ISEA94 Art Event Overview

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Introduction:
- Tuula Arkio: Welcoming Address
  Jon Rose: Violin Music in the Age of Shopping – interrupted improvisations around the Museum
  The ISEA94 Art Exhibiti... [Read more]
- Tuula Arkio: Welcoming Address
  Jon Rose: Violin Music in the Age of Shopping – interrupted improvisations around the Museum
  The ISEA94 Art Exhibition organizing committee consisted of:
  - Asko Mäkelä
  - Päivi Talasmaa
  - Jukka Mallinen
  - Maija Elo
  - Erkki Huhtamo
  The Art Show of ISEA94 is an international exhibition of cutting-edge electronic art projects. The 29 projects of the show display a variety of techniques and styles, with emphasis on interactive, telematic and network technologies and a thematic focus on Women and Technology, Media Archaeology, Collective/Personal Memory – not to mention the humorous aspects of today’s technology. [Read Less]
The Next Generation:
- interactivity
  multimedia
  visualization
  composition
Spacescapes:
- arch-design
  body
  soundscapes
  cave
High&Low:
- histories
  oppositions
  east/west
  Conversion: Russian media artists working with military technology
  - A show curated by Marat Guelman, Guelman Gallery, Moscow
    Marat Guelman (curator) Curator Statement
    Customs Office and Warehouse Building, Helsinki
    ln Russia, a... [Read more]
  - A show curated by Marat Guelman, Guelman Gallery, Moscow
    Marat Guelman (curator) Curator Statement
    Customs Office and Warehouse Building, Helsinki
    ln Russia, a peculiar relationship between art and new technology has always been predominant. The technical innovations were for a long time regarded as follies, something one really did not believe in. Still in the 70’s, a normal audio magnetophone was considered dissident. The possibility of manipulating information with technology was the privilege of the State. The only official centers for new technology were provided by corporations of the military complex. This is why “Conversion” – the recycling of military technology for peaceful purposes – became synonymous for the “Eastern way” as opposed to the “Western way”. lSEA94 premieres the new works of the Conversion art project, silently prepared for six months.
    The exhibition features works by
    - Nikita Gashunin – Global Ambitions
    - Savadov & Senchenko – Work in progress
    - Gia Rigvava – You Can Trust Me, You Are Powerless
    - AES Group – Work in progress
    In Russia, a peculiar relationship between art and new technology has always been predominant: think only of Levsha, the left-handed smith of Russian folklore, who knew how to shoe a flea, but with the help of technology that was primitive indeed. The technical innovations were regarded as follies, something one really did not believe in. For a long time, the theory of N.Wiener was looked upon as a bourgeois pseudo-science; which is why the concept of new technology had an overtone of idealist philosophy. Even in the 70’s, a normal audio magnetophone was considered dissident. The possibility of manipulating information with technology was the privilege of the State. The only official centra for new technology were provided by corporations of the military complex. This is why “Conversion” became synonymous for the “Eastern way” as opposed to the “Western way”.
    Marat Guelman, curator, Guelman Gallery, Moscow, Russia. Marat Guelman was born in 1960. Since 1990 he has been the director of “M. Guelman Gallery”. He is Dean of Art Management Academy. Curated exhibitions, connected with “esthetics of participation”: “Dedicated to the 7th congress of the People’s Deputatest”, “Conversion”, “Conformists”, “People’s choice” etc. He has organised more than 60 exhibitions during the last four years. [Read Less]
  gender/blender
  global/local
  ISEA/Online
  - “WWW publication for internet users”, midi concerts, daily news bulletins, debate.
    Real time distributed creation of virtual gallery for sound and images. [Read more]
  - “WWW publication for internet users”, midi concerts, daily news bulletins, debate.
    Real time distributed creation of virtual gallery for sound and images. [Read Less]
  artists in cyberculture
Electronic Education:
Digital Narrative:
- electronic theatre
  - Introductory Statement by Perttu Rastas
    The computer represents the same chameleon technology as video, although they have given names to two different forms of art (video... [Read more]
  - Introductory Statement by Perttu Rastas
    The computer represents the same chameleon technology as video, although they have given names to two different forms of art (video art/computer art). The definitions describe the art forms’ contents as well as the technology used in them. Video art has its roots in experimental music performance art, feminist theory of the image and the everyday use of video, as well as in the conventions of traditional cinema and television. The computer can be understood as a language as well as a form of technology. It is a universal medium, encompassing the typewriter as well as the 3 D animations that aim towards perfect likeness with the reality.
    From the artistic point of view, the universality of the computer can be seen as a dilemma that escapes our definition. “Computer art” can be any thing that copies or replaces former visual technology. So far, the computer has not created its own independent reality that would fulfill Gene Youngblood’s absolute definition of the computer art: “art that is not possible to create by other means.” Computers are widely used in the audiovisual technology due to their excellent editing properties. They have become an essential part of the working process, yet in aesthetics we are still discussing other things: pictures, sounds, stories and collages.
    The subcategories of computer art are in my opinion problematic, purely hierarchical classifications of the professional technology. Such a classification, consisting of ten subcategories, was presented at the IMAGINA festival. The subcategories simply refer to different ways of using the computer; they don’t describe new forms of art. For the sake of art, according to Youngblood, we ought to look for something particular to computer art. In my understanding, such particular works have already been presented especially in the fields of Virtual Reality and A-Life. The third useful area provided by computers, telecommunication, is in fact television satellite technology. Naturally, we can find typical (yet not unique) characteristics to describe the computer images. A central one of them is the “Techno-collage”. Computers make the production, editing and copying of pictures such a quick routine that the mere routine process in itself can produce an aesthetic format. The artistic originality of the Technocollage can be seen, for example, in the works of Beriou and Peter Callas.
    The genre reflects the ISEA94 theme ‘High&Low’ – the easy experimentation possibilities provided by the computer have tempted many artists to create simple, yet interesting, “icon testaments” about their own life and ideology. However, the most interesting area of computer art is a world still to be created. I call this world the “Real fiction”. It is fascinating to observe the world of computer games from the point of view of the subconsciousness. Their images seem to be based on a dark, medieval subconsciousness, the mythological reality of knights, with the creatures of the underworld and the heavens romping freely around in our earthly symbol realism. Yet I’m waiting for us to completely liberate ourselves from the basically realistic world of images, and to move into the “real fiction” (Youngblood’s “simulation”), into the mist of man’s imagination that has no holds with this world. Culturally and historically, we are the product of this world’s image realism, but let us prepare for the moon trips of imagination.
    Perttu Rastas (MuuMediaFestival), Antti Kari (IMI/UIAH) & Ilppo Pohjola (all Finland) were in charge of the ISEA94 Electronic Theatre. [Read Less]
  Program 1: Selected ISEA94 Work
  Program 2: The Ride of Your Life
  Program 3: Larry Cuba, A Retrospective
  Program 4: Prix Ars Electronica ’94
  Program 5: Animated Novelties
  electronic verse
  A Soirée of Electronic Verse by the Living Poet’s Society
Concerts:
- The Virtuosos
  e-club
Electronic Theatre:
- Introductory Statement by Perttu Rastas
  The computer represents the same chameleon technology as video, although they have given names to two different forms of art (video ... [Read more]
- Introductory Statement by Perttu Rastas
  The computer represents the same chameleon technology as video, although they have given names to two different forms of art (video art/computer art). The definitions describe the art forms’ contents as well as the technology used in them. Video art has its roots in experimental music performance art, feminist theory of the image and the everyday use of video, as well as in the conventions of traditional cinema and television. The computer can be understood as a language as well as a form of technology. It is a universal medium, encompassing the typewriter as well as the 3 D animations that aim towards perfect likeness with the reality.
  From the artistic point of view, the universality of the computer can be seen as a dilemma that escapes our definition. “Computer art” can be any thing that copies or replaces former visual technology. So far, the computer has not created its own independent reality that would fulfill Gene Youngblood’s absolute definition of the computer art: “art that is not possible to create by other means.” Computers are widely used in the audiovisual technology due to their excellent editing properties. They have become an essential part of the working process, yet in aesthetics we are still discussing other things: pictures, sounds, stories and collages. The subcategories of computer art are in my opinion problematic, purely hierarchical classifications of the professional technology. Such a classification, consisting of ten subcategories, was presented at the IMAGINA festival. The subcategories simply refer to different ways of using the computer; they don’t describe new forms of art. For the sake of art, according to Youngblood, we ought to look for something particular to computer art. In my understanding, such particular works have already been presented especially in the fields of Virtual Reality and A-Life. The third useful area provided by computers, telecommunication, is in fact television satellite technology.
  Naturally, we can find typical (yet not unique) characteristics to describe the computer images. A central one of them is the “Techno-collage”. Computers make the production, editing and copying of pictures such a quick routine that the mere routine process in itself can produce an aesthetic format. The artistic originality of the Technocollage can be seen, for example, in the works of Beriou and Peter Callas.
  The genre reflects the ISEA94 theme ‘High&Low’ – the easy experimentation possibilities provided by the computer have tempted many artists to create simple, yet interesting, “icon testaments” about their own life and ideology. However, the most interesting area of computer art is a world still to be created. I call this world the “Real fiction”. It is fascinating to observe the world of computer games from the point of view of the subconsciousness. Their images seem to be based on a dark, medieval subconsciousness, the mythological reality of knights, with the creatures of the underworld and the heavens romping freely around in our earthly symbol realism. Yet I’m waiting for us to completely liberate ourselves from the basically realistic world of images, and to move into the “real fiction” (Youngblood’s “simulation”), into the mist of man’s imagination that has no holds with this world. Culturally and historically, we are the product of this world’s image realism, but let us prepare for the moon trips of imagination.
  Perttu Rastas (MuuMediaFestival), Antti Kari (IMI/UIAH) & Ilppo Pohjola (all Finland) were in charge of the ISEA94 Electronic Theatre. [Read Less]
- 2 Soirees of Finnish Movies
Poetry Presentation:

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