephen presented a
keynote speech titled, "Just what is it that makes today's Digital
Art so different, so appealing?

An edited version of Stephen Jones' presentation can be found in the
IDAA press room at
http://www.internationaldigitalart.com/IDAA/04IDAA.html


Best
Stephen Danzig
IDAA Director
--
International Digital Art
http://www.internationaldigitalart.com/

The subscriptions to DASH have now passed the 200 mark and many of
the key players in the history arena are on board.  It would be good
if those subscribers with active history projects/publications etc..
could post details, urls etc... to the list.  DASH is archived so
this will build up into a good reference for work in the field.

Another point - a few people have tried to post announcements about
current events, etc... which I have rejected.  There are many other
venues for those posts and I'd like to keep DASH focused.  So if you
are posting something that isn't obviously related to the history
field can you please give it context with a leading explanatory
sentence?

Note also - if you reply to a post - your reply is directed to the
list not to the sender.

Looking forward to hearing from you all.

Hello listeros,

I've recently put some first-person writing up on my site about my early
days at PARC, III, JPL, Apple, etc. There are words about my early films
there, too. I'm also making some notes on the evolution of digital
printing.  See www.davidem.com

David Em

Paul Brown wrote:

> The subscriptions to DASH have now passed the 200 mark and many of
> the key players in the history arena are on board.  It would be good
> if those subscribers with active history projects/publications etc..
> could post details, urls etc... to the list.  DASH is archived so
> this will build up into a good reference for work in the field.
>

It would be good
>if those subscribers with active history projects/publications etc..
>could post details, urls etc... to the list.  DASH is archived so
>this will build up into a good reference for work in the field.

Hi, all,

I'm working on a book about the origins of Experiments in Art and
Technology (along with a partner, Dana Plautz).  More specifically, we're
looking at the cultural, technological and collaborative roots and
elements, including first-hand accounts and recordings of the 1966 "9
Evenings: Theatre and Engineering" event that spawned the idea for E.A.T.
I live in Seattle and will be in NYC from October 15-27 and would welcome
contact with anyone interested in or connected to this history on this list.

Robin Oppenheimer
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INVENTORY OF THE EXPERIMENTS IN ART AND TECHNOLOGY RECORDS, 1966-1993
Accession no. 940003, 940003*, 940003**
Finding aid prepared by Lynda Bunting
Getty Research Institute
http://www.getty.edu/research/conducting_research/finding_aids/eat.html

Maybe you can fine the materiasl you need.

Jane

-----Original Message-----
From: Digital Arts Histories [mailto:DASH@JISCMAIL.AC.UK] On Behalf Of
robin
Sent: Thursday, September 23, 2004 6:50 AM
To: DASH@JISCMAIL.AC.UK
Subject: Re: [DASH] From the DASH Moderator


It would be good
>if those subscribers with active history projects/publications etc..
>could post details, urls etc... to the list.  DASH is archived so this
>will build up into a good reference for work in the field.

Hi, all,

I'm working on a book about the origins of Experiments in Art and
Technology (along with a partner, Dana Plautz).  More specifically,
we're looking at the cultural, technological and collaborative roots and
elements, including first-hand accounts and recordings of the 1966 "9
Evenings: Theatre and Engineering" event that spawned the idea for
E.A.T. I live in Seattle and will be in NYC from October 15-27 and would
welcome contact with anyone interested in or connected to this history
on this list.

Robin Oppenheimer

hello

re
> It would be good
>> if those subscribers with active history projects/publications etc..
>> could post details, urls etc... to the list.  DASH is archived so
>> this will build up into a good reference for work in the field.
>

---

Our earliest database archive in Live Art (from 1980s-2000) was:

The Live Art Archives:  http://art.ntu.ac.uk/liveart/

Still available, more user friendly C21st one in preparation.


But the best known and most consulted these days is The Digital Performance
Archive [DPA] which attempted to capture on-going "digital
performance"developments in live art at the end of the last
decade/century/millennium 1999/2000:

http://dpa.ntu.ac.uk/dpa_site/

The DPA is supported by 80 video extracts and CDRs etc available at the
Libraries of Nottingham Trent and Salford Universities UK.  An associated
book co-authored by Steve Dixon (Salford) and myself is due to be published
by The MIT Press 2005.

Other databased archives whose content is slowly undergoing digitization and
the necessary copyright clearances etc include:

The National Review of Live Art Archive:  http://dpa.ntu.ac.uk/dpa_site/
(extensive video collection consultable on site, digitized pilot projects to
be launched 2004/05)

and "Performance Magazine" [UK Live Art 1970's and 80's].

We also host:
The Digital Research Unit:  http://art.ntu.ac.uk/dru/

The Digital Research Unit Videos [MacMurtrie, Etchells, Stelarc]:
http://art.ntu.ac.uk/dru/video.htm

Live Art Research [at NTU]:  http://art.ntu.ac.uk/performance_research/

Alastair MacLennan [practitioner's official website]:
http://art.ntu.ac.uk/liveart/maclennan/

On-line Issues for Live Art Web Sites [on copyright - 1999 but still helpful
guidance]:
http://art.ntu.ac.uk/liveart/issues/front.htm

Any enquiries best sent to dru@ntu.ac.uk

Visitors very welcome, prior appointment advised.

b.

Professor Barry Smith
Director Performance Arts Digital Research Unit
College of Art, Design and Built Environment
Nottingham Trent University
Burton Street, NOTTINGHAM, NG1 4BU, UK
+ 44 115 848 6831
barry.smith@ntu.ac.uk (work)
barry.smith@btinternet.com (private)

======

Hello,

I am actually working on the early experiments in multimedia art. I am
focusing on the Italian Futurism acoustic, cinematographic and
mechanical experiments (Russolo, Boccioni, Depero, Marinetti,
Bragaglia) in relation with successive forms (Piscator for example in
theather) and now.
It is a field full of important discoveries. I am working on a
documentary script on the beginning of art of noise and it's connection
with the so called "modernist" movement and to all new media
avant-garde in XX (and XXI) century.
It is a much too underestimated root, with impressive theoretical
results, that re emerges constantly, as a rediscovery, every twenty
years. The Futurist have made the water boil, and we rediscover hot and
warm water every now an then. All without digital or even electric.
If anybody is interested or have worked/is working in the same
direction feel free to get in touch.

Federico Bonelli
SUb multimedia re_search lab
Amsterdam
fredd(at)submultimedia.tv

I am beginning to create an online documentation of interactive art works. As
this is an enormous undertaking, I decided to start with the interactive
projects that were exhibited at the SIGGRAPH Art Shows from 1983 to 1996.

Currently only the menu is online at a temporary location:
http://www.arts.arizona.edu/lucy/archive.html

Lucy
- lucyPetrovich
- digitalARts
- University Of ARizona

lucy@u.arizona.edu ][



Quoting Paul Brown :

> The subscriptions to DASH have now passed the 200 mark and many of
> the key players in the history arena are on board.  It would be good
> if those subscribers with active history projects/publications etc..
> could post details, urls etc... to the list.  DASH is archived so
> this will build up into a good reference for work in the field.
>
> Another point - a few people have tried to post announcements about
> current events, etc... which I have rejected.  There are many other
> venues for those posts and I'd like to keep DASH focused.  So if you
> are posting something that isn't obviously related to the history
> field can you please give it context with a leading explanatory
> sentence?
>
> Note also - if you reply to a post - your reply is directed to the
> list not to the sender.
>
> Looking forward to hearing from you all.
>

I am beginning to create an online documentation of interactive art works. As
this is an enormous undertaking, I decided to start with the interactive
projects that were exhibited at the SIGGRAPH Art Shows from 1983 to 1996.

Currently only the menu is online at a temporary location:
http://www.arts.arizona.edu/lucy/archive.html

Lucy
- lucyPetrovich
- digitalARts
- University Of ARizona

lucy@u.arizona.edu
  

LEA Special Issue cfp: MultiMedia Performance

** Sincere apologies for cross-posting **

** Worldwide Call for Submissions **

LEA Special Issue: MultiMedia Performance
Guest Editors: Annette Barbier, Craig Harris and 
Marla Schweppe (mmedia@astn.net)
http://mitpress2.mit.edu/e-journals/LEA/LEA2004/authors.htm#mmedia

The Leonardo Electronic Almanac (ISSN No: 
1071-4391) is inviting papers and artworks that 
showcase MultiMedia Performance. This category 
includes works which span a range of practices, 
which challenge the way performance has 
heretofore been defined and examines the ways in 
which new technologies have opened up the meaning 
and practice of performance.  We expect that 
performance includes a live component, be it on 
line, in an interactive installation, or on stage.

LEA encourages international artists / academics 
/ researchers / students to submit their 
proposals for consideration. We particularly 
encourage young authors and contributors from 
outside North America and Europe to send 
proposals for articles/gallery/artists statements 
(if applicable).

Expressions of interest and outline should include:
- A brief description of proposed text (300 words)
- A brief author biography
- Any related URLs
- Contact details

In the subject heading of the email message, 
please use “Name of Artist/Project Title: LEA 
MultiMedia Performance – Date Submitted”. Please 
cut and paste all text into body of email 
(without attachments).

Deadline for expressions of interest: 10 December 2004

Deadline for proposals: 15 February 2005

Please send proposals or queries to:
Annette Barbier, Craig Harris and Marla Schweppe
mmedia@astn.net

and
Nisar Keshvani
LEA Editor-in-Chief
lea@mitpress.mit.edu

http://lea.mit.edu
********************************************************************************


LEA Information and URLs
-------------------------------------------
Receive your FREE subscription to the Leonardo 
Electronic Almanac e-mail digest at 
http://mitpress.mit.edu/lea/e-mail -- just 
provide your email address, name, and password, 
and check off that you'd like to be added to the 
Leonardo Electronic Almanac monthly e-mail list 
to keep on top of the latest news in the Leonardo 
community.

Manuscript Submission Guidelines:
http://mitpress2.mit.edu/e-journals/LEA/submit

How to advertise in LEA?
http://mitpress2.mit.edu/e-journals/Leonardo/isast/placeads.html#LEAads

For a paid subscription (to become an ISAST 
member and access archives dating back to 1993): 
http://mitpress.mit.edu/catalog/item/default.asp?ttype=4&tid=27&mode=p

What is LEA?
-------------

For over a decade, Leonardo Electronic Almanac 
(ISSN No: 1071-4391) has thrived as an 
international peer reviewed electronic journal 
and web archive covering the interaction of the 
arts, sciences, and technology. LEA emphasizes 
rapid publication of recent work and critical 
discussion on topics of current excitement. Many 
contributors are younger scholars and artists 
with a slant on shorter, less academic texts.

Contents include Texts; Artists using new media; 
Feature Articles comprised of theoretical and 
technical perspectives; the LEA Gallery 
exhibiting new media artwork by international 
artists; Leonardo Reviews, edited by Michael 
Punt, Leonardo Research Abstracts of recent Ph.D. 
and Masters theses, curated Galleries of current 
new media artwork by international artists, and 
Special Issues on topics ranging from New Media 
Poetry, to Zero Gravity Art, to the History of 
New Media.

The Leonardo Electronic Almanac (LEA) is jointly 
produced by Leonardo, the International Society 
for the Arts, Sciences and Technology (ISAST) and 
published under the auspices of MIT Press.

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

Hi Every one

I am collecting information on artists who used early artist software -
  pre-1988 packages that were not all that user-friendly.  I am
interested in what motivated artists to become digital artists before
there was easy output, easy access to computers, tech support, or even
exhibition venues.  I have a simple list of questions for artists (in
English and French), and it is the artists who are doing the writing.

Mostly it is the experimentation that grabbed people - they just could
not resist the endless ability to try new combinations of imagery, even
if no one else cared.

I am actually one of those artists myself, and my interest in this
topic grows from my own sense that the contributions to the field of
the first software users are largely overlooked in the histories.
People looking back from today assume that those first machines came
with easy instructions - and of course nothing could be further from
the truth (I can still hear my Department Chair asking about all of the
those telephone calls to New Jersey).

If any one else is interested in working on this I would love to hear
from you -- I am open to collaboration.

Cynthia Beth Rubin
http://CBRubin.net

Dear colleagues and friends,

please note the upcoming conference!

We will post the call for papers within the next weeks.

Best regards

Oliver

-------------------

REFRESH!
FIRST INTERNATIONAL CONFERENCE ON
THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY

September 28 - October 3, 2005 at Banff New Media Institute, Canada


"The technology of the modern media has produced 
new possibilities of interaction...
What is needed is a wider view encompassing the coming rewards in the context
of the treasures left us by the past experiences, possessions, and insights."
(Rudolf Arnheim, Summer 2000)

Recognizing the increasing significance of media 
art for our culture, this Conference on the 
Histories of Media Art will discuss for the first 
time the history of media art within the 
interdisciplinary and intercultural contexts of 
the histories of art.  Leonardo/ISAST, the 
Database for Virtual Art, Banff New Media 
Institute, and UNESCO DigiArts are collaborating 
to produce the first international art history 
conference covering art and new media, art and 
technology, art-science interaction, and the 
history of media as pertinent to contemporary art.


MEDIA ART HISTORIES

After photography, film, video, and the little 
known media art history of the 1960s-80s, today 
media artists are active in a wide range of 
digital areas (including interactive, genetic, 
and telematic art). Even in robotics and nano 
technology, artists design and conduct 
experiments. This dynamic process has triggered 
intense discussion about images in the 
disciplines of art history, media studies, and 
neighboring cultural disciplines. The Media Art 
History Project offers a basis for attempting an 
evolutionary history of the audiovisual media, 
from the laterna magica  to the panorama, 
phantasmagoria, film, and the virtual art of 
recent decades. It is an evolution with breaks 
and detours; however, all its stages are 
distinguished by a close relationship between 
art, science, and technology.

Refresh! will discuss questions of 
historiography, methodology and the role of 
institutions of media art. The Conference will 
contain key debates about the function of 
inventions, artistic practice in collaborative 
networks, the prominent role of sound during the 
last decades and will emphasize the importance of 
intercultural and pop culture themes in the 
Histories of Media Art. Readings of new media art 
histories vary richly depending on cultural 
contexts.  This event calls upon scholarship from 
a strongly international perspective.

Therefore Refresh! will represent and address the 
wide array of disciplines involved in the 
emerging field of Media Art. Beside Art History 
these include the Histories of Sciences and 
Technologies , Film-, Sound-, Media-, Visual and 
Theatre Studies, Architecture, Visual Psychology, 
just to name a few.


DOCUMENTATION - CURATING - COLLECTION

Although the popularity of media art exhibited at 
exhibitions and art festivals is growing among 
the public and increasingly influences theory 
debates, with few exceptions museums and 
galleries have neglected to systematically 
collect this present-day art, to preserve it and 
to demand appropriate conservatory measures. 
Thus, several decades of international media art 
is in danger of being lost to the history of 
collecting and to academic disciplines such as 
art history.  This gap will have far-reaching 
consequences; therefore, the conference will also 
discuss the documentation, collection, archiving 
and preservation of media art.  What kind of 
international networks must be created to advance 
appropriate policies for collection and 
conservation?  What kind of new technologies do 
we need to optimize research efforts and 
information exchange?


MAILING LIST
LEONARDO, journal of the International Society 
for the Arts, Sciences, and Technology, has 
documented for the past thirty-seven years the 
pioneering work of artists who work in and with 
new media. Together with Leonardo Book Series and 
LEA Electronic Journal, the journal is published 
by the MIT Press. For further information about 
the forthcoming conference and the long-term 
LEONARDO Media Art History Project, please email 
to join:
banffleoarthistconfinfo-subscribe@yahoogroups.com


CONFERENCE
Held at The Banff Centre, featuring lectures by 
invited speakers as well as others selected by a 
jury from a call for papers, the main event will 
be followed by a two-day summit meeting (October 
1-2, 2005) for in-depth dialogues and 
international project initiation.
The first call for papers will be in late Summer 
2004. In particular, young postgraduates in the 
research areas of: art history and new media, art 
and technology, the interaction of art and 
science, and media history, are encouraged to 
submit for the following panels:


MEDIA ART HISTORIES
Times and Landscapes
Methodologies
Invention
Collaborative Practice
Pop Mass Society
Cross-Culture, Global Art

ART HISTORY AS IMAGE SCIENCE
Film, Sound, Media Art & Performance
History of Sciences & Media Art
Media & Visual Studies

DOCUMENTATION - CURATING - COLLECTION - RIGHTS
New Scientific Tools
History of Institutions



HONORARY BOARD
Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI

ADVISORY BOARD
Hans BELTING, Karlsruhe; Andreas BROECKMANN, 
Berlin; Paul BROWN, London; Karin BRUNS, Linz; 
Annick BUREAUD, Paris; Dieter DANIELS, Leipzig; 
Diana DOMINGUES, Caxias do Sul; Felice FRANKEL, 
Boston; Jean GAGNON, Montreal; Thomas GUNNING, 
Chicago; Linda D. HENDERSON, Austin; Manrai HSU, 
Taipei; Erkki HUHTAMO, Los Angeles; Ángel 
KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, 
Lodz; Machiko KUSAHARA, Tokyo; W.J.T. MITCHELL, 
Chicago; Gunalan NADARAJAN, Singapore; Edward 
SHANKEN, Savannah; Barbara STAFFORD, Chicago; 
Christiane PAUL, New York; Louise POISSANT, 
Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, 
Paris; Peter WEIBEL, Karlsruhe; Steven WILSON, 
San Francisco


BANFF
Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local Chair)
Susan KENNARD, Executive Producer of BNMI (Organisation)
www.banffcentre.ca/bnmi/


LEONARDO
Annick BUREAUD, Director Leonardo Pioneers and
Pathbreakers Art History Project, Leonardo/OLATS
www.olats.org

PUBLICATIONS COMMITTEE
Chair: Roger F MALINA, Chair Leonardo/ISAST
www.leonardo.info


CONFERENCE DIRECTOR & ORGANISATION

Oliver GRAU, Director Immersive Art & Database of Virtual Art
Humboldt University Berlin
http://virtualart.hu-berlin.de


SUPPORTED BY:
LEONARDO, GERMAN RESEARCH FOUNDATION, UNESCO DIGIARTS,
DATABASE OF VIRTUAL ART, VILLA VIGONI






--

||| ||| ||| dr. habil. oliver grau
||| ||| ||| kunstgeschichtliches seminar der
||| ||| ||| HUMBOLDT-UNIVERSITAT ZU BERLIN
||| ||| ||| philosophische fakultaet III
||| ||| ||| dorotheenstrasse 28, d-10117 berlin
||| ||| ||| Oliver.Grau@culture.hu-berlin.de
||| ||| ||| fon. (030) 2093-4295 (dir.) (030) 2093-4288 (secr.)
||| ||| ||| fax: (030) 2093 4209

www2.hu-berlin.de/grau
http://virtualart.hu-berlin.de
www.diejungeakademie.de/

I don't know if this fits, but some of my earliest work was done on a TI59
programmable calculator and printer, working with equations of the form
y=sin(tan(x)) near the limits; I had to hard-program this of course. This
was around 1977; around the same time, I was working in UCSD Pascal at UCI
on a Terak minicomputer, creating text programs that would 'interfere'
with input, as well as programs that would create images on-screen in
relation to text. Again, these were programmed. Earlier, in 1971, I worked
with Charles Strauss' 4-d program at Brown University, creating video
works that involved participants learning to 'drive' through 4-d space
(his program vector-drew a hypercube and used a keyboard and early
joystick for maneuvering). Also in 1971, Gregert Johnson worked with me on
'Typed Glossalalia and Computer Determinism in (sic) Man' - he did the
programming for the time series analysis of some 4000 characters. All of
these examples didn't use existing software, but were directly programmed.
I'm not sure whether you're including these at all, but thought I'd
mention it. - Alan

recent http://www.asondheim.org/
WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/
recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim
Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm
partial mirror at http://www.anu.edu.au/english/internet_txt

Announcing the CHArt Twentieth Annual Conference

FUTURES PAST: TWENTY YEARS OF ARTS COMPUTING
Thursday 11 - Friday 12 November 2004

Clore Management Centre, Birkbeck, University of London, 25-27 Torrington
Square, London, WC1E 7HX, UK

Since its foundation in 1985 CHArt has closely followed the extraordinary
developments in arts computing that have taken place over nearly two decades.
This year, for the twentieth CHArt conference we will look back at the history
of the application of digital technology to art history, visual culture, the
museum and gallery, and art practice. Papers will reflect upon successes,
failures, and futures past from historians, curators, artists and practitioners
from the international community.

FINAL PROGRAMME now online at http://www.chart.ac.uk
Bookings made before 15 October 2004 will be entitled to a discount.


--
Catherine Mason, CACHe Project PhD
School of History of Art, Film & Visual Media
Birkbeck, University of London
43 Gordon Square
London WC1H 0PD
www.bbk.ac.uk/hafvm/cache

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