ART: LEONARDO Electronic News. Volume 3.

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ELECTRONIC NEWS

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March 15, 1993 Volume 3 : Number 3

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WORDS ON WORKS ISSUE
Contents:
<<<<< WORDS ON WORKS >>>>>
About Words on Works: Judy Malloy
ETERNITY IGNORED: Ann Rosenthal and Stephen Moore
VIRTUAL JUSTICE: Muriel Magenta
2 > 1: Jurgen and Monika Dietz
PENINSULA TELL-TALE AND OVERLOOK: Anita Margrill

<<<<< PROGRAMS, PRODUCTS, REVIEWS >>>>>
Under Ground: Kathleen MacQueen
Digital Quilt Installation : Mary Beams
Media Arts Programs: The Banff Centre for the Arts

<<<<< FAST INFORMATION >>>>>
FAST Calendar: Annie Lewis

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

About Words on Works

A few weeks ago, in the public television station at Arizona State
University, I was sitting in the audience for a panel that was part of a
Symposium called THE SIMULATED PRESENCE: A CRITICAL RESPONSE TO
ELECTRONIC IMAGING. [1] Towards the end of the event, during the
question and answer session, a white haired artist in the back row asked
"Will there still be a place for the individual artist who wants to make
art in the solitude of his studio? "Yes", the panelists who answered the
question agreed -- in areas like Hypertext -- but for those who want
to work on the cutting edge such as large scale multimedia or virtual
reality projects -- "no".

This may be true, I thought, but it is also true that many works of art
that integrate technology such as the four works in this "Word on Works"
section fall in between -- ie they are planned and partially executed in
the solitude of the artists studio, but not only do they involve other
individuals in their execution, but also they do not look inward but
rather look outward -- to a wider world.

Ann Rosenthal (whose studio is in Seattle, Washington) and Stephen Moore
(who lives in the Territory of Guam) worked together using both personal
and public accounts to produce the photographic installation ETERNITY
IGNORED. ETERNITY IGNORED focuses on Tinian in the Northern Marianas
where the B29 aircraft were loaded with atomic bombs prior to the
bombing of Hiroshima and Nagasaki and asks "What does this place and its
silence say about our relationship to other countries, their peoples, and
their lands? What does it say about what we honor and what we choose to
forget?"

In Muriel Magentas' video VIRTUAL JUSTICE courtroom trials metamorphosize
into vaudeville shows. VIRTUAL JUSTICE includes spontaneous public
responses and asks, among other things, "What values are we as a society
willing to compromise for the sake of entertainment?"

The research that forms the basis for Jurgen Dietz's computer
installation 2 > 1 was done by his wife Monika. Confronted with blank
screens, viewers of 2 > 1 stumble upon information about postwar Germany
and make their own independent conclusions about the differences between
the old divided Germany and the new unified Germany.

For her TELL-TALE, a forty foot high weather vane/solar beacon visible to
commuters in the Northern California East Bay, Anita Margrill solicited
aerodynamic advice from Engineers at NASA's Ames Research Center and
advice about avoiding bird droppings from the coast guard. "I like to
think," she says "that rooted in this scenic paradox of near and far,
the hand is outstretched towards the ideal of an environmentally
responsive community."
Judy Malloy <jmalloy@xxxxxxxxxxxxx>
-----
1. Participants in the Symposium were Patrick Clancy, Linnea Dayton, Carl
Loeffler, Richard Loveless, Mark Poster, and Gene Youngblood.

*****

ETERNITY IGNORED

Ann Rosenthal
Studio Tara
3131 Western Avenue #323
Seattle, WA 98121 USA

and

Stephen Moore
598, 790 North Marine Drive
Tumon, Guam 96911

ETERNITY IGNORED is a collaboration that defines the initial part of a
larger work in progress, the culmination of which is intended to coincide
with the Fiftieth Anniversary of the detonation of the first Atomic Bomb.

On July 16, 1946, an historic event was set into motion at "Trinity Site"
near Los Alamos, New Mexico - the first atomic bomb was successfully
tested by the US. WIthin one month, two complete atomic devices were
shipped, assembled and dropped on Japan. The focal point of this
momentous experiment, conducted in the New Mexico desert, was an even
more remote location: North Field - a barren airstrip on a remote speck
of coral at the western edge of the Pacific Ocean, on the island of
Tinian in the Northern Marianas. On this site, two B29 aircraft were
loaded for their fateful flights, resulting in over 200,000 casualties,
and devastating 90% of Hiroshima and 30% of Nagasaki.

Tinian is situated just south of Saipan and some 150 miles north of Guam,
both of which are now bustling resort destinations - particularly for the
Japanese. Yet, Tinian remains sleepy, and north field is long abandoned,
overgrown. Unlike the many World War II memorials that dot the islands
of the Pacific, this site, certainly the most significant in the war, has
been largely ignored. What does this place and its silence say about our
relationship to other countries, their peoples, and their lands? What
does it say about what we honor and what we choose to forget?

Our installation is comprised of enlarged photo images of the North Field
site, including views of Atomic Bomb Pits No. 1 and No. 2. mounted to
simulate a visit to the island of Tinian. Maps, text, and statistical
data will provide depth and background to underscore the enormity of the

Trinity experiment, the subsequent decision to deploy "The Bomb" and the
legacy of fear, unanswered questions and nuclear waste that Tinian left
behind. Personal accounts leading up to this event will emphasize its
impact on our personal and collective history.

ETERNITY IGNORED, an ongoing work [1] provides a psychological and
physical space to reflect on the single most important event in the
history of humanity - one that demonstrated our ability to destroy all
life as we know it in a mater of minutes. This reality is so
unfathomable, that we automatically deny it. Yet, to create a viable
future, we must confront what Tinian represents. As with the survivors
of the holocaust, we must vow to never forget what happened here, and we
must promise that it will never happen again.
----
1. We were collaborators in a larger group called "UNARM" between 1982
and 1984. UNARM produced four installations that examined societal
attitudes towards the nuclear threat and provided information about the
arms race. One of these projects, installed in the Federal Building in
Los Angeles, was censored. ETERNITY IGNORED, installed at Wonderful
World of Art, Seattle, Washington, February 1993, is an extension of that
work.


VIRTUAL JUSTICE

Muriel Magenta
School of Art
Arizona State University
Tempe, AZ 85287-1505 USA

In response to relentless media exposure, the public turns conflict and
tragedy into an outlet for parody. VIRTUAL JUSTICE examines this
phenomena through a look at society's fascination with courtroom trials.

This 30 minute video work focuses on the moment of transition when a
viewer's interest shifts from the serious consideration of justice to a
preoccupation with criminal issues as a source of entertainment.

In six hypothetical cases a visualization of this shifting attitude is
presented. In each instance the judicial process is abruptly interrupted
at a critical juncture in the trial. The scene changes and the
protagonists then appear within a show business context, transformed into
flamboyant entertainers. For example, an arrogant tycoon on trial for
bank fraud becomes a raucous stand-up comedian telling tasteless
jokes about money and ethics.

The transformation from defendant to entertainer as each case unfolds
poses the following questions: (a)"What values are we as a society
willing to compromise for the sake of entertainment?" (b) To what extent
has media overkill on crime and violence desensitized us to the
seriousness of justice?

A layer of public responses will be recorded into the courtroom
soundtrack. These spontaneous one-liners by a simulated viewing audience
provide a range of comments, from genuinely concerned to blatantly
amused. A digital graph at the bottom of the screen maps the sound of
the voices.
-----
ed: VIRTUAL JUSTICE will premier at Scottsdale Center for the Arts,
Scottsdale, Arizona on April 1, 1993 at 8:00 pm

*****

2 > 1

Jurgen and Monika Dietz
Gohrenstrasse 54,
Weisbaden, Germany

2 > 1 is an installation about the reunification of Germany that
requires three Macintosh computers with HyperCard software. Users
may sit down at any of the three computers and are presented with blank
screens on which are positioned "invisible" HyperCard buttons. By hit or
miss clicking they stumble upon information and then are returned to
another blank screen. The three stations contain information collected
by my wife Monika, a librarian, from the front pages of German Newspapers
and Magazines and organized as follows:

Station # 1. Information about West Germany
Station # 2. Information about East Germany
Station # 3. Information about Germany since the taking down of The Wall


The stations are not labeled or marked so that users discover the
information by chance and make their own independent conclusions about
what is different between the old divided into East and West Germany and
this new one Germany.

*****

PENINSULA TELL-TALE AND OVERLOOK

Anita Margrill,
670 Shotwell, San Francisco,
CA 94110 USA

PENINSULA TELL-TALE AND OVERLOOK is a forty foot high weather vane/solar
beacon sited on the edge of San Francisco Bay, adjacent to a well-used
jogging path and the Emeryville mud-flats. At the base of the structure
are seats for tired joggers. Near the top, a funky blue hand reaches out
to seize the horizon in whatever direction the wind is blowing. Capping
the pole, an array of solar collectors turns in sync with the hand and at
night illuminates it, so that the hand seems to hover magically above the
water, sipping a cool glow from the bay. In this way, I'm hoping to
shape the mystical juncture between wind, sun and water.

Designing and building TELL-TALE (commissioned by the Emeryville
Redevelopment Agency), I was particularly concerned about the sculpture's
aerodynamics: stiff winds blowing around the chubby polyurethane hand
might generate 'lift.' Engineers at NASA's Ames Research Center assured
me that uplift would not be a problem. On the other hand, they did worry
about the pole's 'vortex-shedding moment'-- the tendency of a long hollow
tube that's loaded at both ends to vibrate like a guitar string when its
strummed by strong winds. The engineers suggested filling the pole with
sand. So once the pole was planted, an assistant and I climbed into a
cherry picker and dropped little sand bags into the 6 inch diameter pole.


Because of its coastal location, I anticipated that the TELL-TALE might
attract gulls and other birds to perch. The Coast Guard suggested bird
springs - little stainless steel 'scare coils' that gyrate constantly
even in faint breezes and deter birds from landing. After all, bird
droppings on the solar collectors would dim the lights on this beckoning
beacon by the Bay.

I have tried to capture the traditional notion of idiosyncratic weather
vanes which reflect a particular time and place -- in this case, the
Emeryville mud-flats, which carve land from the San Francisco Bay at the
eastern end of the Oakland Bay Bridge. From here, Treasure Island,
against a backdrop of the San Francisco skyline, fills the eye - until
you glance down at all the flotsam of modern society that washes up onto
the mud flats. The stark incongruity of the place has drawn people to
transform the castoffs into a scene of 'guerilla' sculpture. I like to
think that rooted in this scenic paradox of near and far, the hand is
outstretched towards the ideal of an environmentally responsive
community.

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

<<<<<<< PROGRAMS, PRODUCTS, REVIEWS >>>>>>>


UNDER GROUND:
THE LIBRARY FOR COLLABORATIVE ART

Kathleen MacQueen
Director, UNDER GROUND
Under One Roof, 428 Greenwich St.
Tribeca, New York 10013 USA


Under One Roof has designed a library to make accessible a broad spectrum
of artists and their works to potential collaborators and to producers
and organizations looking for new works. By collecting in one library,
the unproduced works of artists -- in the form of scripts, video and
audio tapes, slides and design portfolios --- and by opening that
facility to artists and producers, we hope to encourage collaborations
among artists who might not otherwise meet.

UNDER GROUND: THE LIBRARY FOR COLLABORATIVE ART is envisioned as an
active resource of current work. Informal presentations will provide a
way for artists to introduce their work to potential collaborators.
Presenters will be encouraged to use the facility to select artists to
fill out their programming. Artists lending their work to the library
will receive wide exposure leading to opportunities in collaborative art
ventures. For guidelines and an application form, contact: Kathleen
MacQueen at the address above.

*****
DIGITAL QUILT INSTALLATION

Women and Spirituality --- Woman's History Month

Mary Beams
School of Art
Northern Illinois University
DeKalb, IL 60115 USA

Northern Illinois University School of Art Gallery 200 is the initial
location in a multiple site installation opening March 23rd, 1993 FAX,
e-mail and other electronically transmitted Art on the theme of Women
and Spirituality will be collected between now and March 23rd and
transmitted to other sites for a simultaneous exhibition.

We encourage text as well as image submissions as long as they address
the theme. Please reply with your intention to participate as soon as
possible.

Format for the digital quilt squares is 8 1/2" by 8 1/2" on a standard 8
1/2" by 11" portrait oriented paper. The remaining portion of the page
should contain the artist's name, address, phone or e-mail number, title
and a brief statement . Surface or mailed disks are acceptable if
received well before the exhibit. Please indicate format of any computer
disks sent: disks cannot be returned.

FAX your art to 1-815-753-7701
e-mail your art to quilt@xxxxxxxxxxx
surface mail your art to Mary Beams at the address above
Voice phone: ( Mary Beams or Byron Grush ) 1-815-753-1567

******

MEDIA ARTS PROGRAMS, 1993-94

The Banff Centre for the Arts
Box 1020, Banff, Alberta
TOL OCO CANADA

In a mountain setting, The Banff Centre for the Arts provides a retreat
from the pressures and distractions of everyday life, enabling
participants to take full advantage of its considerable resources. Media
Arts at the Banff Centre consist of three connected programs which share
facilities, equipment and staff. The three programs are COMPUTER
APPLICATIONS AND RESEARCH; AUDIO; and TELEVISION AND VIDEO. Interested
applicants may make project proposals for Residencies or Associateships
to a single program or to any combination of the three.

Residents may receive an award to cover up to the full cost of the fee,
shared room and a meal plan. The length of the residency will vary
according to the project. Associates receive an award which covers the
fee, plus a cash stipend of $415 per week.

The COMPUTER APPLICATIONS AND RESEARCH PROGRAM (Program Director: Douglas
MacLeod) provides resources and facilities to the Centre for the Arts to
encourage and support the use of new technologies in all the arts. It
also supports significant research to explore critical issues of the
artistic uses of virtual reality, and is now undertaking research into
multimedia and telecommunications.

Residencies are open to artists from a wide variety of backgrounds
Associateships are offered to creative technologists with mature artistic
vision and a prior professional background in one or more aspects in the
fields of computer arts. (graphics, computer music multimedia, etc.)
Associates provide technical support for a broad range of creative
activity involving specific project work and directed research. The
application deadline for Residencies and Associates in The COMPUTER
APPLICATIONS AND RESEARCH PROGRAM is June 1, 1993.

The AUDIO Program (Program Director: Kevin Elliott) focuses its
activities upon the critical point where sound art and audio technology
meet. Program activities support the work of artists in various
disciplines whose vision incorporates a challenging and experimental
approach to sound and the recording studio.

Audio residencies are for composers, musicians, and audio, video, and
performance artists. Audio Associateships are offered to creative
technologists with mature artistic insight. Associates are primarily
involved with assigned recording/production work in collaboration with
resident artists. Contact the Director at the address above for
application deadlines for the AUDIO program.

The TELEVISION AND VIDEO PROGRAM (Program Director, Sara Diamond)
provides opportunities for artists, producers, directors, broadcasters,
and professionals working in the technical aspects of video to explore
and develop the artistic possibilities of video, and the distribution
possibilities of broadcast and closed-circuit television. Participants
create and produce new works of video art and engage in collaborative
projects with the performing and visual arts. The Banff Centre seeks
broadcast and other distribution opportunities for work produced in this
program.

Associateships are offered to artists and practitioners in particular
those with a background in lighting, camera work, production management,
art direction, editing and other areas of television craft. Associates
are provided with intensive professional development opportunities. They
support a broad range of projects and assignments over the term of the
residency. Application deadlines for Residencies is June 1, 1993.
Application deadline for Associates is July 1, 1993.


*****

<<<<<<<<<<<<<<<<<<<<<<CALENDAR APRIL 1993>>>>>>>>>>>>>>>>>>>>
__________________________________________________
FAST CALENDAR THROUGH APRIL 30, 1993
______________________________________________________
Through 11 April, 1993

ON KAWARA: DATE PAINTINGS IN 89 CITIES

Contact: San Francisco Museum of Modern Art,
401 Van Ness Avenue, San Francisco, CA, USA,
tel: 415-252-4000, fax: 415-863-0603
______________________________________________________
Through 17 April, 1993

FEMALINES: An installation by Nancy Worthington

Contact: IDEA Art Space, 3414 4th Avenue,
Sacramento, CA, USA, tel: 916-452-0949
________________________________________________________
Through 17 April, 1993

1920 : The Subtlety of Subversion,
The Continuity of Intervention

Features Laurie Anderson, Kathe Burkhart, Fierce Pussy,
Leslie Fry, Nancy Grossman, Jenny Holzer, Robin Kahn,
Adrian Piper, Cindy Sherman, Elise Siegel, Nancy Spero,
Hannah Wilke and others.

Contact: Exit Art/The First World, 548 Broadway, 2nd Floor
New York, NY, USA, tel: 212-966-7745
______________________________________________________________________
Through 17 April, 1993

CYBERTRONICS
Series of events dedicated to the interaction of technology and
physicality in the medium of sound. The series features Stelarc, Mark
Trayle, Elise Kermani, Takehisa Kosugi, Laetitia Sonami, and Trimpin
and Todd Machover.

Contact: The Kitchen, 512 West 18th St.,
New York, NY, USA, tel: 212-255-5793
______________________________________________________________________
Through 17 April, 1993

SOUTHERN EXPOSURE AT PROJECT ARTAUD featuring
MELISSA POKORNY: "Between You and Me and the Bedpost"
M.M. LUM: "The Reading Room: The Final Results of Psychoanalytic
Treatment"
KEVIN RADLEY AND LESLIE SINGER: "TV Tray: A Month Long
Examination of Contemporary Commercial Television"

Contact: Southern Exposure, 401 Alabama St.,
San Francisco, CA USA, tel: 415-863-2141
________________________________________________________________
Through 2 May, 1993

MAX ERNST: DADA AND THE DAWN OF SURREALISM

Contact: The Museum of Modern Art, 11 West 53rd St.,
New York, NY USA, tel: 212-708-9400,
_____________________________________________________________________

Through 9 May, 1993
OSMOSIS: ETTORE SPALETTI AND HAIM STEINBACH

The artists are participating in the Osmosis series, for which the
museum has invited interdisciplinary pairs of visual artists,
architects, choreographers, and filmmakers to work together with the
goal of creating truly collaborative, hybrid works of art. The series
will span three years and feature three additional pairings. For this
debut collaborative installation, the artists have combined their
works to push the recontextualization of materials to new extremes.
Juxtapositions construct a dialogue between the notion of ideal form
and empirical reality, the search for transcendence and the
constraints of the physical body.

Contact: Guggenheim Museum, 1071 Fifth Avenue
New York, NY USA, tel: 212-423-3840, fax: 212-941-8410
______________________________________________________________________

Through 6 June, 1993

SHIN TAKAMATSU
The first extensive treatment of the eminent Japanese architect's
work.

Contact: San Francisco Museum of Modern Art,
401 Van Ness Avenue, San Francisco, CA, USA,
tel: 415-252-4000 fax: 415-863-0603
______________________________________________________________________
Through 13 June 1993

1993 Biennial Exhibition
Whitney Museum of American Art
New York, NY

Contact: Whitney Museum of American Art, 945 Madison Avenue
New York, NY 10021, tel: 212-570-3676
_____________________________________________
Through 6 July, 1993

READING PRINTS

The use of language as a pictorial element in twentieth-century
printed art is the subject of the installation, which traces the
dynamic and ever-diversifying role of language in modern and
contemporary art in general and in the print mediums in particular.

Contact: The Museum of Modern Art, 11 West 53 St.
New York, NY USA tel: 212-708-9400
______________________________________________________________________

25 March - 13 June, 1993

CLYFFORD STILL: THE BUFFALO AND SAN FRANCISCO COLLECTIONS

Contact: San Francisco Museum of Modern Art, 401 Van
Ness Avenue, San Francisco, CA, USA, tel: 415-252-4000,
fax: 415-863-0603
______________________________________________________________________

30 March - 1 April, 1993

INTERMEDIA CONFERENCE
Keynote Presentation by News Electronic Data CEO John Evans,
Converging Industries Panel, Artists Talk About the New Media.
San Jose Convention Center

Contact: Intermedia Customer Service, Mary Johnson
tel: 203-352-8240
______________________________________________________________________
01 April 1993

Deadline for papers for Montage '93

Contact: Montage '93, International Festival of the Image,
31 Prince Street, Rochester, NY 14607-1499, USA,
tel: 716 442 8897, fax: 716 442 8931
_____________________________________________
19 April, 1993

THE FUTURE OF THE FAMILY SNAP
>From shoebox to interactive computer image bank! What will new
technology, and new ideas of "family" mean for the future of the
snapshot. This one-day conference includes presentations by artists,
photo theorists and multi-media technologists. It will discuss the
family snap as domestic history, as enabling tool, and as fun.

Contact: The Exploratorium, McBean Theater, 3601 Lyon St.,
San Francisco, CA USA, tel: 415-552-6866
______________________________________________________________________
19 - 21 April, 1993

SIGCAT '93 NATIONAL CONFERENCE AND EDUCATIONAL SYMPOSIUM ON CD-ROM
This is SIGCAT's second national conference and is sponsored by the
U.S. Geological Survey (USGS) in conjunction with the Federation of
Government Information Processing Councils (FGIPC). Once again, the
National Institute of Standards and Technology (NIST) will host the
conference in Gaithersburg, Maryland. The conference will feature
three full days of presentations from Government and industry speakers
on the applications and technology of CD-ROM. -
_____________________________________________
13-15 April 1993

Multimedia Communications '93
"Forging the Links: Market-Technology-Policy"
Banff, Alberta, Canada

Contact: Dr. Dorothy Phillips, Communications Research Center,
3701 Carling Avenue, Ottawa, Ontario, Canada K2H 8S2
e-mail: dorothy@xxxxxxxxxxxxxxxxxx
_____________________________________________
13-15 April 1993

Creativity and Cognition: cognitive science, art and design
practice: An International Symposium
Loughborough University of Technology, UK

Contact: Patrick Holligan, The Lutchi Research Centre
Loughborough University of Technology, Loughborough,
Leicestershire, LE11 3TU, UK, phone: 44 509 222694
fax: 44 509 610815 e-mail: p.j.holligan@xxxxxxxxx
______________________________________________
15 April - 6 July

John Heartfield: Photomontages

This show will travel to the San Francisco Museum
of Modern Art (23 July - 18 September, 1993) and the
Los Angeles County Museum of Art (7 October 1993 - 2
January, 1994)

Contact: The Museum of Modern Art, 11 West 53rd Street
New York, NY 10019, USA, tel: 212-708-9400
______________________________________________
16-18 April 1993

The Second Annual West Coast Conference of Music Theory and
Analysis. School of Music University of Oregon, Eugene, Oregon

Contact: Gary S. Karpinski, School of Music
University of Oregon, Eugene, OR 97403 USA,
E-mail: garykarp@xxxxxxxxxxxxxxxxxx
____________________________________________
24-29 April 1993

Interchi '93
Amsterdam, The Netherlands

1993 Conference on Human Factors in Computing
Systems

CHI '93 and INTERACT '93

Contact: INTERCHI '93 North-American Office,
P.O. Box 1279, 1355 Redwood Way, Pacifica, CA
94044 USA, tel: 415-738-1200, fax: 415-738-1280
E-mail: ic93-office-na.chi@xxxxxxxxx
____________________________________________
26-29 April

NCGA '93
Computer Graphics Solutions:
Applications for Implementation
Philadelphia Civic Center
Philadelphia, PA USA

The 14th annual conference and exposition sponsored
by the National Computer Graphics Association (NCGA),
dedicated to computer graphics applications for
engineering and business graphics.

Contact: NGCA, 2722 Merrilee Drive Suite 200
Fairfax, VA 22031 USA, tel: 703-698-9600,
fax: 703-560-2752

=======================================================
Executive Editor: Craig Harris Co-Editors: Annie Lewis
Judy Malloy
Editor this issue: Judy Malloy

Published by Leonardo, the International Society for the Arts,
Sciences and Technology (ISAST), 672 South Van Ness Avenue, San
Francisco, CA 94110 USA

Send requests for subscription to Leonardo Electronic News (LEN)
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