Gateway

WAY In GATEWAY we report 012 significant events, including conferencesand expositions;news of interesting develqpmentsin technology and science as thqr relate to the a r t s ;tutorial-he1discussionsof important technologies and sciencefmthe nonexpert . Wewelcome readers’suggestionsf m and contributions tofuture sections. P R I XARS ELECTRONICA 1994:INTERACTIVE ANIMATION ART-COMPUTER MUSIC-COMPUTER CALLFOR ENTRIES Since 1990,the Prix Ars Electronica for InteractiveArt has been awarded for artwork using virtual reality, screenbased interactivehypermedia,interactive multi-media installations ,interactivehypertext and cinema,interactive sound and virtual sculptureand other types of interactive art involvingthe use of computers. Prizewinners have included Myron Krueger, Paul Sermon , Monika Fleischmann/Wolfgang Strauss,Knowbotics Research, David Rokeby,William Seaman,Stephen Wilson,Joachim Sauter,Jill Scott, ChicoMcMurtrie/Rick Sayre,Jeffrey Shaw and Norman White. The deadline for entries for the 1994PrixArs Electronica for InteractiveArt is 28 February 1994.Three prizes with a totalvalue of $25,000 will be awarded.Submissions must include a videotape demonstrating the nature of the interactivityinvolved in the artwork and making clear the innovativeand creative use of the computer. Prizes are also awarded separatelyin the categoriesof ComputerAnimation and Computer Music. For further information and to receive entryblanks, contactPrixArsElectronica, OW,Franckstrasse 2a, 4010 Linz, Austria. Tel: 43732-6900-267;Fax: 43732-6900-270. ROGER F. MALINA IEEE COMPUTER SOCIETY TASK FORCE ON COMPUTER GENERATED MUSIC The Computer Society of the Institute of Electricaland Electronic Engineers (IEEE)has supportedthe founding of a Task Forceon Computer Generated Music. Defined as the vast area that stretches betweenartistic music corn posed or playedwith computers, at one end, and audio signalprocessing, at the other-without excludingthe extremes -computer-generated music contains many aspects of electronic and computer engineeringthat, as the IEEEComputer Society has recognized , are acquiringincreasingimportance in science and technology-not to mention music itself. Computer sci ence, for example, has recognizedfor years the broader implicationsof its results in other disciplinessuch as philosophy , anthropology, psychology, lin guistics and neurophysiology.Music is possiblythe best example of a disci Q 1993EAST LEONARDO,Vol26, No.4, pp. 277-281,1993 277 WAY I€€€ Computer Society. .. plinethat deals primarilywith qualitative , rather than quantitative,issues and has therefore more and more ap pealfor those computer scientistswho work at the last frontiers of the field, dealingwith common sense, inductive reasoningand intuition. The Task Force on Computer GeneratedMusic shares common goals with all technical committees in the Computer Society, namely, providing activities for practitioners and researchers in the field in the form of publications, conferences, special sections in existing IEEE Computer Society magazines and transactions. In addition, since computer-generated music is not yet a universallyaccepted teaching and research topic within existing academic institutions and research laboratories, the Task Force is considering the publication of textbooks (with associated compact discs [CDs] containing related audio material), interactive, multi-media CDs (with hypertext, sound and images for special topics) and proceedings , etc. in electronic form. It strives to collaborate with institutions dedicated to the establishment of It is misleading to divide human actions into “art,” “science,” or “technology,” for the artist has something of the scientist in him, and the engineero f both, and the very meaning o f these terms varies with time so that analysis can easily degenerate into semantics. -Cyril StanleySmith PROFILE:YONA FRIEDMAN I hope it is in order to make a short but entirely personal tribute to Yona Friedman on this occasion of an issue dedicated to his most recent activities [Editor’s note:please see Special Section:Art and Development in this issue], and I think it is entirely in order to present a picture of Yona in the days of his prime as a visionary architect. It is a pleasure to remember the exact detail of my first encounter with Yona’swork. It was in 1962,if my memo ry is correct, the evening of the opening of an exhibition at the Stedelyk Museum entitled “Experimentin Construction,”in which I was participating.There is a considerable irony here in that our exhibition embraced art and architecture and was distinctly Neo-De Stijlist.At the same museum, opening the same evening, was a somewhat more radical exhibition concerned with “L’ArchitectureMobile”-or some such title-and clearly one of the starswas Yona Friedman...