LeoEnews 3(5)

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ELECTRONIC NEWS

_________________________________________________________________

May 15, 1993 Volume 3 : Number 5

_________________________________________________________________

WORDS ON WORKS ISSUE
Contents:
<<<<< WORDS ON WORKS >>>>>

About Words on Works: Judy Malloy
GULF WAR MEMORIES: Joseph DeLappe
PARADISE TOSSED: Jill Scott
MUTO(SCAPE): Christopher Burnett
RAZOR FABRIC: Boris Stuchebrjukov

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

The Telluride Institute: Richard Lowenberg
FISEA 93: Roman Verostko
Video Review of Computer Music Research: Robin Bargar
Notes on Authoring "Word Works": Judy Malloy

<<<<< FAST INFORMATION >>>>>

FAST Updates: Annie Lewis
FAST Calendar: Zara Santos

******************************************************
About Words on Works

Some twentieth century artists, Duchamp, Rauschenberg, Warhol, Oldenburg,
for instance, transformed the contemporary common object into art.
Earlier artists incorporated ordinary objects into paintings and graphic
art. At the time, these objects may have seemed to audiences unsuitable
for art. Monet's THE DINNER (1868-69), for instance, in which a Mother
and child share a simple, spare meal of soft boiled eggs and toast, was
rejected by the 1870 salon. But, often it is these objects, details of
the artist's everyday life, frozen/preserved on paper or canvas, to which
the observer's eye is now drawn - as it is to the broom and pail in the
foreground of Pieter de Hooch's COURTYARD OF A DUTCH HOUSE (1658).

In this issue of LEONARDO ELECTRONIC NEWS, the "aroma of bones from
previously consumed Kentucky Fried Chicken" is an integral component of
Joseph DeLappe's electromechanical sculpture GULF WAR MEMORIES. In her
interactive installation PARADISE TOSSED, Australian artist Jill Scott
(currently teaching in Germany) uses the machinery of domestic
technology, such as ovens, irons, and blenders, "as a metaphor for the
history of human/machine interface". Christopher Burnett's interactive
computer work MUTO(SCAPE) focuses on popular animated cartoons such as
Tom Terrific, Betty Boop, Wile E. Coyote. And, ingeniously, in a country
where the kind of equipment and materials we take for granted are not
readily available, Russian Sculptor Boris Stuchebrjukov's interactive and
kinetic sculpture RAZOR FABRIC is fabricated with over 10,000 common
razors.
Judy Malloy <jmalloy@xxxxxxxxxxxxxxxxxxx>
*****

GULF WAR MEMORIES

Joseph DeLappe
5003 East Holland Street
Tampa, Florida 33617 USA

GULF WAR MEMORIES is an electromechanical digital image sculpture that
attempts to memorialize the Persian Gulf Media War by recontextualizing
television images, fast food and electronics. The images for this piece
were culled from cable television broadcasts and videotapes of the Gulf
war and commercial advertisements.

A large vertical image column consists of six 11" x 14" back-lit
duratrans prints of computer manipulated television, processed in Adobe
Photoshop, flanked on both sides by eight 4" x 4" box fans mounted on an
aluminum structure, each angled in order to blow towards the viewer of
the piece the aroma of bones from previously consumed Kentucky Fried
Chicken. At the base of the piece near the floor is a bracket to house
the empty bucket of chicken.

This piece sets up associations of sensory information which in total are
intended to provoke thought and contemplation about our nations recent
history. It is an absurd memorial for an absurd conflict.

The idea for this work came about after reading of the large increase in
fast food sales which took place during the Persian Gulf conflict as
people rushed home from work to view the war on T.V. GULF WAR MEMORIES
represents the absurd and ironic nature of our national obsession with
this most recent television war which was consumed and forgotten as
readily as a fast food dinner.
-----
ed: GULF WAR MEMORIES was recently featured at Performance Space Gallery
as part of TISEA, The Third International Symposium on Electronic Art,
November, 1992, Sydney, Australia.

*****

PARADISE TOSSED

Jill Scott
Hochschule der Bildenden
Kunste Saar, Keplerstrasse 3-5
6600 Saarbrucken, Germany

"UTOPIA is built on the great diversity of human
propensity and gift and must be in terms of
modern information theory redundant enough to
catch the developed imagination of each different
member of society." - Margaret Mead

PARADISE TOSSED (Stage 1) is an interactive animated survey of
technological terrain, idealism and design from a woman's point of view.
Consequently, domestic technology is used as a metaphor for the history
of human/machine interface and the viewer is presented with utopian
elements of architectural design, science, advertising and transport from
our Western History.

In the installation, participants can travel through and interact with
four time zones 1900's (help) 1930's (hope) 1960's (growth) and 1990's
(change). It is hoped that the interactivity will offer them some new
information about the changing nature of roles and work places, the
connection between our physical dexterity and the development of
machines, and the relationship between idealism and design.

-----
1. PARADISE TOSSED uses Macromind Director's lingo to access a 12 minute
animation on Sony Laserdisc. It is displayed on a MacintoshFX with
NuVista+ and Sony Laserdisc Player and touch-sensitive Apple RGB Screen,
The animation was constructed in 16 bit with Topas and Lumena software on
a MacintoshFX with Vista Boards. A Diaquest 422 Animation Controller was
used to output this to Sony BetacamSP. Production/Script Design: Jill
Scott; Animation/Models/Graphics: Don Ezard, Simon Gresham, Isabelle
Delmotte, Jill Scott; Music: Andrew Quinn; Interactive Programming: Jens
Mueller; Produced with the Assistance of the Australian Film Commission
and Mikros Image, Paris.

*****

Christopher Burnett
Kansas City Art Institute
4415 Warwick Blvd.
Kansas City, MO 64111 USA

Suddenly, everywhere we look, shape-shifters, changelings, and other
creatures of computer metamorphosis are slithering through the channels
of popular culture. I began my interactive computer work MUTO(SCAPE) [1],
with the thought of somehow defining and attaching these amorphous
shapes to more specific social contours.

Initially, working like a taxonomist, I sought their genealogy in the
history of cartoon animation, from the first rubbery motions of Gertie
the Dinosaur to the twisted, eyeball-popping "takes" of Roger Rabbit. It
soon became all too clear, however, that the very elusiveness of their
appearance would frustrate any precisionist effort at pinning them down.

Identity seems less governed by stable, enduring features in this quirky
morphology than by a shifty, space-warping flexibility. As figures
without enduring form, the backgrounds of animation themselves emerged,
posing deeper questions of formlessness. Behind it all, this computer
panorama attempts to look beyond the formal mutations of the cinematic
image to the even greater dislocations of space sensed in contemporary
mediated experience. In MUTO(SCAPE), shapeless figures are a question of
the shifting background against which they appear and disappear.

This switch from "morphs" to the spaces of deformation brought mutations
to the optical device or computer model itself. The structure of the
HyperCard stack became analogous to early cinematic devices: variable and
hybrid in its form. MUTO(SCAPE) combines the circular structure of a
panorama or zoetrope with the mirrors of a catoptron. The inner wall is
lined continuously with a series of background images, crossbred from
distinct cartoons. Divided every 5 degrees into 72 frames or cards, each
position on the screen indicates a mirror where a section of the
background is reflected. While scanning the apparatus in wire-frame, the
viewer pauses to produce full-color views and inset images, sound clips
and text.

The word-links (at top, above the mirror) also serve to organize the
device according to key concepts of the animation industry, its material
and ideological models. A few rubrics are "Blurred Impression"; "Males
with Long Eyelashes"; "Winky Dink"; "Worlds of Analogy"; "Visual
Cliffs"; "Into the Keyhole", and "Violence Without Consequences". The
hypertext functions here as part of current experiments using the
computer to adapt encyclopedic form (works of reference) to "primary"
creative writing.

An artwork functioning alternatively as lexicon, optical device and
panorama, MUTO(SCAPE) leads us through a media landscape conducted in the
manner of an encyclopedic tour, a dictionary of media places and their
mutations. In a tongue-in-cheek way, it recalls those tours of
entertainment production houses that reveal all sorts of tricks and
special effects while keeping the underlying secrets of their social
origin entirely intact. Rather than a supercilious tour guide, somber
cicerone or sour social critic, I wanted something in between: a
humorously didactic optics offering a cracked diorama and warped
synthesis of these social spaces. The tour will perhaps prepare us to
question computer "agents" and the new electronic landscapes, not in
terms of their underlying form, but their utter formlessness.
-----
1. MUTO(SCAPE) is an interactive work in HyperCard for Macintosh II
series computers with 13 inch color display (24 bit preferred) 5 mb RAM
and 80 mb hard drive) that explores the mixed culture of popular
animation through its material and ideological models.

*****

STEEL BAND SCULPTURE and RAZOR FABRIC

Boris Stuchebrjukov
c/o Bulat Galeyev
KAI, SKB "Prometheus"
Karl Marks str. 10
Kazan 420111, Russia


STEEL BAND SCULPTURE

In 1982-83 I started to explore the possibilities of steel band
resilient deformation in a mobile sculpture that demonstrated the unusual
visual effects of ordinary steel tape. One of the ends was attached to
a base, while the other was turned with the help of an electric motor.
The steel stripe changed its energetic balance and slowly collapsed into
a small ball.

RAZOR FABRIC

It took tens of thousands of common razors to build RAZOR FABRIC, a
sculptural object that weighs 15 kilograms. While constructing RAZOR
FABRIC, I discovered some unusual qualities of the banal razor.

The resilience of the material, the flexibility of the connecting units
and the weight of the material define the behavior of the structure. It
does not have constant form, but easily changes shape under one's
fingers. (better to have leather gloves) In any dimension, one can make
it flat as a circle, make a tube, a sort of mushroom and so on.

All the changes happen smoothly and evenly. For optimum visual effects,
I use a piece of the window glass as a demonstration surface. This brings
friction to a minimum so that the topological transformations happen with
unbelievable ease. The resilience of the material and the topology of
the forms still contain unexplored possibilities.
-----
ed: Boris Stuchebrjukov's work will be included in an issue of LEONARDO
about contemporary Russian art and technology that is scheduled for early
1994.

*****
============================================================

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

Telluride INFOZONE and IDEAS FESTIVAL

Richard Lowenberg
Program Director, Telluride Institute
The Stronghouse, Box 1770
283 South Fir Street
Telluride, CO 81435 USA

Email: tellinst@xxxxxxx

The Telluride InfoZone is a pilot project for broad spectrum community
development and education in rural areas, using information and
telecommunications technologies. It is being planned as a pragmatic
answer to real issues facing this place, and as a test-bed for systems,
services, and the long range social, economic and cultural implications
of "telecommunities" in our "information society".

With initial support from the Colorado Advanced Technology Institute,
Colorado Supernet, Apple Computers, and the Town of Telluride, the first
phase of the InfoZone is being put in place; endowing this community with
full, local access to the Internet, global gateway services, and the
beginnings of a pervasive and sophisticated community network.

This summer, the Telluride Institute eighth's annual Ideas Festival will
focus on "Tele-Community". On the weekend of July 23-25, the ideas
Festival will host face to face discussions and teleconferences on the
difficult issues: the politics, economics, technological, social and
cultural implications of "Tele-Community." With the alpine town of
Telluride as campus/test-bed, we will also host workshops,
demonstrations and special events that will include Tele/Comm/Unity - a
tele-communication arts project promoting interactive multi-media
connections with artists, universities and cultural centers around the
world that will feature artists' Kit Galloway and Sherrie Rabinowitz's
ELECTRONIC CAFE INTERNATIONAL.

*****
FOURTH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART

FISEA 93
Minneapolis College of Art & Design
2501 Stevens Ave S; Minneapolis,
MN 55404-4343, USA
Email:<fisea93@xxxxxxxx>

Art works are invited for FISEA 93 to be held November 3-7, 1993,
Minneapolis, Minnesota, USA. The theme is "the art factor".
Works by visual artists, performers, musicians, and those developing new
electronic formats, including computer animation, network, interactive,
sound, multi-media, 2-D, 3-D, are invited. (Papers/Panels closed).

----
June 15 Art Show: Interactive, Network, 2-D/3-D, Electronic
Theater; Poster Sessions (Projects, Applications).
July 15: Slide Show, Listening Chamber.
----
Prog Director: Roman Verostko <roman@xxxxxxxx> TEL: 612.825.2720
Electronic Theater/Interactive: Scott Sayre <scotts@xxxxxxxxxxxxxxxx>
Network Arts: Jan Zita Grover <jzgrover@xxxxxxxxxxxxxxxx>
Concert/Perform/Listen Chamber: Homer Lambrecht <homerl@xxxxxxxxxxxxxxxx>
Art Show, 2D/3D, Install: Brian Szott <brian_szott@xxxxxxxxxxxxxxxx>
----
Contact FISEA at the address above for guidelines.

*****
The International Computer Music Association
1993 VIDEO REVIEW OF COMPUTER MUSIC RESEARCH

Call for Videos

Robin Bargar
National Center for Supercomputing Applications (NCSA)
605 E. Springfield Ave.
Champaign, IL 61801 USA
Email: rbargar@xxxxxxxxxxxxx

You are invited to submit a video presentation for inclusion in the
video review which is published by the International Computer Music
Association. Appropriate topics include: interfaces, performance systems,
instruments, controllers, and music visualization. Excerpts from
performances that have a unique visual component or historical interest
are also eligible.

The review will be published in both NTSC and PAL formats and will first
be available at the 1993 International Computer Music Conference in
Tokyo. Contributions should be in the range of 1 to 10 minutes, ideally
referencing ICMC proceedings or other publications for more detail.
Potential contributors should send a brief description of material,
including: name, address, affiliation; videotape format; subject matter
and approximate length by electronic or regular mail to:

Preferred submission formats: 3/4-inch U-matic, and Betacam. VHS will be
considered though it presents significant quality control problems.
Interested contributors should respond soon for further information.
Deadline for submissions is July 20, 1993.

*****

NOTES ON AUTHORING "WORD WORKS" WITH MACINTOSH SOFTWARE

Long before multimedia computer platforms were widely available, film and
video had already begun to alter visual art - making the single framed
image a disappearing cultural artifact. Literature, however, lagged
behind, confined, for the most part, to the pages of static, sequential
books.

Recently writers have begun to explore the manipulation of words made
possible with computer platforms - creating new forms such as narrative
databases that simulate human memories; hyperfictions that link thoughts,
imagery, characters, and plot streams; adventure stories that unfold
interactively; and narrative data structures in which words are animated
on the fluid computer screen.

WORD WORKS CREATED WITH HYPERCARD

HYPERCARD has been extensively written about [1], but it is worth
pointing out that besides its graphic and multimedia capabilities, it
remains an excellent tool for writers and poets who want to create
electronic literature with customized, (not necessarily hypertextual)
structures and interfaces, but do not want to deal with advanced
programming languages.

Simple HyperTalk scripts can produce compelling interfaces and structures
- like those used in the poems by Marie Etienne and Jean-Pierre Balpe in
KAOS, a special edition of the French literary magazine ACTION POETIQUE
(no. 129/30, 1992) that includes a collection of HYPERCARD poetry.
HYPERCARD is also capable of producing complexly structured works of
literature in which the text is programmed as graphics such as JIm
Rosenberg's INTERGRAMS [2] - dense poems built up in layers with bit-
mapped graphics.

The graphic interfaces that HYPERCARD makes possible can provide
effective entry into otherwise largely textual works. Forinstance,
Brian's Thomas IF MONKS HAD MACS begins with a graphic of an open book by
a monastery window that looks out on a secluded courtyard. Clicking on
the open book leads to a library. Clicking on titles in the library
leads to separate sections of IF MONKS HAD MACS - a work that includes
among other things the text of Thomas a Kempis' THE IMITATION OF CHRIST.

Some Disadvantages of HYPERCARD: One needs to start with a clear idea of
the kind of structure and interface one wishes to create, and HYPERCARD
works better for those with some programming experience. It does not
have an overall mapping application. It is easy to get sidetracked into
graphics, animation and sound that not only are not always handled well
by writers but also can detract from the "mental" imagery that words
alone can stimulate in readers.

The capability to read HYPERCARD stacks is still bundled with Macintosh
models but the authoring/scripting tools are now sold separately. For
HYPERCARD 2.1, contact: Claris Corporation 408-727-8227; 800-628-2100.

STORYSPACE

STORYSPACE facilitates an organic, natural hypertextual writing while at
the same time it gives writers the capability of tightly structuring (and
restructuring) their hypertexts - without wrestling simultaneously with
programming or scripting languages. Links, easily created, connect
"writing spaces" to another. Links can also be used to make multiple
paths or notes. Structures can be viewed as they progress in map, chart
or outline form.

STORYSPACE is an excellent tool for writers or artists who are
accustomed to the flow of words or paint on paper. As I tested this
application, I found myself writing a story in which the words and
structure were radically different from the narrabases I usually create.
Words flowed in a way writing doesn't usually do for me, and, atypically,
I was always anxious to get back to the computer to continue writing.

STORYSPACE lets authors create a distributable reader that enables Mac
user's without this application to read STORYSPACE works. It also
provides the capability to convert STORYSPACE documents into HYPERCARD
version 2.0 stacks.

Some disadvantages: Although the appearance of the links can be changed,
the kinds of interfaces that can be easily created are limited. Graphics
can be imported, but STORYSPACE does not facilitate the simultaneous
creation of integrated word/graphic combinations. (not necessarily a
disadvantage for writers as pointed out earlier)

Some examples of hyperfiction created on storyspace are Michael Joyce's
AFTERNOON [3] Stuart Moulthrop's VICTORY GARDEN and Carolyn Guyer's
QUIBBLING.[4] These works (and Brian Thomas' IF MONKS HAD MACS) and
STORYSPACE are available from Eastgate Systems, Inc., 134 Main St.
Watertown, MA 02172. tel: (800)562-1638


LINKSWARE

From the literature I received, LINKSWARE (Mac System 7+) looks like an
application that would work particularly well for writers whose thought
process and writing style is more suited to writing many pages than it is
to writing screen sized text building blocks. LINKSWARE makes links
between preexisting texts (as well as sound, graphics and video) with
just a mouse click. The promotional material lists users as diverse as
artist Sara Armstrong, The San Jose Police Department, and Kiko, the sign
language using gorilla. For version 2.0, contact LinksWare Corporation,
641 Lily Street, Monterey, CA 93940-1631 tel: (408) 372-4155
-----
1. MELVYL the University of California's online catalog reports 52 book
titles with the word HYPERCARD in them.
2. Rosenberg, Jim, The Word The Play". LEONARDO ELECTRONIC NEWS 3(1),
January, 1993
3. Joyce, Michael. "afternoon, A Story", LEONARDO 26(1):79-80, 1993
4. Guyer, Carolyn, "Something About Quibbling, a Hyperfiction," LEONARDO
ELECTRONIC NEWS 3(1), 1993.

- Judy Malloy <jmalloy@xxxxxxxxxxxxxxxxxxx>
<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
***************FAST CALENDAR TO MARCH 31, 1993*****************

FAST UPDATES


The Words on Works, Reviews and Speaker's Network Sections have all
recently been updated. The new calendars are posted and soon the
Directory of Resources will be updated.
_____

FAST CALENDAR THROUGH JUNE 30, 1993
___________________________________________
Through 12 June 1993

SHELAGH KEELEY: IN VIVO, Drawings and Objects

MICHAEL JAMES O'BRIEN: ASSEMBLING GENDER

Contact: Exit Art/The First World, 548 Broadway, New
York, NY, USA, tel: 212-966-7745, fax: 212-925-2928
______________________________________________
Through 12 June 1993

TERRY FOX: A TABLE OF SIMPLE SOUNDS

Contact: Ronald Feldman Fine Arts Inc., 31 Mercer St.
New York, NY, USA, tel: 212-226-3232, fax: 212-941-
1536
____________________________________________
Through 26 June 1993

REIKO GOTO & JOANNA HAIGOOD: SHO-MU

AWOL/MCATEER: UTOPIA IN THE TEEN AGE

Contact: Capp Street Project, 270 14th St.,
San Francisco, CA, USA, tel: 415-626-7747
_______________________________________________
Through 26 June 1993

FOR THE SEVENTH GENERATION: NATIVE AMERICAN ARTISTS
COUNTER THE QUINCENTENARY, COLUMBUS, NEW YORK

Contact: Art in General, 79 Walker St., New York, NY,
USA, tel; 212-219-0473
________________________________________________
Through 27 June 1993

EXTRAVAGANT, THE ECONOMY OF ELEGANCE

Contact: Kulturzentrum der Russischen Federation,
Friedrichstrasse 176-179, Berlin-Mitte, tel: +030
20-30-22-11, fax: +030 823-42-16
______________________________________________
Through 6 July 1993

WILLIAM WEGMAN'S CINDERELLA

Contact: The Museum of Modern Art, 11 West 53rd St.,
New York, NY, USA, tel: 212-708-9400
________________________________________________
Through July 6 1993

PHILIP-LORCA diCORCIA: STRANGERS

Contact: The Museum of Modern Art, 11 West 53 St.,
New York, NY, USA, tel: 212-708-9400
___________________________________________
Through 11 July 1993

THRESHOLDS AND ENCLOSURES: TELEVISION AS SCULPTURE in
works by Vito Acconci, Gretchen Bender, Dara Birnbaum,
Peter Campus, Dan Graham and Julia Scher

Contact: San Francisco Museum of Modern Art, 401 Van
Ness Ave., San Francisco, CA, USA, tel: 415-252-4000,
fax: 415-863-0603
___________________________________________
Through 25 July 1993

AMERICAN ART IN THE 20TH CENTURY Painting and Sculpture
1913-1993

Contact: Zeitgist - Gessellschaft, Buro,
Wielandstrabe 18, D-1000 Berlin 12, tel: 030-324-50-78,
fax: 030-324-49-37
___________________________________________
Through 8 August 1993

REISEN IM SUPERHOLOGRAMM
Das Transmissionshologramm und seine Technik

Contact: Museum fur Holographie & neue visuelle Medien
Pietschmuhlenweg 7, 5024 Pulheim 1, tel: +02238-51051
____________________________________________
Through 15 August 1993

THE FINAL FRONTIER

Contact: The New Museum of Contemporary Art,
583 Broadway, New York, NY 10012
____________________________________________
Through 29 August 1993

VITO ACCONCI: THE CITY INSIDE US

Contact: MAK - Austrian Museum of Applied Arts,
Weiskirchnerstrasse 3, 1010 Wien, Austria,
tel: +711-36 fax: +71310-26
____________________________________________
27 - 31 May 1993

FOUNDING THE FUTURE
12th ANNUAL INTERNATIONAL SPACE DEVELOPMENT CONFERENCE

Contact: The Huntsville Alabama L5 Society, 1019A Old
Monrovia Road, Suite 168, Huntsville, AL, USA tel:
205-539-3017
____________________________________________
1 June 1993

DEADLINE for receipt of commissioned works 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
____________________________________________
6 June - 7 September 1993

LATIN AMERICAN ARTISTS OF THE TWENTIETH CENTURY

Contact: The Museum of Modern Art, 11 West 53rd Street,
New York, NY, USA, tel: 212-708-9400
_________________________________________________
7 - 11 June 1993

ART AND MATHEMATICS CONFERENCE
State University of New York, Albany, NY

Contact: Nat Friedman, Department of Mathematics,
SUNY/Albany, Albany, NY 12222 USA, tel: 518-442-4621,
518-456-4390, fax: 518-442-4731, E-mail:
artmath@xxxxxxxxxxxxxxx
____________________________________________
7 June - 30 July 1993

A NATIONAL ENDOWMENT FOR THE HUMANITIES SUMMER
SEMINAR FOR COLLEGE TEACHERS, Columbia University, New
York, NY USA

Contact: Professor Jonathan Kramer, c/o Summer Session
Office, 418 Lewisohn Hall, Columbia University, New
York NY 10027 USA
_____________________________________________
10 June - 1 August 1993

CARRIE MAE WEEMS

Contact: San Francisco Museum of Modern Art, 401 Van
Ness Avenue, San Francisco, CA, USA, tel: 415-252-4000,
fax: 415-863-0603
____________________________________________
14 - 18 June 1993

AIC, THE 7th CONGRESS OF THE INTERNATIONAL COLOUR
ASSOCIATION, Budapest, Hungary

Contact: Technical University of Budapest, Conference
Office, Muegyetem rkp.3-9, Bulding Zes Exhibition '93
Tokyo, Tokyo, Japan

Contact: Toshihiro Yatsumonji, Fuji Television Network,
Inc. Special Events, 3-1 Kawada-cho, Shinjuku-ku,
Tokyo, 162 Japan, tel: 81 3 3353 1111, fax: 81 3 3359
4224
___________________________________________
14 - 18 June 1993

ARS ELECTRONICA '93 CONVENTION

Contact: Michaela Kornfehl, Festival fur Kunst,
Technologie und Gesselschaft, Linzer
Veranstaltungsgess, MBH, Brucknerhaus/Untere Donaulande
7, A-4010 Linz/Donau/Postfach 57, tel: +0732-7612-287
____________________________________________
27 June - 1 July 1993

CREATING THE 21ST CENTURY EXPO
Seventh General Assembly of the World Future Society to
be held in Washington, DC.

Contact: Susan Echard, 7910 Woodmont Avenue, Suite 450,
Bethesda, MD 20814, USA, tel: 301-656-8274, fax:
301-951-0394
_____________________________________________
30 June 1993

DEADLINE for applications for the ZKM Project Stipendia
1993

Contact: Zentrum Fur Kunst Und Medientechnologie
Karlsruhe, Stiftung des Offenflichen Rechts,
Kaiserstrasse 64, Postfach 6919, D-7500 Karlsruhe 1,
tel: +0721-93-40-0, fax: +0721-93-40-19
_____________________________________________
********************************************
End of FAST Calendar for June 1993

Executive Editor: Craig Harris Co-Editors: Annie Lewis
Judy Malloy
Ed. Asst: Zara Santos
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) to: <fast@xxxxxxxxxxxxxxxxxxx> with the message: SUB
LEN, your name, e-mail address and postal address.

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