From xinwei@otter.stanford.edu Thu Mar 16 16:19:12 1995
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Date: Thu, 16 Mar 95 16:19:10 -0800
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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From: wsack@media.mit.edu (Warren Sack)
Cc: ni-request@media.mit.edu

Xin Wei:

I added you to the narrative-intelligence mailing list. Welcome!

The group started in 1990 with the goal of discussing the impact of
narrative theory on artificial intelligence and vice versa. With time we
have broadened our focus to include any sort of theory that expands our
understanding of media studies. The group has a critical bias towards
situated approaches to knowledge such as Reader Response Theory,
Constructivism, Situated Action, and Sociology of Science.

To post, send mail to:
narrative-intelligence@media-lab.media.mit.edu

Requests to be taken on or off the list should go to:
narrative-intelligence-request@media-lab.media.mit.edu

We meet every Thursday from 5:30 to 7:00. You should receive announcements
of readings. We try to be conscientious about including complete
bibliographic info for remote members. Don't hesitate to ask for more info
on a reference if someone forgets. Please come to a meeting if you happen
to be in town!

Sorry, but we can't mail readings to anyone.

Enjoy!

-- Warren





From xinwei@jessica.stanford.edu Thu Apr  6 01:53:12 1995
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To: mqwang@pcd.stanford.edu, jamb@leland.stanford.edu,
        roscheis@pcd.stanford.edu, steve@pcd.stanford.edu,
        decker.walker@forsythe.stanford.edu, kernsc@leland.stanford.edu,
        cpr@pcd.stanford.edu, abie@leland.stanford.edu
cc: xinwei@jessica.stanford.edu, wsack@media.mit.edu, achan@aol.com,
        marc_davis@interval.com
Subject: interactive media reading group
Date: Thu, 06 Apr 1995 01:53:06 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
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Dear Michelle, Ben, Martin, Steve, Decker, Charles, Chris, Abie,

would you like to join a reading group oriented toward constructive
theories of interactive media (IM)?  We can interpret "interactive"
and "media" as expansively as necessary to include participants'
needs.  The motivation should be our desires to work out readings and
ideas relevant to our own research that we might otherwise have to let
pass under the pressures of "daily" work.

My own agenda is to think through some issues in literary theory,
philosophy, critical theory and mathematics that I encountered too
briefly in Decker Walker's private seminar on interactive media
spaces, and in Terry Winograd and Marc Davis' class on Phenomenology,
Cognition and Computers last quarter.  In particular, I've been toying
with some ideas at several levels: media structures (eg. algebraic
video, structured text, continuous models as alternatives to
traditional 1D or graph topologies), symbolic architecture (the design
of cyberspaces), and distributed models of cognition and consequences
in socio-political and communication theories.  But these are not
mandatory topics by any means, nor do I expect to dive into more than
a fraction of these topics!  I'm far more interested at this stage in
establishing an informal circle of people near Stanford who would like
to think critically about the narrative spaces being formed out of new
media and new modalities.

This invitation is being sent to some graduate students in Terry
Winograd's People, Computers and Design group, Modern Thought and
Literature, and to members of Decker Walker's seminar.  I may try to
maintain some loose connections with a few people off-campus, such as
Marc Davis (Interval Research), Warren Sack (and the narrative
intelligence group, MIT Media Lab), and Adrian Chan (an alumnus of the
undergrad MTLprogram and multimedia designer in SF who would like to
start his own reading group on similar lines).  This group is
independent of the "multimedia club" being formed by trace@ccrma and
Jocelyn@cs (?) of CS378.  In my view, the IM group will gather people
who aleady have a fair amount of background knowledge in some relevant
fields, whereas the multimedia club should serve as a sort of survey
function and as a lightning rod for extra-curricular undergraduate
creativity in art+technology.

Below, I include some readings suggested by Michelle Q Wang Baldonado,
Ben Robinson and myself.  Perhaps we could meet in early next week to
hash out our interests?  If you're interested, RSVP with your
*impossible* times next week Tuesday or Wednesday or Thursday.  My
proposal is to meet Tuesday at 12 noon or at 6:00PM in Sweet Hall room
415 (my office).

Let's make this fun, energizing and worth our while.   

Xin Wei
phone: 415-725-3152
http://www-leland.stanford.edu/~xinwei

PS	pass this along to friends who may profit from this.

Xin Wei's suggestions  (would enjoy help with these):

George Lakoff.  Women, Fire and Dangerous Things: What Categories Reveal About 
the Mind.   Chicago 1987.  (Part I is a good intro for me on categorization, selections 
form Part II.)

Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth Century French 
Thought.   (much less "relevant" than Lakoff, but a wonderful survey.  I'm particularly 
looking for alternatives to and critiques of visual representations of information 
spaces, before embarking on my own 3D stuff.)

Hilary Putnam.  Philosophical Papers v. 2 (Mind, Language and Reason), and v. 3  
(Realism and Reason).  (linked to Lakoff; certain essays may be relevant to Michelle's 
concerns with semantics, representation and identity in fluid documents.)

JŸrgen Habermas.  The Structural Transformation of the Public Sphere, parts of 
sections I,II,III,V,VI?   (I'll defer to Ben's judgment on this.)  English tr. MIT 1991.

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



From: Michelle Q Wang Baldonado <mqwang@pcd.Stanford.EDU>
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Subject: Re: laissez faire; reading
In-Reply-To: Your message of Fri, 17 Mar 95 17:22:59 -0800


Xin Wei,

I like your ideas of reading Lakoff and perhaps Putnam.
I might also be interested in reading (in some cases, I haven't
checked the reference to see how good it looks):

1) Bradley Goodman, "Reference identification and reference identification
failure," Computational Linguistics, 12(4): 273-305, 1986.

2) Amichai Kronfeld, "Donnellan's distinction and a computational
model
of reference," Proc. of 24th ACL, 1986.

or

3) Amichai Kronfeld, _Reference and computation: an essay in
applied philosophy of language_. 1990.

4) Nelson Goodman, _Languages of art_. 1976.

5) Carla Hesse, _Publishing and Cultural Politics in
Revolutionary Paris_. 1993.

6) Doug Appelt, "Some pragmatic issues in the planning of
definite and indefinite noun phrases," Proc. of 23th ACL, 1985.

or

7) Doug Appelt, _Planning English Sentences_. 1985.

8) Barwise and Perry, _Situations and Attitudes+. 1983.

9) Merleau-Ponty (don't know the rest of the reference, but
Marc recommends highly).

10) Any philosophical works on sameness of type vs. sameness
of token, identity, designation, etc.

-mqwb

---------------------------------------------
From: Benjamin Butt Robinson <jamb@leland.Stanford.EDU>
Subject: Re: interactive media reading group
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Date: Tue, 4 Apr 1995 02:38:56 -0700 (PDT)
...
Xin Wei,
...
 I did get your note, and am still enthusiastica about doing the group.  The Lakoff 
sounds interesting.  It was his other book, Metaphors We Live By that I had looked 
through before and found a little disapointing.  But I'm not sure what I had been 
looking for at the time.  I haven't had a chance to look through Women, Fire and 
Dangerous Things, but I'd certainly be willing to give it a try.  Putnam on reference 
would be great too.  A few books occur to me.  

Sheldon Sacks, ed., On Metaphor.  An anthology with articles by Donald Davidson, 
Paul de Man, Paul Ricoeur, Quine, Max Balck,etc.

Johnson, Mark, Philosophical Perspectives on Metaphor.  An anthology with some of 
the same articles as above, including a few by Lakoff, Nelson Goodman, Searle.

Derrida, Jacques, Margins.  "White Mythology: Metaphor in the text of Philosophy"

Althusser, Louis, "Contradiction and Overdetermination" in For Marx.

Goux, Jean-Joseph, "Numismatics" in Symbolic Economies.

Baudrillard, Jean, "Simulacra and Simulations" in Selected Writings.

Quine, Willard van Orman,Ontological Rrelativity

I'm sure I could think up of some more books/articles, but that is certainly enough for 
now.  My guess is that we won't be able to read all that many things, as none of this 
reading is particularly easy. ...

From xinwei@otter.stanford.edu Thu Apr 13 19:58:31 1995
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Just a reminder -- the img (interactive media group) has a web site:

	http://www-leland/~xinwei/pub/img/img.html

Think of this as our home in between physical meetings, and group memory.

I've defined an afs group -- xinwei:img:
  xinwei
  abie
  larryf
  cousins
  mqwang
  rsieg
  kernsc
  cpr
  roscheis
  jamb

which means you can modify the web page (img.html) yourself, or even drop
(small) items into the img directory.   I encourage you to add references
to the img.html page using your favorite HTML editor.   You should be able to
do this from any kerberized machine on SUNet (yes, even a mac).   Tickle me
if I haven't set the right privileges..   I'll be glad to help you digitize material in 

advance of an img session.

In the future, we can try to post stuff directly on the website, and
reserve email just to point a finger at the web.

Next week, for lack of anything better, we'll look at the World Wide Web as our "concrete" object  
of discussion.   I hope that thereafter, we might take turns seeding or leavening a session.   Tell  
me or drop by with your idea!

- Xin Wei

From brod@jessica.stanford.edu Tue Apr 18 16:41:26 1995
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Date: Tue, 18 Apr 1995 16:42:18 -0800
To: jcats@otter.stanford.edu
From: brod@jessica.stanford.edu (Brodie Lockard)
Subject: Impressions from Spring Internet World 95
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Hey, gang!  Here are my impressions from the Spring Internet World 95
conference, held 4/10-4/13 in San Jose:

Sessions:
*The Internet and Industry Shakeout, and A Response: The View from R&D
Rose Ann Giordano, DEC's Internet Business Group VP, showed cool Web
examples DEC has helped with.  These included the California elections
server DEC put up that showed a dynamic map of election results (300,000
hits per hour at its peak), the Palo Alto Weekly (PA was the very first
city to have a Web page), and the Future Fantasy Bookstore server, which
seems to have increased sales 20% and brought them a customer from
Slovenia.  Another example was FedEx, upon whose server you can absolutely,
positively track your very own lost package.  Customers thereby perform a
task previously required of FedEx personnel, and say "thank you."
   Giordano's message was that successful companies will change their way
of business to use the Internet.  She sees three primary uses of the net:
electronic info distribution, an electronic community, and electronic
collaboration.  Today's challenges--finding info, security and payment, and
customer attraction and retention--are tomorrow's opportunities:  search
tool products, directories and customer profiles; firewalls and secure
transaction products; and products for promoting local and global villages
and communities of interest.
   The product manager for SGI's WebForce browser and authoring software
("To Author and To Serve") predicted that WWW is just a step toward
interactive TV, but strongly advised against anyone waiting to jump aboard
the WWW bandwagon.  Other panel members agreed.

*Software Over the Internet
A remarkably boring presentation about a PD and commercial software
distribution site in Liverpool.  They have a wrapper that lets users try
your software for a limited time and nags them to buy it.

*Distance Learning
Another remarkably boring presentation, read directly from the written page
and unhampered by inflection, eye contact, or interesting content.  There's
a German teacher in Colorado who offers two-way video lessons to high
school students.

*Legal Issues Facing Providers and Subscribers
An entertaining but depressing discussion of legal pitfalls and Tales to
Come From The Legal Crypt by Neal Friedman, a Telecommunications Attorney
for the DC firm of Pepper & Corazzini.  Hire this guy as your attorney, but
don't invite him to dinner.  He thinks there aren't enough laws governing
net use, and looks forward to more of them, especially ones that will make
him money.  His basic message was CYA and don't even think of
electronically publishing anything you don't own.
   Prodigy is being sued big-time by an investment firm who was libelled in
a Prodigy discussion group by a Prodigy employee.  The employee is no
longer a defendant.  Friedman doubts this case will settle because the
plaintiff wants too much money.
   Corel held a contest for cool uses of Corel Draw and awarded the
Canadian winner $100,000.  They got all excited about the winning entry and
built an ad campaign around it.  The campaign attracted much attention,
including that of the photographer who took the original picture used in
the winning entry, who is now suing the Canadian and Corel for much more
than $100,000.
   America Online trashed a discussion group concerning Kurt Cobain's widow
after death threats appeared there.  Such action is completely within their
rights since they own the system used for sending the messages.  If they
don't like it, they can delete or prohibit it without any further
justification.  AOL also has filters in place for certain racial and
pedophiliac vocabulary.
   Another interesting point was domain name registration.  Some individual
registered mcdonalds.com, choosing the account name "ronald," and later
settled with a certain fast food chain after they donated certain computer
equipment to some worthy cause or other.  Friedman says there's only one
"official" place to register domain names, an outfit called "Internex"
(???).  Does anyone know who this is?

*Commercial Web Site:  Content
This session and the next focused on WWW issues for commercial companies.
The speaker, an ad exec, thinks that the three most important parts of a
Web page are content, content and content.  Keep your content fresh, says
he, and give people a reason to come back often.  Avoid large graphics, but
do use graphics where they explain better than words, as in describing
IBM's butterfly keyboard, which "lifts and separates."  Don't disappoint
surfers by promising cool stuff through a link a delivering reams of boring
text or (worse) pages "under construction."  Think customer service, not
sales.  Sales via the Internet are not very good yet, but it's a great way
to market.  He suggested www.ragu.com as a great example of a site that has
a personality, fun content, and a good approach to collecting demographic
info (fill out this form and you might win a trip to Italy).

*Commercial Web Site:  Interfaces
This speaker emphasized thinking globally.  Be sensitive, he advised, to
the different meanings of symbols, objects, colors and holidays in
different countries.  Your WWW site should be up 24 hours a day, since it's
business hours elsewhere in the world even when you're closed.  Have
realistic expectations--the Web has great potential, but don't expect it to
make your business skyrocket overnight.

*Online Publishing and Advertising: The Fine Line
Laura Fillmore of Online Bookstore, Inc. droned on about her online book
ordering service.  I learned to not use a Web browser for a presentation
and went to browse the exhibit floor.

*Real-Time International Collaboration Over The Internet
This was pretty cool.  David Clarke and Ariel Sella from Farallon showed a
product (in progress on the Mac!) that runs on your Web server as an
adjunct server.  It lets a group of users linked to your server jump aboard
a "magic carpet" so that they all see what you're browsing.  There's status
info so you can see when each of their screens are finished drawing and so
on, and a place for everyone to chat.  Pretty handy for distance demos,
tech support, real-time document sharing and collaboration.

Speakers:
*John Patrick, IBM's VP for Internet Applications, spoke at midday Tuesday.
He suggested that every company offer info, whois, support, and various
other services through the Internet.  His most interesting point was that
soon, if not already, giving your Visa card number and sending vital info
over the net will be safer than doing so in other ways.  Handing your card
to a perfect stranger in a store or hotel, he pointed out, or handing a
vital overnight package to a total stranger, is certainly risky compared to
emailing the equivalents to a known party.
*Gordon Bell, who designed DEC's PDP computer, spoke at midday Wednesday.
He showed lots of amusing graphs, all rising to near-vertical at the right
at various points:  rise of net-related lawsuits, rise of net use by
organized crime, and so on.  According to Bell, the number of Internet
users will surpass the number of living human beings somewhere around 2003.

Impressions from the 180 Booths:
*No Macs yet!  I went to about 35 booths and asked about Mac support in
maybe 25 of them.  Only two or three of these had products for Macs, but at
least two thirds of them said they were planning Mac support, generally by
1/1/96.  A few said they had no Mac product, but had gotten many inquiries
about one.  Clearly Windows is the commanding market, but Macs are seen as
an important secondary market.
*Many companies were there offering much the same services:  ISDN routers &
bridges ($995), ISDN access ($40 to install & $25/month), Internet access,
WWW access and filespace ($30/month includes 10MB personal space & 25MB WWW
space), domain name registration (a one-time $30 fee), Web page design, WWW
database-related software.  Most claimed to be Your Complete One-stop
Internet Solution or some other hyperbolic entity.
*Microsoft was showing their plug-in module for Word for Windows 6.0.
They've actually done a decent job on the design, incorporating a Web
browser into Word itself.  There are menu items for saving a document as a
Web page (Word converts styles and point sizes to the closest equivalent in
HTML); copying the URL of the page you're on (pasting it pastes the
document title with the URL embedded); and importing graphics, which appear
WYSIWYGly with the anchors hidden.  You can edit the Web page you're
viewing as if it were a regular Word document and save it on your local
disk.  You can even save your Word-formatted document (with multiple
columns or whatever) and create a link to it in an HTML document as if it
were an external data type like JPEG or AIFF.  Surfers who click on that
link will download the linked document and open it automatically, if they
have the new Word viewer app installed as a Helper App.  Microsoft is
giving away this viewer.
*SGI was showing their WebForce browser reading VRML (Virtual Reality
Modelling Language) documents.  VRML is "a universal description language
for multi-participant simulations."  As far as I understand it, it's text
files which describe a 3D world which is rendered on the local machine.
Links exist as visible objects in one's view of the world.  E.g., flying up
to a little Stonehenge-looking object and clicking it takes you to another
VRML "page" on Stonehenge.  Read all about it at http://www.eit.com/vrml/.
*The SJ Mercury News is selling a keyword-based news story
grazer/distiller/retriever service (for $20/month, I believe).  You can
change your keywords anytime by phone or email.
*NlightN by The Library Corporation searches multiple net-based
bibliographies at once and lets you search forever for free.  Only when you
actually locate something you think you want do you pay.  E.g., "500-word
story story on global warming in the April 9 New York Times.  Click here to
pay $0.50 to read this article."
*All the big online boys had booths:  AOL, CompuServe, and Prodigy, as well
as Apple, IBM, DEC, and Microsoft.  The DEC booth had two guys juggling
knives and apples atop a six-foot unicycle:  "Remember:  DEC (flip)
connects you to the Internet (bite) like no one else (wobble)!"

Other Impressions:
*Everyone at every session showed a steep graph of some sort.  One guy on
Wednesday showed an unlabelled graph, saying, "This is a graph of Internet
activity.  The labels...don't matter!  Could be number of new Web servers
this year, new Internet users this month, or new Web pages since
breakfast."
*The Web's the thing.  It's the fastest-growing part of the net, it'll
transform world business, don't-wait-sign-up-now, get your server up
_today_.  Netscape won the award for best Internet product; Yahoo the one
for best Internet service.
*The net, and especially WWW, are now big enough to draw in lawyers and
(perhaps soon) insurance companies for liability insurance.

Statistics & Predictions:
*SGI says the number of Web servers has grown from fewer than 1000 in 4/93
to 30,000 in 2/95, with the number doubling every two months.
*When Prodigy added Web service they got 200,000 new customers in three weeks.
*A recent CMU study estimates 25 million existing Web pages.
*Someone's slide showed 20 to 40 million Internet users.
*Windows 95 (aka "Windows 9X"), by providing easy WWW browsing and
authoring to the unwashed masses, will create 20 to 30 million new
Internetters.
*Secure payment methods will be widely used by 1/1/96, giving even more
momentum to WWW and net use.

-Brod




From xinwei@otter.stanford.edu Wed Apr 19 16:24:34 1995
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Date: Wed, 19 Apr 95 16:24:29 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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Subject: Carol Strohecker: 2 design references
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Begin forwarded message:

Organization: Mitsubishi Electric Research Laboratories, Inc.
	Cambridge, Massachusetts, USA
Date: 19 Apr 95 14:07:40 U
From: "strohecker" <stro@merl.com>
Subject: 2 design references
To: narr-int@media.mit.edu

Those interested in issues of place-making, spatial metaphors, and virtual
environments may find these sources interesting/useful:

Wilson, Anthony & Patricia.  1994.  _Theme Parks, Leisure Centres, Zoos, and
Aquaria_.  (Essex UK: Longman Scientific and Technical, copublished with John
Wiley & Sons, NY).

And, on a contra-note,

Sorkin, Michael, ed.  1992.  _Variations on a Theme Park: The New American City
and the End of Public Space_.  (NY: Hill & Wang).

-Carol


From xinwei@otter.stanford.edu Thu Apr 20 19:21:29 1995
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From: xinwei@otter.stanford.edu (Sha Xin Wei)
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later on, if I get time, I may write up less partisan notes.

In parallel with a critique of current media technologies, we'll  
begin our theory trek with some Lakoff.  Try and pick up at least  
chapter 1 of Lakoff from our website:

http://www-leland/~xinwei/pub/img/img.html

Note that I will not have time to proof read any OCR's, but you're  
welcome to come get a xerox from me if you like.

Some of you may wish to get the book:

George Lakoff.Women, Fire and Dangerous Things: What Categories  
Reveal About the Mind. Chicago 1987.

Over the next few sessions, the current proposal is that we navigate  
around some issues of categorization, then drift toward,  
representation, meaning, metaphor,...

I'll be adding links to illuminating websites.   If you want us to  
look at some UI's, send me a screendump (in any graphics format) .
Remember that you leland folk can write into my AFS space:  
/afs/ir.stanford.edu/users/x/xinwei/pub/img.

(I'll post directions on our website for Mac people on how to do  
this.)

- Xin Wei

From xinwei@otter.stanford.edu Fri Apr 21 14:15:57 1995
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Date: Fri, 21 Apr 95 14:15:52 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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To: abie@leland, michelle@cs, jamb@leland

Hi Abie,

I'll be in Champaign-Urbana Sunday 3:00 - Wednesday
noon, but would like to talk over some initial Lakoff with
you before next Thursday.   (I'm cc'ing this to Ben and Michelle
anticipating that they'll want to join in after Lakoff.0 :)

If you've already read some of Lakoff, maybe you can drop
by this (Fri) afternoon 3:00-6'ish so we can map out
something for Thursday.

You're also welcome to come down to our place in Menlo Park
tomorrow for dinner (Sat).  We're planning to have some
friends over -- if you come a bit earlier we can talk then.

Or we can tarry and meet Wed late in the day.

The beef:

I'll suggest that we look ask everyone to look at Chap 1 before Thu.

Then we can talk about Rosch et al's work on prototype effects, and
run through a few examples of non-set theoretic classes of categories,
discuss the notion of "basic level categories."

I want to at least move from an undifferentiated view of
categories to a more nuanced meta-categorical
discussion that may help us segue into the foothills of
metaphor later on.

I'm paging through Lakoff right now, trying to skip
examples -- he loves lists, doesn't he? -- and extract
those passages where he actually proposes
meaning-systems, his semantic theory.   Somewhat thin.
That's where Mark Johnson's book: Mind in the Body  may be
richer, but we want to digress/detour to Sacks if people
aren't interested in going any deeper.

There are personally  fascinating chapters on Putnam's
"incompleteness" theorem about objectivist  semantic
theories and Maclane's characterization of
mathematical knowledge ( I ignored
Maclane-the-philosopher-of-mathematics when I was a
math hothead....my joints ache).  Any else like to chat
about those sections?

back to the scanner,
Xin Wei


From xinwei@otter.stanford.edu Fri Apr 21 19:26:03 1995
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Date: Fri, 21 Apr 95 19:25:52 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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Cc: xinwei@jessica.stanford.edu
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Hi Ben,

Hope your conference went well!

(I'll be in Illinois when you read this, but send me email!)

Here's are some questions for later, if there's a later...

One of the mantra's that people, especially multimedia
and "human computer interaction" folk use to justify
technology is that it will help us"communicate" better
with each other.   Better is usually measured by the
variety of human sense modalities which are engaged,
and the number of bits/second that can be transmitted,
which at the human level translates to perceived
"immediacy" or telepresence.

I'd like to examine that, and try to introduce
some Habermas, Foucault, or whatever you 

think is good.   Even granting the
possibility of rational public discourse, I think what
he has in mind by it is quite different from the sense-data
level measure of communication which is used by
mediatechies.   For example, universities like
Stanfiord and even more ambitiously -- Monterey
University, MIT -- are planning to sink millions into
teleconferencing classrooms where there will be a video
wall which will "fuse" geographically distant rooms.

I'd like to ask the mediatech's how even perfect
transmission of light+sound will make our
communication spaces (discourse networks in a vulgar
sense?) any more "educational," "rational,"
"democratic," "enlightening." 


Xin Wei

PS.	How is Zizek interesting?

From xinwei@jessica.stanford.edu Sat Apr 22 12:04:13 1995
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To: media@otter.stanford.edu
Subject: Lakoff for 4/27, 12:15
Date: Sat, 22 Apr 1995 12:03:58 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O


Next time, we'll continue our look at the Web and its UI's.   
Chapters 1-2 of Lakoff's WFDT may provide a useful 
starting point for understanding categories and categorization.

For your convenience, I'm scanning selections from WFDT which 
are hopefully the most relevant to representation and meaning and
 metaphor at least as Lakoff conceives them.   These OCR's will not 
be proofed, so you'll have to decipher them using your favorite 
natural language interpreter :)  If you prefer to read Chicago Press's
 version but can't get a copy of the book, drop by my office Wednesday
 afternoon.  (I'll be out of town until Wed 2:00.)

Xin Wei

415-327-8533

From xinwei@otter.stanford.edu Fri May  5 19:32:08 1995
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Date: Fri, 5 May 95 19:31:55 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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img amici,

Next week, we'll do some preliminary discussion of the background  
against which Derrida was writing: namely speech act theory and  
related issues in philosophy of language.   Michelle kindly agreed to  
start off with a capsule introduction.

I'll be in Pasadena unfortunately, so I selfishly hope that you guys  
won't  actually  start Derrida until the following session.   In any  
case, there are some classic references to semantics which Michelle  
(or Ben) may suggest as background before next week's session.   
(Austin, Searle)

A brief on Saussure (or Pierce, if anyone's read Pierce) may provide  
one way to enter Derrida.  I think the Saussure selection  from CS  
378 is eminently readable, and some parts are relevant to issues of  
quantization that I'd like to bring up later on.    (Course On  
General Linguistics 1-17, 65-78, 101-134. tr. Wade Baskin,  
McGraw-Hill 1983.)  I'll try to remember to leave a xerox outside my  
office.

It would be very interesting to constantly keep in mind how this  
is/is not helpful for designing interACTION, or even just non-text  
modalities (digital video, graphics).


For the May 18 session, I propose we take up Derrida's "Signature,  
Event, Context" which is linked to:

http://www-leland.stanford.edu/~xinwei/pub/img/readings.html

will send out brief notes from last time,
Xin Wei

From xinwei@jessica.stanford.edu Sun May  7 17:09:59 1995
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To: xinwei@leland.stanford.edu
Subject: img discussion trail
Date: Sun, 07 May 1995 17:09:55 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O


To: media@otter.stanford.edu
Subject: img discussion trail

Amici,

Here are some very impressionistic notes from last Thursday, as my  
contribution in lieu of Being-At-The-Next-Session.  In general, notes  
are linked as "Discussion Trail" to the img website

http://www-leland/~xinwei/pub/img/img.html

so check it out when you get a chance.

Please forgive me for so freely and clumsily paraphrasing you in my  
notes.   These are just a way for me to tack down a few of the ideas  
that we floated in the seminar, so I can recall them later.   By  
putting words in your mouths, I can make a pseudo-conversation so I  
can reconstruct more pleasurably some threads of ideas.  If you mail  
me your observations with permission,I'll include them in the  
discussion trail.


Gregory brought in photos of groups of objects (spools, pile of  
chairs, heap of, as Decker put it, pushable things with handles).     
Remarked that, in response to Lakoff's taxonomy of categories, it  
seemed that people often grouped things in heaps.  (but heaps which  
are thematically coherent, as suggested in photos?)

[include Greg's explanation.]

Also, relevant to the discussion of modeling desire, most software  
pays no attention at all to intent or desire, only to technique-- eg   
Illustrator is a complex set of menus and tools, which takes a while  
to learn.  At first it can seem like a jumble of functions.  But  
after mastering Illustrator, you don't have to think of the menus and  
tools anymore, only of what you want to do.

Decker:  Looking at Gregory's photographs, it's interesting how I  
categorize the objects in one photograph as things with handles that  
I can push. 


There's Polanyi's example of a man using a cane.  At first he's  
feelung the tip of the cane, tapping against the ground, but after  
habituation, he forgets the cane and is feeling the ground.    
Similarly, children must learn to feel their fingers, and distinguish  
their body boundary from what it touches.

Ben: Maybe starting out with the category is already making a fateful  
choice or restriction or tautology.   Favors a systems approach from  
which one may or may draw categories.   Questions the body-based  
approach to meaning.   What is the "body"?   One might think of  
culture as that regime to which the body is subject.   That is, body  
may be a function of culture.   From this perspective, we can then  
ask, what are the systems of culture?    An interesting aspect of  
Freudian or Lacanian approaches is that they provide narratives out  
of which one can stabilize a notion of body, which distinguishes them  
from Lakoff's taxonomic approach.  [ACH! poor wording - xw]

In the context of writing about writing (Albert Lord, Walter Ong).   
There's the distinction drawn between oral and "literate" culture.    
In a culture possessing the technology of writing, communication  
models are based on communicating agents (nodes) who exchange  
messages along arcs (dyadic relationships).   [ Or maybe n-adic. Each  
communication is a point to point transaction. - xw]  

In pre-oral culture, where people couldn't record communications in  
marks or exchange/keep marks, people existed in an aural field which  
surounded them.

Pain - In the Iliad algos was assoc. not with war injuries, but with  
pain of separation from kin/home.

Judy:  I need to relate these theories to how I work.   There's quite  
a different feel to working with a computer and working with  
something like watercolor or pastels.   I choose different media for  
different effects [on me as well as "on paper" - xw].  But when I  
work with a medium, I have to let it go its own way.  I don't feel  
this with the computer.   But on the other hand, I realize that I  
couldn't have done my dissertation without the computer: undo  
radically changed my work.  


Trace: pointed out the implications of infinite undo of any sequence  
of gestures
Xavier:  I tell the museums [Louvre, ...] with whom I'm working to  
set aside issues of content and interface, and think about the  
visitor's experience.

Xin Wei:  So what are systems?  What advantages are there to taking  
systems as somehow prior to the stabilization of the body, as Ben put  
it?  (I feel that there are advantages.)

Can we really characterize computer media as media?  Is erasure,  
infinite undo-ability, or provisionality a defining attribute of the  
medium?   I'm intrigued by Judy's description of letting a medium "go  
its own way."   Compare this with Brenda Laurel's remarks about how  
necessary constraints are for desiging human experience (ch 4,  
Computers As Theater). There may be a subtle play here between  
diction (choice of color/words) and narrative flow (effect).

Interesting that Decker uses kinesthetic characterization.   I do  
believe that there are indeed kinesthetic schemas, only that Lakoff's  
examples are not convincing.  For example, listening to a Bach sonata  
for solo violin, I can remember the pleasure in the muscles of my  
right arm as I bowed the passages.

Greg, Judy and Decker's remarks are redolent of Heideggerian  
language. All this discussion of things ready-to-hand is most  
elegantly captured by ZhuangZi's Butcher Ding parable.  [qv Suggested  
Readings for excerpt - xw]

Ben's description of the speech era vs. language illustrates  
wonderfully the possibility of a communication model which is not  
based on a graph metaphor.   And just as we can have communication  
fields, we can have semantic fields. 


In  Saussure's Course In General Linguistics, he draws a vague figure  
containing the clouds of sign and of signified (meaning?).  He  
brushes past what I call the quantization problem.  Saussure cautions  
that a semantic theory cannot be word-based, suggests sentences, but  
retreats to words.  (Marc Davis says Saussure deals with it, and I  
should look for the keyword: diacritic.)  The quantization problem  
occurs in a huge spectrum of phenomena, including multimedia.  To  
leak a bit of the punchline, I suspect this is a root of all sorts of  
problems with architectures underlying media-rich software.

Fuzzy set theory illustrates how non-traditonal models can still  
admit an implementable formalism.   I'm not that interested in fuzzy  
sets.  Maybe a bit of point set topology would be useful.

I hope next time, as an exercise, people can begin to tie some of  
what we've discussed back to some design scenarios, such as a  
replacement for menu systems, and an examination of the "search and  
retrieval" gestures so intrinsic (dear?) to "Information Technology."    
For example, I think that even at the most vulgar :) and  
straightforward level, Lakoff et al's non-classical categories  
furnish tremendously useful alternatives for iconic  as well as  
text-based object/command user interfaces.  Imagine how one might  
design and implement UI's using fuzzy, radial, prototype,  
production-rule (algebraic) categories.   I'd leave aside metaphoric  
& metonymic extensions for later exercises, at least until we've  
explored other folks' notions of metaphor.

===================
Housekeeping:

Check out the scanned texts linked to "Suggested Readings"

For your convenience, I put a README annotating the scanned sections  
from Lakoff's book.   I tried to choose sections which seemed  
relevant to either categories or to semantics.


- - Xin Wei

------- End of Forwarded Message


[ 19
This email regards three photos taken by Greg:
http://www-leland.stanford.edu/~xinwei/pub/img/media/Gregory_photos.gif
- xw]

From: Gregory <zema@leland.Stanford.EDU>
Subject: Modelling Desire
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Date: Sat, 6 May 1995 17:04:26 -0700 (PDT)

Dear Xin Wei,

Thank you for your note. I hope my unfamiliarity with the seminar
format of discussion (which I find wonderful) does not disrupt the
course of discussion. I brought the photos because they show different
degrees or motivations to classify things. First to create order and
enable choice by overview (Order of the threads). Second to create
disorder and to enable choice by complusion (Storefront
display). Third by necessity: To put all the chairs on the table so
you can sweep the floor.

I am sure there are more reasons to create categories and I would like
to discuss those and bring them in relation to the experience they
provide.

...

Thanks again'
Gregory


From xinwei@jessica.stanford.edu Mon May 22 12:12:03 1995
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To: xinwei@leland.stanford.edu
Subject: Media Lab, Theme Parks
Date: Mon, 22 May 1995 12:11:54 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O

[
Amici, I'm forwarding a particularly intriguing set of references from
the MIT Media Lab's narrative intelligence group, our elder sister.

This brings up a direction I'd like to pursue in the future --
spatially-based systems of meaning, and critiques of ocularcentrism. 


- - Xin Wei
] 


Date: 22 May 95 14:17:33 U
From: "strohecker" <stro@merl.com>
Subject: 25 May mtg: theme park themes
To: narr-int@media.mit.edu

Much of our work involves interfaces that rely on spatial metaphors. 

Office-style applications as well as text-based and image/sound/text-based VR's
are raising questions about the meaning and techniques of "place-making."  Set
designers, architects, and urban planners make professions of dealing with such
questions, and perhaps we could benefit from studying their perspectives.  


Thursday's discussion will focus on some current thinking about cities and
"themed spaces."  The two readings come from _Theme Parks, Leisure Centres,
Zoos, and Aquaria_, by Wilson and Wilson, and _Variations on a Theme Park: The
New American City and the End of Public Space_, edited by Michael Sorkin. 

(Thanks to Amy, these readings are now available in the usual place at the
Media Lab.)

_Theme Parks_ outlines the design and concept of specific heritage parks,
biosphere reserves, etc.  In the foreword, David Bellamy describes it as "a
timely handbook which not only investigates the history of the phenomenon of
turnstile leisure but looks on the bright side of its social track."  This
bright side, in Bellamy's view, has to do with "safeguard[ing] the master works
of people and nature" and "teach[ing] the masses about the importance of the
real thing." 


_Variations on a Theme Park_ is an anthology of essays that look critically at
another aspect of this social track.  This aspect becomes apparent as the
compartmentalization that is a necessary element in the design of theme parks
becomes adopted in the design of cities.  


I suggest these readings with double intent:  On the one hand, _Theme Parks_ is
a useful design manual for those developing spatial representations for online
places.  The book presents considerations of organization, circulation, and
access thoughtfully and in detail.  On the other hand, as Sorkin implicitly
suggests in both his essay and his introduction to _Variations on a Theme
Park_, our efforts may exacerbate the already distressing trend toward creating
"cities" without places attached to them. 


This concern raises, of course, the question of what is a "place," which will
be among the questions for discussion on Thursday.  As we create VR spaces,
will we be able to move something of the traditional notion of "city" online? 

Sorkin asserts that media have already had an impact on the design of cities. 

Will cities, in turn, influence the design of new media, or new media places? 

What kinds of places, new sorts of cities, will we create?  Given the evidence
that we carry to our online experiences many of our assumptions and behaviors
from the "real world," two organizing questions for Thursday's discussion could
be:  What are we creating?  What are we re-creating? 


- -Carol

===================================
Date: 22 May 95 14:20:09 U
From: "strohecker" <stro@merl.com>
Subject: more details about Th'day's readings
To: narr-int@media.mit.edu

Thursday's presentation and discussion will be based on the two handouts, but
also on other aspects of the books from which they are excerpted.  Here are
further details:

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

1.  _Theme Parks, Leisure Centres, Zoos, and Aquaria_.  

Wilson, Anthony & Patricia.  1994.  

(Essex UK: Longman Scientific and Technical, copublisher John Wiley & Sons,
NY).

Thursday's reading includes the introduction and excerpts from the chapter on
theme parks and leisure centres.  Here are the complete contents:


Introduction

Theme Parks and Leisure Centres

     Urban renewal
     Fun and fantasy
     Visitor attractions - scientific, cultural, and historic
     Activity centres

Zoos

     The city zoo
     Specialist zoos
     A context for education

Animal Enclosures

     Particular enclosures

Marine Animal Parks and Aquaria

     Aquaria
     Marine mammals

Planning, Facilities and Techniques

     Project development
     Transportation and rides
     Techniques

Summary

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

2.  _Variations on a Theme Park: The New American City and the End of Public
Space_.  Sorkin, Michael, ed.  1992.  (NY: Hill & Wang).

Thursday's reading is the final essay by Michael Sorkin, "See You in
Disneyland."  Here are the complete contents:


Introduction: Variations on a Theme Park - Michael Sorkin


The World in a Shopping Mall - Margaret Crawford

     The Science of Malling
     The Utopia of Consumption
     Retail Magic
     Public Life in a Pleasure Dome
     Hyperconsumption: Specialization and Proliferation
     The World as a Shopping Mall
     


Silicon Valley Mystery House - Langdon Winner

     A Very Clean Orchard
     A Paradise for Engineers
     The Electronics Race
     A Divided Culture
     Technopolis or the Digital City?
     Place and Hyperspace
     


New City, New Frontier: The Lower East Side as Wild, Wild West - Neil Smith

     Building the Frontier Myth
     Selling Loisaida
     Pioneering for Profit
     "Another Wave More Savage than the First": The New (Global) Indian Wars?
     


Inside Exopolis: Scenes from Orange County - Edward W. Soja

     Scene 1: "Toto, I've Got a Feeling We're Not in Kansas Anymore"
     Scene 2:  The Origins of Exopolis
     Scene 3:  Iconic Emplacements
     Scene 4:  A Campus by Design
     Scene 5:  Spotting the Spotless in Irvin
     Scene 6:  Roots and Wings
     Scene 7:  It's a Mall World After All
     Scene 8:  Cities That Are Doubles of Themselves
     Scene 9:  On the Little Tactics of the Habitat
     Scene 10: Scamscape: On the Habitactics of Make-Believe
     Closing/Opening
     


Underground and Overhead: Building the Analogous City - Trevor Buddy

     A Short History of the Analogous City
     Inside the Analogous City I: The Skyways of Minneapolis
      Inside the Analogous City II: Calgary's Plus Fifteen
     Inside the Analogous City III: Montreal's Underground
     Resisting the Analogous City 



Fortress Los Angeles: The Militarization of Urban Space - Mike Davis

     The Destruction of Public Space
     Forbidden City
     Mean Streets
     Sequestering the Poor
     Security by Design
     The Panopticon Mall
     High-Rent Security
     The LAPD as Space Police
     The Carceral City
     The Fear of Crowds
     


Cities for Sale: Merchandising History at South Street Seaport - M. Christine
Boyer

     The History of the Tableau
     The Types of City Tableaux
     Picture-Writing
     A Landscape of Perfect Projects
     Brokering Desire
     


See You in Disneyland - Michael Sorkin
===================================
Date: 22 May 95 14:25:21 U
From: "strohecker" <stro@merl.com>
Subject: add'l. ref's.  re: Th'day's topic
To: narr-int@media.mit.edu

Those interested in related reading may want to check out:


Umberto Eco, _Travels in Hyper-reality_.  1983.  Trans. William Weaver.  San
Diego: Harcourt Brace Jovanovitch.  


Jonathan Franzen, "The Reader in Exile."  The New Yorker, 6 March 1995.
[A review of Nicholas Negroponte's _Being Digital_ and Sven Birkerts's _The
Gutenberg Elegies: The Fate of Reading in the Electronic Age_.]

Kevin Lynch, _The Image of the City_.  1960.  MIT Press.  




------- End of Forwarded Message


From xinwei@otter.Stanford.EDU Tue Jun 13 11:31:26 1995
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To: media@otter.stanford.edu, chips@otter.Stanford.EDU
Subject: img futures
Cc: arayner@Leland.stanford.edu, winograd@cs.stanford.edu,
        jc@Ccrma.stanford.edu, davis@interval.com, roscheis@pcd.stanford.edu,
        steve@pcd.stanford.edu, franchi@Csli.stanford.edu,
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        karenl@cats.ucsc.edu, cas@riverview.com, steveit@aol.com
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Dear folk interested in interactive media,

The interactive media group (img) will not meet this week due to exams and summer fever.

I propose that we start afresh
 

	Thursday July 6, 12:15
	Sweet Hall 303
	Stanford University

Map = http://www-pcd.stanford.edu/cgi-bin/map/map.html?sweet+hall

This is a chance for some new folk and new interests to join the
discussion.   Please visit the img website

	http://www-leland/~xinwei/pub/img/img.html

for a description of where we started, and where we've been.   Note the
bibliography and the discussion trail.   Possible futures include systems
theories, ocularcentric systems, architecture, urban design, music and
"continuous" performance arts.

Larry Friedlander would like to submit a research seminar proposal to
Charlie Junkerman of the Humanities Center which may support this seminar
next year.   If you're interested in participating in this seminar, please
email me THIS WEEK, and tell me what you'd like to discuss under the rubric of
"constructive interactive media theory."  



- Xin Wei
http://www-leland.stanford.edu/~xinwei/


PS	Next time, we'll take up the thread of systems theory that Ben contextualized last week.

Many questions came up that I think can be tied together in an exploration of
topology and dynamical systems, which provide models underlying the
cybernetic theories that seem to be enjoying a critical revival.   I'll try
to prepare a few lectures on topology (aka analysis situs), and dynamical
systems which will follow from the discussion of Luhmann, Parsons et al..  I
hope to convince you that there's a natural bridge between these theories
which may help us understand them.   Beyond this, one of my goals is to work
toward a reconceptualization of media and action using continuous models
or metaphors. 


From xinwei@elaine26.Stanford.EDU Sun Aug 13 00:33:39 1995
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To: davis@interval.com
cc: xinwei@elaine26.Stanford.EDU
Subject: Personal Narrative Spaces panel for ACM 95
Date: Sun, 13 Aug 1995 00:33:35 -0700
From: Xin-Wei Sha <xinwei@leland.stanford.edu>
X-Status: 
Status: RO


------- Forwarded Message

  ----- Original message follows -----
To: FRIEDLAND.L@applelink.apple.com, marc.davis@interval.com,
        gid@media.mit.edu
cc: xinwei@jessica.Stanford.EDU
Subject: Personal Narrative Spaces panel for ACM 95
Date: Fri, 11 Aug 1995 17:48:41 -0700
From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>

Dear Glorianna, Marc, Larry,

Good news -- ACM 95 accepted our panel proposal.   Now the Panels co-chair
needs our final draft of the panel.  So could you please send me 

(1) A couple of biographical sentences.
(2) A paragraph about what you'd like to address in the panel.

My mailer broke Monday, so my email from early this week may have
vanished.   Could you please resend your remarks to me at

xinwei@leland.stanford.edu

I attach our original panel Proposal below.

Thanks,
Sha Xin Wei
415-725-3152, 415-725-8240 (fax)

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

From: xinwei (Sha Xin Wei)
Full-Name: Sha Xin Wei
To: makedon@tenaya.cs.dartmouth.edu (Fillia Makedon)
Subject: panel proposal for ACM Multimedia
Cc: xinwei, xinwei@jessica

[Dear Fillia,

        Here's my proposal for a panel on "Personal Narrative Spaces"
and interactive media, involving Larry Friedlander (Stanford English
Dept.), Glorianna Davenport (MIT Media Lab), Marc Davis (Interval
Research), and myself.  All the named folk have enthusiastically
committed to the concept.

        Hope it flies,  please give me suggestions on strengthening it, if you like.

regards,
Xin Wei
- ------------
Sha Xin Wei
mathematics and scientific simulations
distributed media

mail:           ASD/LIR
                Sweet Hall 415
                Stanford University
                Stanford CA  94305-3090
                USA

telephone:      415/725-3152 (work,msg)
                415/725-8240 (fax)

internet:       xinwei@jessica.stanford.edu
www url:        http://www-leland.stanford.edu/~xinwei

]

Personal Narrative Spaces

Emerging multimedia technologies have blurred the lines between
classically distinct categories of theater and narrative: stage-spaces
in which humans and artifacts interact, and spaces of symbols like a
page of text or a digital video to be interpreted by an observer.
This panel brings together practitioners to take stock of the state of
the art and point out some exciting lines of work in the field of
interactive media.

What will we face do when we freely inter-mix computational artifacts
with human agents in our living, writing or performance spaces?  How
will we make sense of such hybrid spaces and how will we share these
interpretations?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues.  How should media models evolve to
meet the needs of these personal narrative spaces?  What are some
design limitations of our tools or frameworks?  What are some
potential functions that inhabitants, browsers, composers, and
architects can tap in emerging frameworks?  What are some worthy
challenges for researchers and developers interested in interactive
mulitmedia?

Glorianna Davenport is associate professor of media technology in
MIT's Media Arts and Sciences Program.  She directs the Interactive
Cinema group at the MIT Media Laboratory, a research program which
focuses on researching narrative models for interactive media and
digital production tools.  Recently she has concentrated on a story
about urban change in boston and community memory.

Davenport has also produced interactive fiction and theatrical work.
In 1992 she co-directed Wheel of Life: a Transformational Environment
with Larry Friedlander.  Davenport holds the Asahi Broadcasting
Corporation career development chair. She received the Gyorgy Kepes
Fellowship for excellence in the Arts in 1991 and is currently
finishing abook on digital media systems and the art of storytelling.

Larry Friedlander, a professor of Literature and Theater at Stanford
has worked with multimedia since 1983. He developed a series of
experimental applications on Shakespeaere and on French theater, and
then began investigating the use of technology in public spaces. He
has designed works for several museums (including upcoming information
and exhibit designs for the Musee d'Orsay and the National Museum of
Scotland), has worked at the Apple Multimedia Lab, The Mitsubishi
Electronic Research Lab, and was visitng professor at the MIT Media
Lab where he worked on a theater piece with Glorianna Davenport and on
other projects. He is collaborating at Stanford now on a "Virtual
Theater" that uses intelligent agents, and is a visiting scholar at
the Exploratorium Museum in SF.


Marc Davis is a member of Interval Research in Palo Alto.  He recently
completed his Ph.D. at the MIT Media Lab where he worked on
MediaStreams, a system for annotating video using iconic language.
Davis brings also a background in philosophy, literary studies and
film theory.

Sha Xin Wei is a member of Stanford University's Academic Software
Development group, specializing in mathematics -- differential
geometry and geometric visualization, simulations of physical and
human systems, and distributed media.  After graduate studies in
mathematics, he joined a Stanford-Apple software innovation project in
1984.  Recently, Sha has designed and built a distributed media
framework for composing richly modelled spaces. To inform this work,
he is studying issues related to structured media, interactive spaces
and the representation of topological and geometric structures.



------- End of Forwarded Message


From FRIEDLAND.L@AppleLink.Apple.COM Sat Aug 12 10:32:40 1995
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	for XINWEI@LELAND.STANFORD.EDU
Date: 12 Aug 95 17:31 GMT
From: FRIEDLAND.L@AppleLink.Apple.COM (Friedlander, Larry,VCA)
Subject: Re: Personal Narrative Spaces
To: XINWEI@LELAND.STANFORD.EDU
Message-Id: <808248759.9282220@AppleLink.Apple.COM>
X-Status: 
Status: RO

 
Great news. By the way, what does ACM stand for?
 
What do you need from me? A shorter version of bio? Will this do?
 
Larry Friedlander is a professor of English and Theater ant Stanford and has
worked in multimedia design for the last fifteen years. He has done numerous
applications for theater related topics, worked for museums here and abroad
designing interactive exhibits, has developed projects at The Apple Multimedia
Lab, MIT's Media Lab, Mitsubishi Electronic Lab. He is currently leading an
effort at Stanford to develop a Center for Innovation in Technology and
Education
 
TOPIC Con-fusing Spaces. Taking the experience 'out of the box' by creating
spaces that are both real and virtual, private and public, analytic and
symbolic.
 
Larry
 


From davis@interval.com Thu Aug 17 09:24:55 1995
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Date: Thu, 17 Aug 1995 09:33:17 -0700
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: Personal Narrative Spaces panel for ACM 95
Cc: xinwei@elaine26.Stanford.EDU
X-Status: 
Status: RO

>Good news -- ACM 95 accepted our panel proposal.   Now the Panels co-chair
>needs our final draft of the panel.  So could you please send me
>
>(1) A couple of biographical sentences.

Here is a short bio:

Marc Davis is a Member of the Research Staff at Interval Research
Corporation and a Lecturer at Stanford University in Palo Alto, CA.  He
recently received his doctorate from the Machine Understanding Group of the
Learning and Common Sense Section at the Massachusetts Institute of
Technology Media Laboratory.  With a diverse background in literary theory,
media technology, and artificial intelligence, he researched and developed
Media Streams, a prototype system for annotating, retrieving, and
repurposing digital video.  Marc Davis' research is about creating
technologies which will put the power of a Hollywood studio, a network
television station, and a vast film archive on everyone's desk and in every
kid's garage.


Here is my more complete bio:

Marc Davis is currently a Member of the Research Staff at Interval Research
Corporation and a Lecturer at Stanford University in Palo Alto, CA.  He
recently received his doctorate from the Machine Understanding Group of the
Learning and Common Sense Section at the Massachusetts Institute of
Technology Media Laboratory.  With a diverse background in literary theory,
media technology, and artificial intelligence, he researched and developed
Media Streams, a prototype system for annotating, retrieving, and
repurposing digital video.  Marc Davis' research is about creating
technologies which will put the power of a Hollywood studio, a network
television station, and a vast film archive on everyone's desk and in every
kid's garage.

Though working on research in artificial intelligence and multimedia, Marc
Davis' education has been predominantly in the humanities.  In 1984, he
received a B.A. with high honors in College of Letters (an
interdisciplinary program in history, literature, philosophy and language)
from Wesleyan University in Connecticut.  After completing a two-year
research fellowship from the German Academic Exchange Service, he received
an M.A. in literary theory and philosophy from the University of Konstanz
in Germany.  At the Media Laboratory, Marc Davis co-founded (with Mike
Travers) the Narrative Intelligence Reading Group-a weekly seminar which
explores issues at the intersection of literary theory, artificial
intelligence, and media technology.  Marc Davis has published papers and
given talks on video representation, multimedia, virtual reality, interface
agents, and user interface design.  In 1992, he spent the summer interning
at Mitsubishi Electric Research Labs in Cambridge, Massachusetts.  From the
summer of 1993 through January 1995, Marc Davis interned at Interval
Research Corporation in Palo Alto, California.



>(2) A paragraph about what you'd like to address in the panel.


The challenge for cinema studies in the next century is to transform the
insights of the founders of the film factory into the foundations for a
garage cinema.  Garage cinema is a cinema in which motion picture
production is no longer the protected practice of a small elite of trained
professionals for a mass audience, but is a daily activity of millions of
amateurs who have one another as a mass audience and a global digital
archive of materials to reuse.  The technologies of digital video, the Net,
and mass storage are not enough to make this vision a reality.  Theories
and technologies of cinematic representation, description, analysis, and
construction are also required.

Just as we often find it hard to imagine our own civilization before the
advent of widespread literacy in the 17th and 18th centuries, in the next
century our descendants will find it hard to understand that while everyone
watched movies, videos, and TV, so few had the tools to make them.
Technologies for representing, retrieving, and repurposing video content,
like Media Streams, will enable radical changes in video production,
distribution, and reuse.  It may be hard to conceptualize a world in which
you engage in a daily practice of making movies from parts of existing ones
to communicate and play with others-your grandchildren will not understand
how you ever lived without it.

Media Streams is a system for representing video content that enables
humans and machines to work together to annotate, browse, retrieve, and
repurpose digital video.

 Media Streams is a substrate for representing the minimal consensual
information about video content that enables it to be transformed into a
resource for the creation of new sequences.  It is a technology for
recycling video for reuse and repurposing.  In the near future, content
representation technologies will enable video to finally become a
computational medium such that every computer can be a TV station in a
world-not of 500, but-of 50,000,000 TV channels.


>Personal Narrative Spaces
>
>Emerging multimedia technologies have blurred the lines between
>classically distinct categories of theater and narrative: stage-spaces
>in which humans and artifacts interact, and spaces of symbols like a
>page of text or a digital video to be interpreted by an observer.
>This panel brings together practitioners to take stock of the state of
>the art and point out some exciting lines of work in the field of
>interactive media.
>
>What will we face do when we freely inter-mix computational artifacts
>with human agents in our living, writing or performance spaces?  How
>will we make sense of such hybrid spaces and how will we share these
>interpretations?
>
>These questions are intimately tied with techno-scientific issues as
>well as literary and social issues.  How should media models evolve to
>meet the needs of these personal narrative spaces?  What are some
>design limitations of our tools or frameworks?  What are some
>potential functions that inhabitants, browsers, composers, and
>architects can tap in emerging frameworks?  What are some worthy
>challenges for researchers and developers interested in interactive
>mulitmedia?


Yates, Frances A. The Art of Memory. Chicago: University of Chicago Press, 1966.




Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872





From davis@interval.com Thu Aug 17 13:42:31 1995
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Date: Thu, 17 Aug 1995 13:50:57 -0700
To: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: new mm95 blurb
Cc: xinwei@leland.stanford.edu
X-Status: 
Status: RO

I think the abstract is a bit choppy.  Here is a suggested rewrite:

Also, please change my phone number to: (415) 424-0722

Emerging multimedia technologies have blurred the lines between
classically distinct categories of performance and narrative. This
panel brings together practitioners from interactive cinema, video,
and distributed media to take stock of the state of the art and point
out some exciting lines of work in the field of interactive media.

Just as we often find it hard to imagine our own civilization before
the advent of widespread literacy in the 17th and 18th centuries, in
the next century our descendants will find it hard to understand that
while everyone watched movies, videos, and TV, so few had the tools to
make them. Technologies for representing, retrieving, and repurposing
video content will enable radical changes in media production,
distribution, and reuse. It may be hard to conceptualize a world in
which you engage in a daily practice of making media artifacts to
communicate and play with others-your grandchildren will not understand how
you ever lived without it.

The ability to hybridize personal media production with the products of
mass and popular culture, and to construct media artifacts and spaces that
blur distinctions between consumer and producer, high-end and low end, mass
media and personal record, will bring about, and require, new perspectives
in our theory and practice of multimedia.  What will we face when we freely
inter-mix computational artifacts
with human agents in our living, writing, viewing, or performance spaces? How
will we make sense of such hybrid spaces and how will we share these
interpretations?  What forms of research practice will support the creation
of these new technologies and media experiences?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues. How should media technologies
evolve to meet the needs of these personal narrative spaces? What are
some expressive limitations of our tools, frameworks and languages?
What are some potential functions that inhabitants, browsers,
composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?

Happy trails.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872





From FRIEDLAND.L@AppleLink.Apple.COM Sat Aug 12 10:32:40 1995
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	for XINWEI@LELAND.STANFORD.EDU
Date: 12 Aug 95 17:31 GMT
From: FRIEDLAND.L@AppleLink.Apple.COM (Friedlander, Larry,VCA)
Subject: Re: Personal Narrative Spaces
To: XINWEI@LELAND.STANFORD.EDU
Message-Id: <808248759.9282220@AppleLink.Apple.COM>
X-Status: 
Status: RO

 
Great news. By the way, what does ACM stand for?
 
What do you need from me? A shorter version of bio? Will this do?
 
Larry Friedlander is a professor of English and Theater ant Stanford and has
worked in multimedia design for the last fifteen years. He has done numerous
applications for theater related topics, worked for museums here and abroad
designing interactive exhibits, has developed projects at The Apple Multimedia
Lab, MIT's Media Lab, Mitsubishi Electronic Lab. He is currently leading an
effort at Stanford to develop a Center for Innovation in Technology and
Education
 
TOPIC Con-fusing Spaces. Taking the experience 'out of the box' by creating
spaces that are both real and virtual, private and public, analytic and
symbolic.
 
Larry
 


From xinwei@leland.Stanford.EDU Tue Sep 12 13:55:23 1995
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199509122055.NAA29044@elaine48.Stanford.EDU>
Subject: Re: Panel on Personal Narrative Spaces
To: gid@media.mit.edu (Glorianna Davenport)
Date: Tue, 12 Sep 1995 13:55:09 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU, larryf@leland.Stanford.EDU, davis@interval.com
In-Reply-To: <9509102054.AA14479@media-lab.media.mit.edu> from "Glorianna Davenport" at Sep 10, 95 04:54:27 pm
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Status: RO

Dear Glorianna,

> 
> The description sounds fine.  It would be good if the page had
> a date and time on it, that is if it will be posted on your server....
> or will it be found on an ACM server which we all link to?  

It will be found in the ACM Multimedia online proceedings.  But
I'll date my copy.   Thanks for the suggestion.

> 
> Who is saying what so far?  I have a feeling Marc will talk about
> his work with tools.... What about you and larry.  I might start 

We could move from sweet to dry.  I'm not sure what Larry
has in mind, but I plan to bring up the rear and say something about
what media structures (logical, presentation languages, interaction
languages, continuous models of media and interaction) can underpin
more expressive multimedia writing instruments.   I may use
Mathematica as an example, and hope to play off of examples that the
other folk bring to the panel.   Marc will talk from his thesis,
which should form a nice bridge between your work, Larry's work
and my remarks.   (Marc, is this a fair statement?)

In a couple of weeks, let's circulate some notes.

> with Story and Audience participation - how does audience participation
> affect form?  Then spend a few minutes on the experimental premise
> of  the piece Larry and I directed.  Then look at 3 newer story spaces
> in which the audience dynamic affects content presentation.  
> 
> OK?  
> gid
> 

Sounds great.   Should be fun.
- Xin Wei



From gid@media.mit.edu Sun Sep 10 13:54:29 1995
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From: Glorianna Davenport <gid@media.mit.edu>
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Date: Sun, 10 Sep 95 16:54:27 -0400
Message-Id: <9509102054.AA14479@media-lab.media.mit.edu>
To: xinwei@leland.stanford.edu
Subject: Re: Panel on Personal Narrative Spaces
Cc: bbrown@media.mit.edu, gid@media.mit.edu, larry@media.mit.edu
X-Status: 
Status: RO

The description sounds fine.  It would be good if the page had
a date and time on it, that is if it will be posted on your server....
or will it be found on an ACM server which we all link to?  

Who is saying what so far?  I have a feeling Marc will talk about
his work with tools.... What about you and larry.  I might start 
with Story and Audience participation - how does audience participation
affect form?  Then spend a few minutes on the experimental premise
of  the piece Larry and I directed.  Then look at 3 newer story spaces
in which the audience dynamic affects content presentation.  

OK?  
gid

From davis@interval.com Fri Oct 13 09:36:55 1995
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Date: Fri, 13 Oct 1995 09:43:53 -0700
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: Faculty Seminar at Stanford on Interactive Media
X-Status: 
Status: RO

Xin-Wei,

I read your description.  This sounds very well thought out, inspiring, and
potentially of great interest to many theorists and practitioners.  You may
want to send mail to Warren Sack at the MIT Media Lab to set up some
virtual link  to the Narrative Intelligence Group (wsack@media.mit.edu).

I am swamped at Interval now (we are in project reviews this month).  I
doubt if I can make it on Oct 19.  I have reviews all day until 4 pm and it
is my birthday.  Would it be OK for me to pop in to the seminar from time
to time?

I wish you and Larry the best in this worthwhile and exciting venture you
are undertaking.  I wish that I could be more available to participate-I am
experiencing the costs of getting my ideas out as public artifacts.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872





From clj@leland.stanford.edu Fri Oct 13 10:59:12 1995
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Date: Fri, 13 Oct 1995 10:59:13 +0000
To: xinwei@leland.stanford.edu
From: clj@leland.stanford.edu (Charlie Junkerman)
Subject: Research Workshop
X-Status: 
Status: RO

Dear Xin Wei,

I'd like to participate in the interactive media workshop, but will have to
miss the first meeting because I'll be out of twon.  Could you please send
me the time and place of the next meeting when you decide it.

Thanks,
Charlie Junkerman



From xinwei@leland.Stanford.EDU Fri Oct  6 12:46:58 1995
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Date: Thu, 5 Oct 1995 12:55:23 -0700 (PDT)
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
To: bjm@leland.Stanford.EDU, larryf@leland.Stanford.EDU,
        hammer@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
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Status: RO

Nov 5-9, 1995
Hyatt Regency (Embarcadero)
 San Francisco ,  California


Wednesday, November 8
9:00 am - 10:30 am

 5P.  Personal Narrative Spaces
Chair: Sha Xin Wei, Stanford University

Emerging multimedia technologies have blurred the lines between classically
distinct categories of theater and narrative: stage-spaces in which humans and
artifacts interact, and spaces of symbols like a page of text or a digital
video to be interpreted by an observer. This panel brings together
practitioners to take stock of the state of the art and point out some
exciting lines of work in the field of interactive media.

What will we face do when we freely inter-mix computational artifacts with
human agents in our living, writing or performance spaces? How will we make
sense of such hybrid spaces and how will we share these interpretations?

These questions are intimately tied with techno-scientific issues as well as
literary and social issues. How should media models evolve to meet the needs
of these personal narrative spaces? What are some design limitations of our
tools or frameworks? What are some potential functions that inhabitants,
browsers, composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?



From davis@interval.com Thu Aug 17 13:42:31 1995
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Date: Thu, 17 Aug 1995 13:50:57 -0700
To: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: new mm95 blurb
Cc: xinwei@leland.stanford.edu
X-Status: 
Status: RO

I think the abstract is a bit choppy.  Here is a suggested rewrite:

Also, please change my phone number to: (415) 424-0722

Emerging multimedia technologies have blurred the lines between
classically distinct categories of performance and narrative. This
panel brings together practitioners from interactive cinema, video,
and distributed media to take stock of the state of the art and point
out some exciting lines of work in the field of interactive media.

Just as we often find it hard to imagine our own civilization before
the advent of widespread literacy in the 17th and 18th centuries, in
the next century our descendants will find it hard to understand that
while everyone watched movies, videos, and TV, so few had the tools to
make them. Technologies for representing, retrieving, and repurposing
video content will enable radical changes in media production,
distribution, and reuse. It may be hard to conceptualize a world in
which you engage in a daily practice of making media artifacts to
communicate and play with others-your grandchildren will not understand how
you ever lived without it.

The ability to hybridize personal media production with the products of
mass and popular culture, and to construct media artifacts and spaces that
blur distinctions between consumer and producer, high-end and low end, mass
media and personal record, will bring about, and require, new perspectives
in our theory and practice of multimedia.  What will we face when we freely
inter-mix computational artifacts
with human agents in our living, writing, viewing, or performance spaces? How
will we make sense of such hybrid spaces and how will we share these
interpretations?  What forms of research practice will support the creation
of these new technologies and media experiences?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues. How should media technologies
evolve to meet the needs of these personal narrative spaces? What are
some expressive limitations of our tools, frameworks and languages?
What are some potential functions that inhabitants, browsers,
composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?

Happy trails.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872





From rayner@leland.Stanford.EDU Thu Oct 19 13:41:24 1995
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Date: Thu, 19 Oct 1995 13:41:21 -0700 (PDT)
From: Alice Rayner <rayner@leland.Stanford.EDU>
To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Subject: Re: your mail
In-Reply-To: <MailManager.814057207.5731.xinwei@otter>
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Status: RO

Dear Xin Wei,

I am very sorry that I'm not going to be able to get to today's IMG 
meeting, but I want to be sure to remain with the group, so don't count 
me out. The time for the quarter is already filling with meetings, so let 
me know what the group decides.

Do you have any plans to continue with the topology work? I was just 
getting an inkling of what it was up to, but need a little 
reinforcement.  

Thanks --

Alice Rayner

From bt@psych.Stanford.EDU Thu Oct 19 08:08:43 1995
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Date: Thu, 19 Oct 1995 08:08:37 -0700
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510191508.IAA14301@psych.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject: Re: interactive media
Status: O

Xinwei--

Many thanks.  Yes, I should be able to come to other sessions, I
normally teach Thursdays 1-3.  The Symbolic Systems Forum meets
Thursdays at 4, but I can miss those.  So keep me posted.

Thanks.

Barbara

From xinwei@leland.Stanford.EDU Thu Oct 19 00:05:11 1995
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199510190705.AAA07974@elaine21.Stanford.EDU>
Subject: Re: interactive media
To: bt@psych.Stanford.EDU (Barbara Tversky)
Date: Thu, 19 Oct 1995 00:05:06 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199510182309.QAA26067@psych.Stanford.EDU> from "Barbara Tversky" at Oct 18, 95 04:09:01 pm
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Status: RO

Barbara,

Yes, Mathematica will do nicely.  I just made a little QuickTime
movie on my laptop directly in Mma.  When I come into campus
tomorrow, I'll post it on our Web server and tell you the URL
so you can pick it up the example.  (It's a plot of the curve
Sin[x] Cos[7x], alongwith a little animation.

I hope you can come to at least some of the img seminars this quarter.
We could certainly benefit a lot from a lecture or demonstration of your
work on visual representations.

Please tell me what times are not impossible for you this quarter.,
if you like.

regards,
- Xin Wei

> 
> Hi Xinwei,
> 
> I will be out of town tomorrow, hence miss the meeting.
> 
> A grad student and I are interested in checking the efficacy of
> animations in conveying conceptual information.  We'd need to
> compare animations with something, so that something would be
> traditional static displays.  We'd like to start simple (not
> delve directly into physics, etc.).  So one example would
> be a graph of a something that changes with time (as most
> x-y plots are) vs. an animation of this information, for
> example, a dot rising and falling to indicate change over
> time.
> 
> Do you have any thoughts on this?  Or do you know of software
> that tries to do this that we could adapt and test?  Thanks.
> 
> Barbara
> 


From leifer@cdr.stanford.edu Wed Oct 18 18:54:32 1995
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Date: Wed, 18 Oct 1995 18:58:21 -0700
To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
From: leifer@cdr.stanford.edu (Larry Leifer)
Subject: TIME:   "Interactive Media: Theory and Technologies of	 Representation,"
X-Status: 
Status: RO

Sha Xin,

        notification too late to attend this week,
        interest is definite,
        day of week and time are not good for me,
                i teach Tu.Th.3-5
Larry


At 4:00 PM 10/18/95, Sha Xin Wei wrote:
>[Pardon me if this reminder is redundant.
>The first meeting will be tomorrow, Thursday,
>at 4:00.   We can negotiate a different time if necessary.
>- xw]
>
>We want to invite those interested to particpate in a
>Faculty Seminar, "Interactive Media: Theory and Technologies of
>Representation," which is being sponsored by the Humanities Center.
>The first meeting will be on  October 19th Thursday, from 4-6PM,
>in Sweet Hall Conference Room 303.
>
>At the first  meeting we will work out an agenda and decide on suitable
>meeting times.  We append below an extract from our description of the
>seminar.
>
>If you have any questions or suggestions before the first meeting,
>please contact Xin Wei at xinwei@leland.stanford.edu, 415-725-3152.
>
>------------------------------------------
>
>The idea for this seminar flows directly from an informally organized
>discussion group that has been meeting every week since the Spring Quarter.
>The Interactive Media Group (IMG) was formed  by a group of faculty,
>students, and professionals interested in theoretical and practical aspects
>of interactive media.  The  group was inspired by some members' recent
>experiences in tackling these issues: Decker Walker's informal multimedia
>seminar; Larry Friedlander and Barbara Hayes-Roth's course on Interactive
>Narrative and Artificial Intelligence; and Terry Winograd and Marc Davis'
>course on Phenomenology, Cognition and Computers.
>
>We have been engaged in a preliminary study of issues relevant to
>interactive media, hoping to find our way toward a constructive theory of
>how people compose and inhabit interactive media. We are now ready to
>expand the focus of our discussions with more structured topics and with
>formats which include guest speakers, panels, debate topics, and special
>demonstrations. As an experiment, we have been recording the groups
>discussions, comments, and readings on the World Wide Web. We would like to
>explore further this use of the Web by creating a dynamically updated
>journal which will reflect our ongoing deliberations but which will also
>invite participation from both within and without the university.
>
>FOCUS
>
>Our approaches draw from a wide variety of fields: linguistics, artificial
>intelligence, literary theory, cognitive science, mathematics, performance
>art, music, and design. We plan to explore  a variety of theoretical topics
>that have important but not always obvious connections to the formation of
>new kinds of cyberspaces and narrative structures. In particular, we are
>interested in
>
>*  developing models of media representation (such as  algebraic video and
>structured texts) which offer alternatives to traditional time-based or
>graphic topologies;
>
>* articulating the dramatic and narrative theories embodied in emerging
>interface environments;
>
>* investigating the symbolic architecture  of cyberspaces and the influence
>of architecture and urban design on systems and interfaces;
>
>* tracing the connection of distributed models of cognition and other
>systems designs with current socio-political and communication theories.
>
>What seems most interesting to us is the way certain fields are yielding
>unexpected and fruitful clues for practical developments in technology. So,
>for example. theater may provide models for user-interface design, topology
>and geometry for media structures, and urban architecture for cyberspace
>design.
>
>The seminar will have two aspects: (1) regular weekly  sessions in which we
>will present and discuss prepared topics, and (2) a cybernetic space in the
>form of a shared website which will hold references and media contributed
>by local and remote participants.
>
>In a typical session, a speaker will discuss a theoretical issue and
>situate it with respect to some design problems.  We might have a series of
>prepared responses to the presentation, as well as some discussion of the
>practical implications of the theoretical approach for practical issues.
>The discussion will be presented on the Web and further responses from the
>community will be invited. The website will also contain a bibliography and
>selections from the readings.
>
>The website will be based on a World Wide Web location,
>http://www-leland/~xinwei/pub/img/img.html. This site may be browsed now,
>for those wishing to have a taste of our procedures. It currently contains,
>for each group meeting,
>
>(1) a Discussion trail -- transcripts of seminar discussion
>(2) a Bibliography -- a list of references with WWW links to multimedia
>(3) Sites -- WWW links to affiliate seminars and installations in other
>institutions
>
>--------------------------------------------
>
>Hope to see you all soon, one way or the other. Please feel free to send
>comments or questions.
>
>Best regards,
>
>Larry Friedlander
>English Department
>Stanford, CA 94305
>415 723-2635
>
>Sha Xin Wei
>SUL/AIR
>Sweet Hall 415
>Stanford, CA 94305
>415 725-3152



From bt@psych.Stanford.EDU Wed Oct 18 16:09:03 1995
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Date: Wed, 18 Oct 1995 16:09:01 -0700
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510182309.QAA26067@psych.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject: interactive media
X-Status: 
Status: RO

Hi Xinwei,

I will be out of town tomorrow, hence miss the meeting.

A grad student and I are interested in checking the efficacy of
animations in conveying conceptual information.  We'd need to
compare animations with something, so that something would be
traditional static displays.  We'd like to start simple (not
delve directly into physics, etc.).  So one example would
be a graph of a something that changes with time (as most
x-y plots are) vs. an animation of this information, for
example, a dot rising and falling to indicate change over
time.

Do you have any thoughts on this?  Or do you know of software
that tries to do this that we could adapt and test?  Thanks.

Barbara

From Michael.Keller@Forsythe.Stanford.EDU Wed Oct 18 16:27:57 1995
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Message-Id: <199510182327.QAA21824@leland.Stanford.EDU>
Date:     Wed, 18 Oct 95 16:27:38 PDT
From: "Michael Keller"  <Michael.Keller@Forsythe.Stanford.EDU>
To: xinwei@leland.stanford.edu
X-Status: 
Status: RO

REPLY TO 10/18/95 16:06 FROM xinwei@leland.Stanford.EDU "Sha Xin Wei"

Xin Wei,

  Fabulous.  congratulations.  Nice list of topics and ideas.
Pls keep me posted.

Mike

To:  xinwei@leland.Stanford.EDU

From Majordomo-Owner@lists.stanford.edu Fri Oct 20 17:12:37 1995
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Message-Id: <199510210012.RAA10099@lists.Stanford.EDU>
To: xinwei@leland.stanford.edu
From: Majordomo@lists.stanford.edu
Subject: Welcome to img-mail
Reply-To: Majordomo@lists.stanford.edu
Status: RO

--

Welcome to the img-mail mailing list!

If you ever want to remove yourself from this mailing list, send the
following command in email to "Majordomo@lists.stanford.edu":

    unsubscribe img-mail xinwei@leland.stanford.edu

Here's the general information for the list you've subscribed to, in
case you don't already have it:

This is the info file for img-mail.  Further information
will be provided by the owner of this list who can be contacted at:

 img-mail-owner@lists.stanford.edu

From img-mail-owner@lists.Stanford.EDU Fri Oct 20 18:53:44 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510210153.SAA01854@elaine25.Stanford.EDU>
Subject: Interactive Media
To: img-mail@lists.Stanford.EDU
Date: Fri, 20 Oct 1995 18:53:31 -0700 (PDT)
Cc: moser@leland.Stanford.EDU, bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU,
        bt@psych.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.Stanford.EDU,
        mcyang@cdr.Stanford.EDU, englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
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Status: RO

Memo:  Interactive Media - Theory and Technologies of Representation
Subject:  First Meeting

ITEMS:

[For those of you who could not participate in the first meeting, we still
would like very much for you to participate; the group is in process of 
defining its interests and formats and we are very open to all options.
Below please find for your information a summary of what happened at 
our first meeeting.  The next meeting is tentatively scheduled for this
Wednesday, 5:00, in the new flexible classroom on the 2nd floor of 
Meyer.  We'll confirm the meeting time at the beginning of next week.]

1.  We held our first introductory meeting Thursday afternoon in which 
we considered potential seminar themes and formats.  The general 
consensus is that we use the fall quarter to provide the group with a
general overview of several key technology areas (e.g. VR, AI, etc.). 
Ideally, someone with a research interest in the topic for consideration 
will be responsible for leading a session's discussion, and, when 
possible, we'll look at representative work or prototypes in the 
technology area. The idea is that we'll develop a critical vocabulary that 
we can apply to work in the various technologies.  In the winter and 
spring, we can build on this knowledge base to take on a more 
systematic approach to emerging theoretical issues and perhaps more 
fully introduce individual/collaborative work-in-progress.

In the short term, we need to identify the key technology areas and 
theoretical issues we want to take on in the fall.  The following is a
condensed list of possible topics touched on in our first meeting:

TECHNOLOGIES				THEORIES

VR					Representation
AI					Rhetoric of technology
Interactive Narrative			Sociology of Technology
Compelling Multimedia			Multimedia Design
Time-based Events			Cognitive Science
World Wide Web				Systems Theory
					Language (alphanumeric, media 
						  scripts, machine, 
						  mark-up)

(Note:  There isn't meant to be a correlation between individual items
in the two columns; technology items can be considered in light of any
number of theoretical perspectives)

Please send me an e-mail (keeling@leland.stanford.edu) with a list of 
the topics that most interest you, including any topic I may have 
omitted.  Xin Wei provided the group with a handout of a much more 
extensive and integrated list of potential topics for consideration during 
the next 3 quarters.  For those unable to attend Thursday's meeting, I 
can send you electronic copies immediately, ocan pick up a 
hardcopy at the next meeting.

2.  The 4-6 Thursday biweekly meeting time is not engraved in stone.
Wednesdays 5-7 or 5-6:30 has also been put forward.  Please e-mail me
your preference or an alternate time--although these were the only two 
that seemed workable to those in attendance.  The next meeting is
tentatively scheduled for this Wednesday, 5:00, in the new flexible
classroom on the 2nd floor of Meyer.  I'll make an announcement the
first of next week to confirm the meeting time.  Let me know if this 
time is unworkable for you.

3.  I have set up a majordomo news group for the IMG seminar.
Feel free to sign up for this mailing list even if you can't attend the seminar
regularly.  Those who attended the first meeting have been
automatically enrolled.  To subscribe to the mailing list, send the
following message to majordomo@lists:

subscribe img-mail yourname

Replace "yourname" with your e-mail address.  Send all messages
for the group to:  img-mail@lists.stanford.edu

4.  IMG would like to put together an annotated bibliography of 
readings of interest to the group.  Please be thinking of possible 
resources and send me an annotated bibliography of your list
at your convenience.  Submissions will be updated regularly on 
the IMG webpage 
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

Xin Wei put together the web page last Spring to document the informal 
discussion group that led to the Interactive Media faculty seminar.  We 
will flesh out the website this year with an ongoing discussion trail 
documenting each seminar meeting, with postings of relevant reading 
material, and links to complementary internet resources.  Individual 
group members are encouraged to develop content for the website--such 
as work-in-progress, addendum to the discussion trail, bibliographic 
references, internet resources, and so on.  If there is enough interest, we 
can use the website to experiment with interface design, with the 
integration of various media, and to prototype various structural, 
interactive, media theories.

Regards,

John
keeling@leland.stanford.edu


From bt@psych.Stanford.EDU Sat Oct 21 18:41:21 1995
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Date: Sat, 21 Oct 1995 18:41:20 -0700
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510220141.SAA03128@psych.Stanford.EDU>
To: keeling@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
Subject: interactive media meeting
Status: RO


I was out of town last Thursday so couldn't attend the meeting.
For this quarter, Thursday 3-5 or 4-6 is good for me.  For any
quarter, Wednesday at 5 is bad; the psychology department has
its collquium series then (though not every week) and they 
often last until 6.

Barbara Tversky

From keeling@leland.Stanford.EDU Sat Oct 21 10:34:44 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510211734.KAA23458@elaine15.Stanford.EDU>
Subject: Re: Interactive Media response
To: dwm@leland.Stanford.EDU (Diane W Middlebrook)
Date: Sat, 21 Oct 1995 10:34:37 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU
In-Reply-To: <Pine.SUN.3.91.951021052047.9766A-100000@elaine12.Stanford.EDU> from "Diane W Middlebrook" at Oct 21, 95 05:35:35 am
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Status: RO

Diane, 

Sorry to hear that you can't participate this quarter. I look forward
to your joining the group this winter.  Your work sounds terrific.  Would
you be interested in presenting the cdrom to the seminar sometime this
winter or spring?

> 	I regret that I'm on a long research trip and will be absent from 
> campus this quarter, but hope to join the seminar in winter.
> 	During the summer I had the help of a technician at the 
> University of Warwick (England) in putting together a multimedia 
> "showcase" (her word) of the archive of my biography of Billy Tipton, a 
> female jazz musician who lived as a man for 50 years.  I will presenting 
> this work at Warwick 3 November and will bring back a CD-ROM version.


I am forwarding this to Xin Wei so that he can send you an electronic 
copy of the proposed seminar topics.

> 	I would like to receive by e-mail a copy of the handout by Xin Wei.
> 	Thanks for the prompt and detailed minutes of the seminar.
> Yours, Diane Middlebrook dwm@leland.stanford.edu
> 

Regards,

John

From img-mail-owner@lists.Stanford.EDU Sat Oct 21 08:46:47 1995
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Date: Sat, 21 Oct 1995 08:46:26 -0700 (PDT)
From: Marjorie Perloff <perloff@leland.Stanford.EDU>
To: John Keeling <keeling@leland.Stanford.EDU>
cc: img-mail@lists.Stanford.EDU, moser@leland.Stanford.EDU,
        bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU, bt@psych.Stanford.EDU,
        leifer@cdr.Stanford.EDU, marco@ccrma.Stanford.EDU,
        rayner@leland.Stanford.EDU, mcyang@cdr.Stanford.EDU,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
Subject: Re: Interactive Media
In-Reply-To: <199510210153.SAA01854@elaine25.Stanford.EDU>
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Status: RO

Oops--forgot to send list of topics.

I'm especially interested in how to supplement (in the Derridean sense of 
add to or replace) the poetry book with CD_Rom as well as the process of 
putting artist's books on CD-ROM as Johanna Drucker has done recently.  
The question, as Carolyn Forche just put it on the Buffalo Poetics 
Listserv, is whether this is actually an improvement or not.  Certainly 
books are now being produced that have tapes to accompany them (e.g., THE 
EXACT CHANGE YEARBOOK, ed. Peter Gizzi).  But can the CD-ROM do things 
the ordinary book can't?


Marjorie Perloff


From img-mail-owner@lists.Stanford.EDU Sat Oct 21 05:37:13 1995
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Date: Sat, 21 Oct 1995 05:35:35 -0700 (PDT)
From: Diane W Middlebrook <dwm@leland.Stanford.EDU>
To: John Keeling <keeling@leland.Stanford.EDU>
cc: img-mail@lists.Stanford.EDU, moser@leland.Stanford.EDU,
        bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU, bt@psych.Stanford.EDU,
        leifer@cdr.Stanford.EDU, marco@ccrma.Stanford.EDU,
        rayner@leland.Stanford.EDU, mcyang@cdr.Stanford.EDU,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
Subject: Re: Interactive Media
In-Reply-To: <199510210153.SAA01854@elaine25.Stanford.EDU>
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Status: RO

Dear John & List:
	I regret that I'm on a long research trip and will be absent from 
campus this quarter, but hope to join the seminar in winter.
	During the summer I had the help of a technician at the 
University of Warwick (England) in putting together a multimedia 
"showcase" (her word) of the archive of my biography of Billy Tipton, a 
female jazz musician who lived as a man for 50 years.  I will presenting 
this work at Warwick 3 November and will bring back a CD-ROM version.  The title, 
"Finding the Girlfriends: The Biographer as Investiative 
Journalist": incorporates audio clips of interviews showing the 
biographer failing to understand what she is being told, plus images 
of various documents, and a snippet from a film about dance 
marathons-- Point is that the archive of this biography might become 
part of a hyprmedia version in a way never possible with print. The 
idea for this talk came directly from our June retreat, so thanks.  
Possibly it could become the basis of a seminar discussion of narrative 
in the context of hypermedia.
	I would like to receive by e-mail a copy of the handout by Xin Wei.
	Thanks for the prompt and detailed minutes of the seminar.
Yours, Diane Middlebrook dwm@leland.stanford.edu

From keeling@leland.Stanford.EDU Fri Oct 20 09:39:40 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510201639.JAA09957@elaine9.Stanford.EDU>
Subject: IMG
To: xinwei@leland.Stanford.EDU
Date: Fri, 20 Oct 1995 09:39:37 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
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Larry and Xin Wei,

Below is a draft of the group mailing following meeting #1.  Please e-mail
me your suggestions and revisions.  In addition to the e-mails collected
at the meeting, should I use the list Xin Wei included in his mailing
about the Anthropology of Change conference?

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

Memo:  Interactive Media Group
Subject:  First Meeting

ITEMS:

1.  We held our first introductory meeting Thursday afternoon in which 
we considered potential seminar  themes and formats.  The general 
consensus is that we use the fall quarter to provide the group with a
general overview of several key technology areas (e.g. VR, AI, etc.). 
Ideally, someone with a research interest in the topic for consideration 
will be responsible for leading a session's discussion, and, when 
possible, we'll look at representative work or prototypes in the 
technology area. The idea is that we'll develop a critical vocabulary that 
we can apply to work in the various technologies.  In the winter and 
spring, we can build on this knowledge base to take on a more 
systematic approach to emerging theoretical issues and perhaps more 
fully introduce individual/collaborative work-in-progress.

In the short term, we need to identify the key technology areas and 
theoretical issues we want to take on in the fall.  The following is a
condensed list of possible topics touched on in our first meeting:

TECHNOLOGIES				THEORIES

VR					Representation
AI					Rhetoric of technology
Interactive Narrative			Sociology of Technology
Compelling Multimedia			Multimedia Design
Time-based Events			Cognitive Science
World Wide Web				Systems Theory
					Language (alphanumeric, media 
						  scripts, machine, 
						  mark-up)

(Note:  There isn't meant to be a correlation between individual items
in the two columns; technology items can be considered in light of any
number of theoretical perspectives)

Please send me an e-mail (keeling@leland.stanford.edu) with a list of 
the topics that most interest you, including any topic I may have 
omitted.  Xin Wei provided the group with a handout of a much more 
extensive and integrated list of potential topics for consideration during 
the next 3 quarters.  For those unable to attend Thursday's meeting, I 
can send you electronic copies immediately, or you can pick up a 
hardcopy at the next meeting.

2.  The 4-6 Thursday biweekly meeting time is not engraved in stone.
Wednesdays 5-7 or 5-6:30 has also been put forward.  Please e-mail me
your preference or an alternate time--although these were the only two 
that seemed workable to those in attendance.  The next meeting is tentatively 
scheduled for this Wednesday, 5:00, in the new flexible classroom on the 2nd 
floor of Meyer.  I'll make an announcement the first of next week to confirm 
the meeting time.  Let me know if this time is unworkable for you.

3.  I am setting up a majordomo news group for the IMG seminar 
which should be functional early next week.  Feel free to sign up for 
this mailing list even if you can't attend the seminar regularly.  Those 
who attended the first meeting will be automatically enrolled; 
newcomers will be given subscription instructions at the next meeting.

4.  IMG would like to put together an annotated bibliography of 
readings of interest to the group.  Please be thinking of possible 
resources and send me an annotated bibliography of your list
at your convenience.  Submissions will be updated regularly on 
the IMG webpage 
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

Xin Wei put together the web page last Spring to document the informal 
discussion group that led to the Interactive Media faculty seminar.  We 
will flesh out the website this year with an ongoing discussion trail 
documenting each seminar meeting, with postings of relevant reading 
material, and with links to complementary internet resources.  Individual 
group members are encouraged to develop content for the website--such 
as work-in-progress, addendum to the discussion trail, bibliographic 
references, internet resources, and so on.  If there is enough interest, we 
can use the website to experiment with interface design, with the 
integration of various media, and to prototype various structural, 
interactive, media theories.


Regards,

john
keeling@leland.stanford.edu

From damiris@csli.stanford.edu Mon Oct 23 14:03:23 1995
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From: damiris@csli.stanford.edu
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Date: Mon, 23 Oct 1995 14:03:01 -0700
Message-Id: <199510232103.OAA09155@Csli.Stanford.EDU>
To: xinwei@leland.stanford.edu
Subject: reconnecting after recent conference
Status: RO

Dear Sha, 
It was really nice meeting and chatting with you the other day. This short
note is to just acknowledge that and suggest we continue the conversation 
face to face again.So how about doing lunch up at Tressider real soon? I
want to here more about your interactive media project, any interesting
seminar group you are part of, etc. You can always email me pertinent
organizational info but i am not given to reading lengthy challenging
essays/papers over the net. If the topic is difficult (as the issues we
touched upon at the Humanities annex are) but/and my interlocutor happens
to be around I prefer the exchange to be more personalized than the
ordinary academic commenting on papers allows. So let me know when is good
day to get together to discuss, and 'plot' further action. Thanks, Niklas


From img-mail-owner@lists.Stanford.EDU Mon Oct 23 19:17:17 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510240217.TAA03833@elaine10.Stanford.EDU>
Subject: Wed. Meeting
To: img-mail@lists.Stanford.EDU
Date: Mon, 23 Oct 1995 19:17:09 -0700 (PDT)
Cc: moser@leland.Stanford.EDU, meg@steam.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.Stanford.EDU,
        mcyang@cdr.Stanford.EDU, englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.ED
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Status: RO

This is to announce that Interactive media seminar meeting for Wednesday, 
October 25th, is scheduled for 5:00 in Sweet Hall Room 303.  Larry Friedlander
will lead discussion and present work related to virtual reality and
telepresence.

Some topics that have been proposed in addition to the list in the last
mailing are:

	compelling cdrom fiction
	knowledge representation
	programming language design
	enviromental modeling


Since a few of you have requested the full list of topics from our first
meetings handout, I've appended it below.  See you Wednesday!

_______________________________________________________________________________

Some topics emerging from previous seminars.

        apparent dichotomies between design and theory, particularity and 
	abstraction:

        objects/artifacts
                design
                        theories or ideologies
                                rip. da capo...

        Performance
                Music performance (CCRMA  - Chafe?, Goldstein-McNabb?)
                Theatrical performance (Friedlander, Laurel)
                Multimedia art (Slayton)
                        Embodied theories of action and meaning (Maturana, 
			Varela, Rosch, M. Johnson)
        Meaning systems, 
                Systems theories
                        Topology
                        Dynamical systems 
        
        Symbolic  artifacts I: visual representations, meaning (Tversky?)
                Iconic/mimetic vs ideographic systems
                Visual sign languages (written-sign pidgins: Horn)
                Graphic design
                Musical notation

        Symbolic artifacts II: language
                Literature and literary theory (Schnapp?)
                Symbolic architecture and design
                        Sociology of design (Winograd,Star, Latour?)

        Symbolic artifacts III: computational artifacts
                Scientific visualization, modeling (Lenoir?, Edwards?)
                Design of data structures, tools vs languages
                        Ideologies:
                           Artificial languages: economics, animation - ScriptX
                           Models (Varian; a-life & complexity)
                           Graph metaphor in linguistics, hypermedia (Landow?),
			    AI (Winograd) 
                                Metric spaces and differential geometry (Sha)
                

From xinwei@leland.Stanford.EDU Thu Oct 26 13:09:49 1995
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	id AA00313; Thu, 26 Oct 95 13:09:48 -0700
Date: Thu, 26 Oct 1995 13:09:10 -0700 (PDT)
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
Subject: re: prerelease version of minutes
To: John Keeling <keeling@leland.Stanford.EDU>
Cc: xinwei@leland.Stanford.EDU
In-Reply-To: <199510261842.LAA27023@elaine30.Stanford.EDU>
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Status: RO

John,

I like your commentary!   If you haven't put in the form, yet,
at bottom are two paragraphs that I'd like to register.

- Xin Wei

> From: John Keeling <keeling@leland.Stanford.EDU>
> Subject: minutes
> To: larryf@leland.Stanford.EDU
> Date: Thu, 26 Oct 1995 11:35:52 -0700 (PDT)
> X-Mailer: ELM [version 2.4 PL24]
> MIME-Version: 1.0
> Content-Type: text/plain; charset=US-ASCII
> Content-Transfer-Encoding: 7bit
>
> Hi Larry,
>
> I'll send off another query about meeting times today.  Thought I'd
establish
> a practice of running my summary of a seminar's discussion thread past the
> person who more or less lead the seminar for that day (assuming this person
> is a regular group member).  So below you'll find my summary.  Please
> send me any comments, criticisms, additions.  I can append the discussion
> trail to the e-mail as well as add it to the webpage.  On the webpage
> I'll put a form beneath the text that people can use to maker their own
> additions to my summary and thoughs.
>
> --------------------------------------------
> 10/25
>
> 10/25/95
>
> Larry Friedlander presented some his work on the development of
> theatrical spaces that use technology to structure visitors' participation
> and engagement with an exhibit.  Borrowing from architecture, theater,
> and interactive computing, Larry uses embedded technology to create
> transformational spaces that respond to visitors' interaction with them.
> For example, in a proposed model for a Renaissance Museum at the
> Globe theater, visitors act out a scene from one of Shakespeare's plays
> with the film actor of their choice.  Using blue screen technology,
> visitors can take home a copy of themselves acting along side, say, Sir
> Laurence Olivier (or even Larry Friedlander! how about Mel Gibson??).
>
> Larry also presented work from an installation developed at MIT  based
> on elements of the mandala and from an exhibit at the Exploratorium in
> which an individual enters into a virtual space in part controlled by
> fellow museum participants.  In the former, each installation space is
> controlled by a behind-the-scenes director who tries to focus
> participants attention and experience so that they engage with the
> language of the installation environment.  Participants progress through
> the installation only when they have changed the environment in some way.
> In the Exploratorium exhibit, narrative direction is given over to
> museum visitors who watch as someone dons a vr headset and enters
> into an animated graphical world.  As in the MIT installation, the
> museum visitors can exert control over the way the virtual world
> interacts with the person experiencing it.
>
> The seminar discussion addressed how notions of narrative and point-
> of-view can be applied to these kinds of interactive spaces.  Larry made
> the analogy to a Greek chorus that exists somewhere on the boundary
> between participation and witnessing.  He's trying to use technology to
> blur the distinction between actors and audience, narrative and life
> experience.
>
> How do we tweak our definitions of 1st, 2nd, and 3rd
> person participation for this kind of narrative experience?
>
> The group considered the frequency, range, and significance of the
> interactions in Larry's examples, as well as others brought up in
> conversation.  Clearly there is a tension between the amount of narrative
> structure provided by exhibition designer and how much the space
> allows for free flowing, purposeful actions.  Everyone agreed that any
> kind of branching structure determining a range of possible narrative
> paths and outcomes would "feel" forced and would not provide for a
> satisfactory narrative experience.  Nevertheless, it was agreed that there
> needs to be some kind of aesthetic criteria to embed the interactive space
> with meaning and latent narrative possibilities.  In short, gratuitous
> action is as much a turn off as clunky narrative structure.
>
> Brenda Laurel confronts this problem by distinguishing between
> "narrative" and "enactment"--arguing that the latter is more suitable
> for our subject at hand.  In her words:
>
> 	Enactment, meaning to act out rather than to read. Enacted
> 	representations involve direct sensing as well as cognition. To
> 	state it more simply, the stuff of narrative is description, while
> 	the stuff of drama is action. (Computers As Theater, 94-95)
>
> She goes on to say that the episodic structure of narrative is all about the
> extensification of time and experience, while enactment is about
> intensification and condensing time.  She then goes on to adapt
> Aristotle's four causes as a way to provide meaning for the actions
> and representations of immersive interactive environments (causa
> materialis, causa formalis, causa efficiens, causa finalis. . .ironically,
> Heidegger argued that these causes were insufficient explanations for
> technology that is also a "revealing").
>
> I'd propose turning to the  expressive forms of poetry as a means of
> complementing Laurel's  dramatic model.  Poetry as meaning system,
> or information system.  Can poetry's intensification of image, sound,
> rhythm provide a model for the design of interactive spaces?  Is there a
> similar "enactment" of  meaning (or "derangement of the senses"!) in
> the language of poetry as  in what Larry called the "nonordinary"
> language of his MIT installation?
>
> We also considered whether the very notion of Virtual Reality is
> encumbered by a kind of mimetic fallacy--what Xin Wei called "ocular
> centrism" (after Martin Jay?).  Xin Wei wanted to consider haptic and
> audial interfaces, while acknowledging that the same critique can be
> made about them as well.  Returning, I think, to our narrative/dramatic
> model, it was proposed that "selectivity" should guide interactive
> design, that projective completion of sensory realism is an important
> part of the narrative enactment.  In other words, there must be space
> for the participants to imaginatively extend (and be surprised by) the
> environment.  Larry encouraged us to think of the interactive experience
> as one of metaphor building:  where participants find correspondences
> for the significance of their interactions with the environment (again, I
> think this implies a poetics of technology).
>
> This lead to a discussion of the "embodiment of meaning" in interactive
> spaces which diverged into debate about whether or not we are
> transcending or atrophying our bodily selves in VR.  I don't have much
> to say here except that it seems to be more a complaint about clunky
> datagloves and headsets than anything else?  I mean nobody complains
> that book technology leaves our body-as-meat slumped over the text
> while our imagination parties down in a text-based virtual world. . . .
> We skirted around the mind-body problem, Cartesian epoches, and all
> that good stuff--hey, it was dinner time.
>
>
>

How can we make VR more expressive and compelling?   We can throw in chance,
or admit multiple agents or agencies.  Alan suggested a logic of multimedia
in which even aesthetic or emotional constraints could be derived from some
inference system.   All these approaches present alternatives to what Ann
called the flea-hopping characteristic of the WWW's version of hypermedia.
Alan suggested that "virtuality" could be characterized as a mapping between
spaces of representations.  (XW then suggested that one way to criticize
mimeticism is to see it as a "trivial" mapping in Alan's theory.)

Some issues shelved for future discussion included representation,
metaphor and model.  How meanings or affect are ascribed to, or inscribed in,
representations?  How do metaphors function?   What models lie under
certain representations?


From img-mail-owner@lists.Stanford.EDU Fri Oct 27 13:44:13 1995
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Date: Fri, 27 Oct 1995 13:42:05 -0700 (PDT)
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
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Status: RO

img folk,

Would anyone like to volunteer to present some
"artifacts", material or otherwise, the week of Nov. 22, or two weeks
after that?  This being an exploratory seminar, works and thoughts in
progress would be just fine.   I can imagine for example, a fruitful
continuation of our examination of immersive environments, contrasted
perhaps with, how shall we call it, embedded computer artifacts/PDA's/
pads, etc.  For the former, we could troop into the Silicon Graphics
lab in Sweet Hall (if I can find some software to run).  For the latter,
we could bring in the Apple Newton, and perhaps a laptop with some
video onboard.

Other possibilities raised in the first weeks included

- a performance by some ccrma folk
- a discussion of music notation
- presentation on interactive cinema
-    with connections to film, photography
- ...


volunteers?  nominations?  It would be most useful if a presenter
could provide John with some references or distributable material
at least a week in advance.

Xin Wei
725-3152


From keeling@elaine30.Stanford.EDU Fri Oct 27 11:41:36 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510271841.LAA24595@elaine30.Stanford.EDU>
Subject: Re: discussion thread
To: xinwei@leland.Stanford.EDU (Sha Xin Wei)
Date: Fri, 27 Oct 1995 11:41:31 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
In-Reply-To: <MailManager.814815437.1403.xinwei@otter> from "Sha Xin Wei" at Oct 27, 95 10:37:17 am
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> Dear John, Larry,
> 
> 	Actually, this latest email exchange seems to me to be a great
> jumping off point for a discussion of how communication depends on the media,
> and on how social groupings are mediated by computer networks.  Would either
> of
> you object if I suggest this to img-mail?    This way, we can be good
> scientists (even Lacanian :).   I'd like to start by mentioning some studies
> of email-mediated conversation (of which there must be many*).

By all means.  My opinion?  I can see this going either way. The silence
probably does suggest some discomfort out there--I received another 
back-channel message to that effect.  There may be people out there in total
agreement with Ann who are sending the group or me messages beacause of the 
same unease. I can certainly see how you might turn
the tide and refocus the group.  But I can also see the possiblity that
this might prove even more of an irritant.  Which means that, in the
spirit of open communications, you should do whatever you want!

> * John, any suggestions, before I flip through Sociomedia?

 Center for the Study of Online Community - A collection of scholarly 
resources, reports, papers, and syllabi dealing with the emergence of 
community and other socialinstitutions in and through networks. 

http://www.sscnet.ucla.edu/soc/csoc


Smith, Marc. 1992. "Voices from the Well: The Logic of the Virtual Commons".

http://www.sscnet.ucla.edu/soc/csoc/virtcomm.htm


Kollock, Peter and Marc Smith. "Managing the Virtual Commons: Cooperation and
Conflict in Computer Communities." In press: Computer-Mediated Communication,
edited by S. Herring. Amsterdam: John Benjamins.

http://www.sscnet.ucla.edu/soc/csoc/vcommons.htm 


A more general web resource for communications/media theory:

http://www.aber.ac.uk/~dgc/media.html


From img-mail-owner@lists.Stanford.EDU Thu Oct 26 20:58:40 1995
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Date: Thu, 26 Oct 1995 20:57:45 -0700
From: Ann Weinstone <weinstone@igc.apc.org>
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I guess I misunderstood some of the history of the group--and of
course I've no objection to spending more text time describing the
speaker's comments.

My own opinion about what the minutes should be is maybe a few
generally descriptive paragraphs, or even a list of points/topics
covered. I think it is important to attribute main points to
speakers, mainly so that people who want to and who have bad
memories (like I do!) can follow up with individuals if so
desired. But, I would guess that detailed notes reflecting a large
number of attributed comments would be too onerous for anyone to
create.

Perhaps we could let the comments pile up and make some decisions
at the next meeting.

And I thought I was being gentle. :-)

Ann

From img-mail-owner@lists.Stanford.EDU Thu Oct 26 15:25:41 1995
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From: John Keeling <keeling@leland.stanford.edu>
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Subject: Interactive Media Group Schedule
To: img-mail@lists.Stanford.EDU
Date: Thu, 26 Oct 1995 15:24:57 -0700 (PDT)
Cc: moser@leland.stanford.edu, meg@steam.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.stanford.edu,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@leland.stanford.edu
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The Interactive Media Group is still trying to work out a firm schedule
for the fall quarter.  There seems to be a general consensus that Thursdays,
4-6, works better than Wednesdays from 5-7.  But there's still time to
e-mail me your preference (keeling@leland.stanford.edu).

Our next meeting is tentatively scheduled for either Wed. 11/8 or Thu 11/9.
We hope to have Glorianna Davenport from MIT leading a discussion on 
interactive cinema.  Confirmation will follow.

If you have not signed up for the img-mail discussion group, you will 
no longer received updates about seminar events after the confirmation 
of next week's meeting.

Below you'll find the minutes from last night's meeting--with a few
additional reporter's comments.  I'll post the minutes on the web page
shortly (http://www-leland.stanford.edu/~xinwei/pub/img/img.html).  Following
the minutes on the webpage will be a form that you can use to append your
comments to my meeting notes.  In the meantime, or as an alternative, you
can mail your thoughts to img-mail@lists.stanford.edu.

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

10/25/95

Larry Friedlander presented some of his work on the development of 
theatrical spaces that use technology to structure visitors' participation 
and engagement with an exhibit.  Borrowing from architecture, theater, 
and interactive computing, Larry uses embedded technology to create
transformational spaces that respond to visitors' interaction with them.
For example, in a proposed model for a museum at the 
Globe theater, visitors act out a scene from one of Shakespeare's plays
with the film actor of their choice.  Using blue screen technology, 
visitors can take home a copy of themselves acting along side, say, Sir
Laurence Olivier (or even Larry Friedlander! how about Mel Gibson??).

Larry also presented work from an installation developed at MIT  based 
on elements of the mandala and from an exhibit designed by Tinsley Galyean 
at the Chicago Museum of Science and Industry in which an individual enters 
into a virtual space in part controlled by fellow museum participants.  In 
the former each installation space is controlled by a behind-the-scenes 
director who tries to structure  participants attention and experience so that
they engage with the  language of the installation environment.  Participants 
progress through the installation only when they have changed the environment 
in some way.  In the Exploratorium exhibit, narrative direction is given over 
to museum visitors who watch as someone dons a vr headset and enters  into an 
animated graphical world.  As in the MIT installation, the museum visitors can
exert control over the way the virtual world interacts with the person 
experiencing it.

The seminar discussion addressed how notions of narrative and point-
of-view can be applied to these kinds of interactive spaces.  Larry made 
the analogy to a Greek chorus that exists somewhere on the boundary 
between participation and witnessing.  He's trying to use technology to
blur the distinction between actors and audience, narrative and life 
experience.  

How do we tweak our definitions of 1st, 2nd, and 3rd 
person participation for this kind of narrative experience?

The group considered the frequency, range, and significance of the 
interactions in Larry's examples, as well as others brought up in 
conversation.  Clearly there is a tension between the amount of narrative 
structure provided by an exhibition designer and how much the space 
allows for free flowing, purposeful actions.  Everyone agreed that any 
kind of branching structure determining a range of possible narrative
paths and outcomes would "feel" forced and would not provide for a 
satisfactory narrative experience.  Nevertheless, it was agreed that there 
needs to be some kind of aesthetic criteria to embed the interactive space
with meaning and latent narrative possibilities.  In short, gratuitous 
action is as much a turn off as clunky narrative structure.

Brenda Laurel confronts this problem by distinguishing between 
"narrative" and "enactment"--arguing that the latter is more suitable
for our subject at hand.  In her words:

	Enactment, meaning to act out rather than to read. Enacted 
	representations involve direct sensing as well as cognition. To 
	state it more simply, the stuff of narrative is description, while 
	the stuff of drama is action. (Computers As Theater, 94-95)

She goes on to say that the episodic structure of narrative is all about the
extensification of time and experience, while enactment is about 
intensification and condensing time.  She then goes on to adapt 
Aristotle's four causes as a way to provide meaning for the actions 
and representations of immersive interactive environments (causa 
materialis, causa formalis, causa efficiens, causa finalis. . .ironically, 
Heidegger argued that these causes were insufficient explanations for
technology that is also a "revealing"). 

I'd propose turning to the  expressive forms of poetry as a means of 
complementing Laurel's  dramatic model.  Poetry as meaning system, 
or information system.  Can poetry's intensification of image, sound, 
rhythm provide a model for the design of interactive spaces?  Is there a 
similar "enactment" of  meaning (or "derangement of the senses"!) in 
the language of poetry as  in what Larry called the "nonordinary" 
language of his MIT installation?

We also considered whether the very notion of Virtual Reality is 
encumbered by a kind of mimetic fallacy--what Xin Wei called "ocular
centrism" (after Martin Jay?).  Xin Wei wanted to consider haptic and 
audial interfaces, while acknowledging that the same critique can be 
made about them as well.  Returning, I think, to our narrative/dramatic 
model, it was proposed that "selectivity" should guide interactive 
design, that projective completion of sensory realism is an important 
part of the narrative enactment.  In other words, there must be space
for the participants to imaginatively extend (and be surprised by) the
environment.  Larry encouraged us to think of the interactive experience 
as one of metaphor building:  where participants find correspondences 
for the significance of their interactions with the environment (again, I 
think this implies a poetics of technology).

This lead to a discussion of the "embodiment of meaning" in interactive 
spaces which diverged into debate about whether or not we are 
transcending or atrophying our bodily selves in VR.  I don't have much 
to say here except that it seems to be more a complaint about clunky 
datagloves and headsets than anything else?  I mean nobody complains 
that book technology leaves our body-as-meat slumped over the text
while our imagination parties down in a text-based virtual world. . . .
We skirted around the mind-body problem, Cartesian epoches, and all
that good stuff--hey, it was dinner time.

p.s.  speaking of a poetics of technology, i came across a most peculiar 
technology white paper on the web today.  The paper was on 
Macromedia's ShockWave extension to the Director
authoring system and Lingo scripting language.  Each section of the 
paper was preceded by a quote from T. S. Eliot--either from Prufrock 
or 4 Quartets.  The paper exhibits no sense of irony about this 
juxtaposition.  I can think of no better way to describe the "technology 
area formally known as VR" than as existing somewhere between the 
mysticism of the Quartets and  the alienation/absurdity embodied in 
Prufrock!

		in the room the programmers come and go
		talking of Macromedia's Lingo
		

From keeling@elaine17.Stanford.EDU Fri Oct 27 21:59:41 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510280459.VAA25695@elaine17.Stanford.EDU>
Subject: web summary up
To: xinwei@leland.Stanford.EDU
Date: Fri, 27 Oct 1995 21:59:32 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
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Hi guys,

I put my summary on the webpage with a link to a form that will
automatically update the page with a user's comments.  The comments
just get appended to the bottom of the page.  

I'm a bit rushed so I didn't tinker with the form to make it real
personable with a tailored reply-thank you response, etc.  But its functional
and all that. . . .

have a good weekend,

john

p.s. at some point will take a good look at the entire web site and maybe
restructure to better reflect the new beginning, while maintaining an 
archive the stuff from previous quarters.


From meg@Steam.Stanford.EDU Mon Oct 30 21:58:45 1995
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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199510310558.VAA27957@Steam.Stanford.EDU>
Subject: Re: misc ruminations
To: xinwei@leland.Stanford.EDU (Sha Xin Wei)
Date: Mon, 30 Oct 1995 21:58:43 -0800 (PST)
In-Reply-To: <MailManager.814762571.1133.xinwei@otter> from "Sha Xin Wei" at Oct 26, 95 07:56:11 pm
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   Hi Meg,
   
Sorry to take so long to reply.  It's been a wild w.e.... we
had out of town company, which devolved into a 12-hour emergency
room visit saturday midnight, and subsequent catatonia.  I haven't
had a cogent thought since thursday, I think.

I ran into Ann Weinstone today and she mentioned some tart
exchanges on the IMG list.  I must not be on the list proper;
I got JK's minutes, but nothing else.  I tried majardomo but
I have either the wrong address or the wrong name.  How do
I get on?

   > By separating them this way, I might be able to play around a little
   > with the palimpsesting idea... Maybe as soon as a reader clicks on
   > a "make correx" icon, the last layer greys out and her additions
   > get added in black.  Then, when the next reader looks at the top
   > layer of correx, the most recent ones are in black and the next-most-
   > recent ones in grey.  If the second reader chooses to make correx,
   > the grey layer disappears and the black layer goes grey.  (Does
   > this make sense?)
   
   I still wonder if it wouldn't be easier to simply
   do up the essay in Hypercard.   

Trying to give me nightmares, aren't you?  Surely you have
sussed me out well enough to know that *easier* is not much
of an appeal for me.

   HotJava is not quite here yet, and

You're quite right about that.  I'm prepared to jettison Java
if/when necessary.  The rest of plans will survive intact in
plain old html.  And there's always vrml... (just kidding!)

   we lack the proper GUI authoring tools and widgets above the Java language.
   (One should be able to even hack a HC stack to NetScape so that it might
   massage the HTML's and the user clicks on the client side.)
   
Really?  Wow.  I didn't realize anyone had been doing this with
hc.  Anything you recommend I look at, where they have done
something along these lines with hc?

   > We've only just gotten Netscape 2.0 (the java-compatible version)
   > installed on steam, and so far it seems to crash every couple
   > of minutes.  Do you have it (are you on a Sun or a Mac?), and
   > are you finding the same thing?
   
   No , we have no Sparcs and no Java yet.  You're ahead of us.
   
I'm not sure "ahead" is the apt adjective here, given what
a bloody mess it is. The more I play with it, the more I
roll my eyes back in my head.

Another stray idea for a web'page' (I can't use "page" with any
less sarcasm than that with which I use "trope"):  One composed
entirely of gifs -- gifs of handwritten pages.  Maybe even 
post-it notes.

   Well, there's a whole morass of hypertext theory -- have you
   slogged through much of it?   You know, Intermedia (Landow),
   Hyper-G (Maurer), the annual Proceedings of the ACM Hypertext
   conferences, etc. etc.   One issue in particular : reading for
   closure goes out the window.  Should we worry?
   
I haven't slogged through *any* of it, truth be told.  Too
busy getting an ug degree, stuffing around on usenet, all 
that stuff.  But no, I'm convinced we should not worry.  We
should grin broadly (as of course we already do).  Closure
is highly overrated, imnsho.  

   behind the front lines,
   
Calling the plays, no doubt...


meg

   
   


From xinwei@leland.Stanford.EDU Mon Nov  6 18:18:42 1995
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
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Subject: img-mail pwd
To: xinwei@elaine22.Stanford.EDU (Xin-Wei Sha)
Date: Mon, 6 Nov 1995 18:18:34 -0800 (PST)
Cc: xinwei@jessica.Stanford.EDU
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pswd jeyk

beneath the subscribe img-mail foo@leland
type:  approve jeyk subscribe img-mail foo@leland

From img-mail-owner@lists.Stanford.EDU Mon Nov  6 09:04:03 1995
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Subject: Thursday Meeting
To: img-mail@lists.Stanford.EDU
Date: Mon, 6 Nov 1995 09:03:55 -0800 (PST)
Cc: moser@leland.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.stanford.edu, rayner@leland.Stanford.EDU,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@leland.Stanford.EDU
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11/6/95

The next meeting of the Interactive Media Seminar will be 
Thursday,  November 11, 4:00 pm in 303 Sweet Hall. Glorianna
Davenport of MIT's Media Lab will be our guest speaker.  She
will discuss her research in Interactive Cinema.  More on 
Glorianna Davenport below.

This confirmation is the last message you will receive
from the Interactive Media Group if you are not subscribed
to img-mail@lists.  You are not subscribed if you have not
attended any meetings or subscribed to the list on your own.

Email:  img-mail@lists.stanford.edu
Web:    http://www-leland/~xinwei/pub/img/img.html

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

Glorianna Davenport is associate professor of media technology in 
MIT's Media Arts and Sciences Program. She directs the Interactive 
Cinema group at the MIT Media Laboratory, a research program which 
focuses on researching narrative models for interactive media and
digital production tools. Recently she has concentrated on a story about 
urban change in Boston and community memory. 

Davenport has also produced interactive fiction and theatrical work. In 
1992 she co-directed Wheel of Life: a Transformational Environment 
with Larry Friedlander. Davenport holds the Asahi Broadcasting 
Corporation career development chair. She received the Gyorgy Kepes
Fellowship for excellence in the Arts in 1991 and is currently finishing 
abook on digital media systems and the art of storytelling.

From meg@Steam.Stanford.EDU Sun Nov 12 12:58:50 1995
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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199511122058.MAA24706@Steam.Stanford.EDU>
Subject: new URL
To: ssjain@cafs.ucsc.edu, schnapp@leland.Stanford.EDU,
        sjohnson@leland.Stanford.EDU, richb@leland.Stanford.EDU,
        egabara@leland.Stanford.EDU, alanjp@leland.Stanford.EDU,
        jobst@leland.Stanford.EDU, weinstne@leland.Stanford.EDU,
        toddszp@leland.Stanford.EDU, ntinsley@leland.Stanford.EDU,
        marco@ocram.Stanford.EDU, bmreed@leland.Stanford.EDU,
        lroman@leland.Stanford.EDU, xinwei@leland.Stanford.EDU,
        bwbuchan@leland.Stanford.EDU, thomas@leland.Stanford.EDU
Date: Sun, 12 Nov 1995 12:58:47 -0800 (PST)
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An astute member of our class pointed out to me that I gave out
a nonfunctioning URL (address) for my web-paper.  Sorry about
that -- I hope no one besides me threw her monitor through a
window in frustration.

Okay, here's the new address, and this time I have checked
it from outside my own system!

http://steam.stanford.edu/meg/paperless


Appy polly loggies for the confusion.


Rage away,

meg


From img-mail-owner@lists.Stanford.EDU Fri Nov 10 12:52:02 1995
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199511102051.MAA00455@elaine22.Stanford.EDU>
Subject: 11/09/95 Summary
To: img-mail@lists.Stanford.EDU
Date: Fri, 10 Nov 1995 12:51:51 -0800 (PST)
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Subject:  11/09/95 Seminar Summary

We didn't get to discuss the procedural issue of what form
these summaries should take--whether they should be minutes, a summary,
a collaboration, etc.  I'm open to suggestions.  If anyone would like
to take turns at typing up summaries, that would be great.  Or we
can come up with ways to annotate my summaries prior to their posting
on the web page--once on the page, you can use the form provided to
automatically append notes to the bottom of the posted summary.  If we're
worried about any one viewpoint dominating, maybe we can just not have
any one person take notes, but somehow collage together discussion on
the img-mail list that follows after a particular seminar and put that
text on the page as a summary.

Below you'll find my summary of last night's meeting.  I won't post it 
on the webpage for at least a week to give us time to consider different 
approaches.  

Our next meeting topic, day and time is not yet firmed up: TBA

cheers, john

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

Glorianna Davenport led our discussion of interactive cinema, focusing 
in particular on the form she calls the "evolving documentary."  
Traditional documentary film-makers combine repurposed footage with 
new film and audio into narrative sequences (shots and scenes).  The 
"evolving documentary" takes on new dimensions as the media is 
sequenced  and resequenced for each "participatory viewer" (Glorianna's 
term for the audience member who takes on some kind of authorial 
function).  Glorianna demo'd an evolving documentary about the public 
works project in Boston which aims to improve transportation and to 
give the urban landscape a facelift by tearing down Boston's Central 
Artery, an iron behemoth highway structure from the 1950's that 
separates Boston's commercial and historic districts.

The documentary examines the community, environmental and political 
issues surrounding the replacement of the "green monster" artery with 
an underground roadway.  Begun in 1980, the project is slated to 
develop through 2004.  M.I.T.'s evolving documentary of this project (a 
collaborative effort sponsored by Glorianna and Michael Murtaugh) is 
designed to allow for a flexible means of annotating documentary 
content.  In short, new content can be integrated into the documentaries 
multiple narrative threads.  The process, as I understood it, is threefold:

	1.  Indexing Media Content:  Glorianna calls these content types
	"narrative descriptors."  The Boston documentary classifies 
	media after journalism's "who, what, when, and where," or
	"character, time, location, and theme."

	2.  Turning description and database relations into interactive
	narratives--what Glorianna called "story vectors."  The Boston
	documentary weights each descriptor according to its association
	or relationship to other descriptors.  If I understand correctly, the
	descriptors are just that (key word classifications), the strength
	of association or weight of relationship is determined by the 
	participant viewers responses to the documentary.  So narrative 
	progression is determined by the aggregate of a viewer's 
	responses--the relative strength of relationships and thus a 
	narrative thread accumulate.

	3.  Maintaining the system of description so that new content 
	can be seamlessly integrated throughout all points of the 
	narrative database--as opposed to being tacked on the end of a 
	linear film. 

The documentary interface has four axes corresponding to the character, 
time, location, and theme descriptors.  This creates a field of latent 
narrative possibilities in which viewers position the mouse at different 
points over the grid and are given textual and visual feedback as to the
story coordinates (or story vectors) available to them.  By pausing over 
a  set of coordinates, viewers launch a short film clip.  The clip is 
chosen at random based on the set of possible media corresponding to
the chosen coordinates.  As the viewer interacts with the system, she 
exerts more influence over narrative direction as her interests are 
reflected in the weighting of relationships among available media.
Pictures or frames of invoked descriptors accumulate and are layered on 
the screen.  Launched video obviously takes center stage while other 
descriptors fade in and out of view based on the thematic development 
of the narrative.

The discussion that followed focused primarily on the authoring and 
editing functions of the evolving documentary's 'meta-authors' 
(Davenport, Murtaugh, et.al) as they are shared by participant viewers. 
Joyce Moser, I believe, first touched on the conflict between 
"immersion" and interactivity" specifically as they relate to cinema.  By 
"immersion" I'm guessing we mean, generally, if not a loss of critical
consciousness then a sense of 'losing one's self' in a fictional world.  
Interactive cinema, like the telepresence environments we discussed last 
time, shuttle us back and forth  between the immersive world of 
participant-viewer and interactive world of author-editor.  Glorianna 
noted the Sony interactive film experiments which asked viewers to 
vote on narrative development at key branching points (echoing our 
discussion of branching narrative structures from last seminar).  Ben 
Robinson emphasized that the break up of narrative continuity in the 
Sony film experience was amplified because the film experience was 
too dependent on traditional cinematic models (linear plot lines albeit
with branching points, darkened theater, except for voting largely 
passive audience....).  The question is how to make interactive 
experiences that don't make one like a rat in a maze.

Ann emphasized the ontological problems associated with "slowing 
down" engagement to get people to take on more of an authoring 
function--i.e. can the episodic movement of narrative translate into an 
experience of point-click-immerse-point-click-immerse?  How does this 
relate to art forms that engage us while pointing up their fictionality
and materiality?  Ann's question perhaps ties notions of "authoring" and 
"editing" to what we mean by "interactivity."--where "authoring" 
perhaps encompasses a more continuous engagement as one moves 
from viewer to participant author.  I think this is what Glorianna meant 
by thinking of evolving documentary less as an editing tool and more
as a "conceptual framework."  The editing function, however, does seem to be 
amplified for the 'meta-authors' whose editorial choices and constructs 
plant seeds for the plot lines of participant viewers. 

Meg opened the discussion up to consider specifically how interface is 
related to the immersive experience.  She and Glorianna made 
connections to the complex spatial organization of meaning/interactivity
in collage in contrast to more linear narratives.  Meg noted that the 
Boston documentary created a sense of depth with its layered graphics 
but that sense of depth was lost on the world wide web version of the 
project--in which the graphics are aligned more as in a table.  Glorianna 
noted how this is a problem in many cdroms as well.  Perhaps the 
problem here is that the interface overemphasizes the systems 
navigational paths or maps to such an extent that the system's material 
surface never merges the developing narrative with its material forms--while 
constantly calling attention to navigational topography. In other words, our 
point-and-click interactivity (Ann's "flea hopping") is always distinct from 
our experience of narrative immersion.  Less obtrusive interfaces perhaps 
more successfully merge these two experience functions.

p.s. Glorianna gave a delightful recounting of her biographical history
as a documentary film maker!


From meg@Steam.Stanford.EDU Tue Nov 14 00:15:26 1995
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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199511140815.AAA00955@Steam.Stanford.EDU>
Subject: Re: 11/09/95 Summary
To: keeling@leland.Stanford.EDU (John Keeling)
Date: Tue, 14 Nov 1995 00:15:22 -0800 (PST)
Cc: weinstne@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
In-Reply-To: <199511102051.MAA00455@elaine22.Stanford.EDU> from "John Keeling" at Nov 10, 95 12:51:51 pm
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John, Ann, & Xin Wei:
   
   Below you'll find my summary of last night's meeting.  I won't post it 
   on the webpage for at least a week to give us time to consider different 
   approaches.  
   
I'm sending this to the three of you only, since I'm not
convinced that the whole parcel of IMGers gives a hoot.

I just wanted to clear up the question of what I said and
what I meant, since I don't seem to have matched them up
very well in thursday's confab.  Towit, John records:

   Meg opened the discussion up to consider specifically how interface is 
   related to the immersive experience.  She and Glorianna made 
   connections to the complex spatial organization of meaning/interactivity
   in collage in contrast to more linear narratives.  Meg noted that the 
   Boston documentary created a sense of depth with its layered graphics 

This was a guy behind me, actually... I don't know his name,
but he had dark curly hair and was kinda cute (that helps a
lot, doesn't it?).

   but that sense of depth was lost on the world wide web version of the 
   project--in which the graphics are aligned more as in a table.  

I didn't draw any distinction between the web version and
the documentary version.

   Glorianna 
   noted how this is a problem in many cdroms as well.  Perhaps the 
   problem here is that the interface overemphasizes the systems 
   navigational paths or maps to such an extent that the system's material 
   surface never merges the developing narrative with its material forms--while 
   constantly calling attention to navigational topography. In other words, our 
   point-and-click interactivity (Ann's "flea hopping") is always distinct from 
   our experience of narrative immersion.  Less obtrusive interfaces perhaps 
   more successfully merge these two experience functions.
   
This doesn't sound like either of the issues I raised or prompted
Glorianna to address.

What I did bring up, or at least *mean* to, is the following:

1. I observed that the who-what-when-where format was like a
game of Clue, in that it dictated pretty conventional axes
and didn't permit much divergence.  Note that the two key
interrogatives omitted from the scheme are the most complex,
how & why.  A more experimental structure would allow the
curious witness to follow bizarre strands dictated by personal
interests -- "The role of dental floss in the construction 
and demise of Boston's Whatchamacallit Artery," and so forth.

2. The part of the presentation that I saw (admittedly, I
missed the first part) had all the graphic finesse of a
4th-grade poster project -- images cut out and whapped onto
a dark background.  Everything nice and rectangular.  I
suggested playing around with textures to play up the montage
feel that Glorianna had been talking about earlier, perhaps
have images fade into one another (not that hard a task).

Just thought you'd want to know ;-)


Rage away,

meg


From img-mail-owner@lists.Stanford.EDU Sat Nov 18 09:49:30 1995
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Message-Id: <199511181749.JAA01222@jessica.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
Subject: Bruce Conner films Sun, Tue.
Date: Sat, 18 Nov 1995 09:49:27 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: O

[hi img folk,

If you're in an archeological mood Sunday or Tuesday, you might check
out the Bruce Conner films in SF and Berkeley.  The descriptions are
lifted from today's SF Chronicle. I don't know his work, btw...
so godspeed usw.

-xw ]

Bruce Conner is the beat-era "San Francisco artist whose classic
collage films of the late 1950's and 60's pioneered the popping
fast-cut editing style used on countless commercials and MTV clips."

There will be two retrospectives:

Sunday Nov 19, AMC KabukiB Theaters, 1881 Post St. SF "The San
Francisco Cinematique presents nine films [including] the fast-cut
shorts 'A Movie' and 'Cosmic Ray,' ...'The White Rose,' 'Report,' ...a
reflection on the Kennedy assassination, perception and mass media
manipulation; and the premier of 'Television Assassination,' [wih
footage filmed off the TV screen]."

Tuesday Nov 21, Pacific Flm archive, 2625 Durant Ave., Berkeley "Six
Conner movies [including] 'Television Assassination,' 'Ten Second
Print,' and ...'Crossroads,' a meditation on the ...first underwater
atomic bomb test at Bikini in 1946."

"Conner, who found it cheaper to buy stock footage and splice it
together than shoot his own, calls his movies 'poverty films.  I made
movies without a movie camera.  ... I wanted to retrain the way in
which people view film by creating a langauge of film that would
convey information in short bursts of information.'"

From img-mail-owner@lists.Stanford.EDU Sat Nov 18 10:35:53 1995
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199511181835.KAA24870@elaine17.Stanford.EDU>
Subject: Re: Next Meeting
To: img-mail@lists.Stanford.EDU
Date: Sat, 18 Nov 1995 10:35:48 -0800 (PST)
In-Reply-To: <199511181728.JAA03060@Steam.Stanford.EDU> from "Meg Worley" at Nov 18, 95 09:28:10 am
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Status: RO

What do people think of as narrative?   What's NOT a narrative?
Examples?   If you go to our img website, you'll find Brenda Laurel's
rough and ready distinction between narrative and theatrical performance
(text, linked to the Readings page).

Of the top of my head, which is the only mode in which one composes
Real Email, some qualities that may distinguish narrative from
non-narrative may be reflexivity, embodiment, time-elasticity,
iterability.   And what do _those_ terms mean?
(See refs: Iser, M. Johnson, B. Laurel, Derrida in the img website.)

Meg asks if narrative must be linear.  what's "linear"?   The first
notion that comes to my mind can be defined in terms of dimension,
which for geometric objects can be tested by a scaling thought experiment.

(There's a related notion which can be defined without recourse to a
geometric interpretation, but this fuunctional interpretation, though
it seems to avoid a geometrization so feared by some folk, is also
much harder to apply, I think.)  Using this notion of linearity,
meaning something that's "one-dimensional" like a curve, then we have
to ask, at what level of description are we speaking?  I think it's
hopeless to say much about the (non)linearity of reader reception, or
perception, though we might be able to talk about the (non)linearity
of various sorts of time (reader, narrative, personaggi, cosmological,
etc.).  If we restrict ourselves to media structures, then I'd say,
narrative certainly doesn't have to be a one-dimensional stream of
*memes.  That should open the field to much more than hypertext.

A room full of furniture, with no one in it, is not a narrative, is it?
A room full of furniture, filled with people gabbing ad libitum in
a party, is not a narrative, is it?

Xin Wei

> 
>  John writes:
>    
>    It has also been suggested that we consider the units of meaning
>    for the kinds of "narrative" we have been looking at and discussing.
>    What are the semantic primitives and how do they fit in with some type
>    of narrative structure?  Should we be placing so much emphasis on narrative
>    at all?
>     
>    
> I'd like to back up a half-step more and ask what it is that
> folks have in mind when they say "narrative."  Sometimes it
> strikes me that the differences in people's conceptions of
> narrative are not minor but vast, and those differences don't
> always get acknowledged (to the detriment of all and the
> confusion of some).
> 
> For example, does "narrative" entail linearity?
> 
> 
> Rage away,
> 
> meg
> 
>    
> 
> 


From img-mail-owner@lists.Stanford.EDU Sat Nov 18 09:28:15 1995
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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199511181728.JAA03060@Steam.Stanford.EDU>
Subject: Re: Next Meeting
To: keeling@leland.stanford.edu (John Keeling)
Date: Sat, 18 Nov 1995 09:28:10 -0800 (PST)
Cc: img-mail@lists.Stanford.EDU
In-Reply-To: <199511180217.SAA15780@elaine11.Stanford.EDU> from "John Keeling" at Nov 17, 95 06:17:06 pm
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Status: RO

 John writes:
   
   It has also been suggested that we consider the units of meaning
   for the kinds of "narrative" we have been looking at and discussing.
   What are the semantic primitives and how do they fit in with some type
   of narrative structure?  Should we be placing so much emphasis on narrative
   at all?
    
   
I'd like to back up a half-step more and ask what it is that
folks have in mind when they say "narrative."  Sometimes it
strikes me that the differences in people's conceptions of
narrative are not minor but vast, and those differences don't
always get acknowledged (to the detriment of all and the
confusion of some).

For example, does "narrative" entail linearity?


Rage away,

meg

   


From img-mail-owner@lists.Stanford.EDU Mon Dec 11 11:58:02 1995
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	id AA01643; Mon, 11 Dec 95 11:57:47 -0800
Date: Mon, 11 Dec 95 11:57:47 -0800
From: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
Message-Id: <9512111957.AA01643@otter.Stanford.EDU>
Received: by NeXT.Mailer (1.100)
Received: by NeXT Mailer (1.100)
To: img-mail@lists.Stanford.EDU
Subject: 5Cyberconf, Madrid, June 95
Cc: schnapp@leland.stanford.edu, tlenoir@leland.stanford.edu,
        pedwards@pcd.stanford.edu, ssjain@cafs.ucsc.edu,
        marco@ccrma.stanford.edu
Status: O

[For your amusement. - Xin Wei]

Subject: 5Cyberconf
Date: Mon, 11 Dec 95 14:01:51 -0500


------- Forwarded Message
From: 5cyberconf@ceai.telefonica.es (Rafael Lozano-Hemmer)
Subject: 5CYBERCONF call for participation

Please distribute the following information among people who might be 

interested. Sorry if you receive more than one call :> 



========================================================================
*                         Call for Participation                       *
========================================================================

                                5CYBERCONF
                Fifth International Conference on Cyberspace
                --------------------------------------------
                      June 6th to 9th, 1996. Madrid, Spain
          Hosted by "Fundacion Arte y Tecnologia de Telefonica"


5CYBERCONF is an international conference that addresses the social, 

political and cultural implications of cyberspace from a critical 

standpoint and encourages discussion between theoreticians and 

practitioners. Hosted for the first time in Europe, this fifth edition 

of CYBERCONF considers computer-human interface breakthroughs, our 

fascination and weariness with disobedient technology, the role of 

synthetic behaviour in virtual design, and the increasing importance of 

cross-cultural contributions to the electronic community.

In the 90s cyberspace has reached a critical mass. The tools to 

construct and navigate virtual worlds are becoming increasingly 

affordable, intuitive and widespread. The rise in bandwidth and dropping 

prices have provoked the exponential growth of the online population (or 

is it the other way around?). As the net becomes a mainstream hit, how 

has the transition from science fiction to reality changed cyberspace?


=================================
*      CONFERENCE FORMAT        *
=================================

5CYBERCONF is scheduled to start on Thursday afternoon, June 6th and 

take place over three and a half days. There will be 8 keynote speakers, 

18 plenary sessions, special events, a videoconference link-up and a 

banquet dinner on Sunday June 9th. All sessions are designed to foster 

discussion. Presentations will be in English and Spanish with 

simultaneous translation. The six themes are:

INTER-FACE LIFT
How are the boundaries of the computer-human interface disappearing? Is 

the "window onto the world" metaphor exhausted? Can we unframe our 

synthetic worlds? What can replace the cartesian grid as a reference for 

non-linear worlds?

CYBER SICK-AND-TIRED
Who is leaving cyberspace and why? What are the different forms of 

cyber-sickness? Is the body rejecting interfaces that ignore it? What 

are the old and new psychological disorders manifested in or caused by 

cyberspace? What are the different forms of cyber-tiredness? How can we 

counteract the disenchantment brought about by the unfulfilled promises 

of the cyber-hype industry? Who is buying the media's portrayal of 

cyberspace as dirty and dangerous? Who is winning the battles to control 

or dominate access?

TECHNOLOGY GOOD, PEOPLE BAD (Virtual Perversions)
When will the predicted death of "outmoded" dualisms finally happen? Is 

accepting our own cyborgness the only way to explore post-humanism, or 

are there other, as-yet-unimagined, ways? How do we create new languages 

to describe unprecedented experiences? How has the language of 

cyberspace changed since the first CYBERCONF?

DIGITAL THIRD WORLDS
Are there digital ethnic groups? How can ceremony and language be used 

in the retro-colonization of cyberspace? Can the international economic 

system be de-virtualized? What kinds of non-digital virtuality are 

there? What are the experiences of new online communities in countries 

where access is relatively recent, and how are their contributions 

changing the time and space of cyberspace? Who are the new marginals? 

The "Global Village" and other myths.

CRASH TECHNOLOGY
What is seductive about technology out-of-control? What would be the 

uses of a "personal dis-organizer"? What is technological correctness? 

How will our ethics be transformed by the ability to "undo" our virtual 

actions? Will artificial intelligence finally deliver an automaton that 

disobeys? What is cyber-pain? (and where to find it).

SYNTHETIC BEHAVIOUR (Recombinart)
Can cyberspace behaviour be "rendered" (as in designer-behaviour)? What 

constitutes interesting behaviour? Will synthetic behaviour change what 

we mean by normal behaviour? What is the virtual equivalent of the 

Undead? What proposals challenge the dead/alive binary (videogames, 

military simulators, etc.) as the primary paradigm of virtual 

interaction?


=================================
*      CALL FOR ABSTRACTS       *
=================================

To submit an abstract for the potential inclusion of your paper in the 

5CYBERCONF programme, please follow these format guidelines:

Title of the paper
Author(s)
Institutional affiliation, if any
Chosen 5CYBERCONF theme (from the list above)
Abstract, 500 words maximum
Brief biography, 100 words maximum
Audiovisual equipment requirements
Contact information (email preferred)

There are two ways to submit: 1) Email 5cyberconf@ceai.telefonica.es 

with the subject "5CYBERCONF Submission" or 2) mail both a printed copy 

and a PC or MAC diskette to the address given below. 


The selection will be done by an international and a local committee 

made up of academics, theorists, artists and technicians in the field. 

Submission of an abstract indicates the submitter's intention and 

capability to write and present the corresponding, full length paper, if 

chosen. Papers will be alloted a half hour for presentation and may be 

in English or Spanish. Please be advised that the selection committees 

will not consider abstracts that are not formatted as stated above nor 

papers that have been previously published. 


All papers will be published in a bilingual edition of the proceedings, 

which will be available in late 1996.


=================================
*           DEADLINES           *
=================================

Deadline for reception of abstracts: February 15, 1996
Notification of selection for presentation: March 15, 1996
Deadline for registration: May 1, 1996


=================================
*     FINANCIAL ASSISTANCE      *
=================================

The registration fee will be waived for those presenting a paper in 

5CYBERCONF. In addition, a limited number of grants are available to 

those presenters who demonstrate financial need. These grants cover the 

costs of travel, accommodation and a per diem.


=================================
*      FEES & REGISTRATION      *
=================================

The registration fee for attending 5CYBERCONF is US$200 (US$100 for 

students). For detailed information on how to register and information 

on travel and accommodation, please contact Susie Ramsay at 

5cyberconf@ceai.telefonica.es or at the address given below. Please note 

that registration is on a first-come, first serve basis and attendance 

is limited to 140. Late registration will be available as space permits 

and at an extra charge.


=================================
*           LOCATION            *
=================================

5CYBERCONF will take place in the comfortable, modern auditorium of the 

Art and Technology Foundation situated in the heart of Madrid. The 

historic building that houses the Foundation is within walking distance 

of sites of interest such as the Plaza Mayor, la Puerta del Sol and the 

Prado Museum. Madrid has a lively street life and is famous for its tapa 

bars, Flamenco scene, sidewalk cafes and all night festivities. June is 

usually warm, sunny and dry.


=================================
*  CONFIRMED KEYNOTE SPEAKERS   *
=================================

Carolina Cruz Neira (Spain)
Manuel de Landa (Mexico-USA)
Antoni Muntadas (Spain-USA)
Avital Ronell (USA)
Allucquere Rosanne Stone (USA)
Florian Roetzer (Germany)


=================================
* SPECIAL EVENTS TO BE CONFIRMED*
=================================

Performance by Guillermo Gomez-Pena.
Private screening of David Cronenberg's new film "Crash" based on the 

J.G. Ballard novel.

The list of keynote speakers and special events is preliminary; more to 

be added. Please visit our Web site for more information and updates on 

5Cyberconf.


=================================
*     5CYBERCONF ORGANIZERS     *
=================================

Rafael Lozano-Hemmer, Chair
Susie Ramsay, Coordinator
Allucquere Rosanne Stone, Goddess of Cyberspace


=================================
*     5CYBERCONF PRODUCTION     *
=================================

Fundacion Arte y Tecnologia de Telefonica
Candido Velazquez-Gaztelu, Chair
Roberto Velazquez Martin, Manager 

L. Ishi-Kawa, Curator and Assistant Manager.


=================================
*    INTERNATIONAL COMMITTEE    *
=================================

Alex Adriaansens, V2 (Netherlands)
Roy Ascott, CAIIA (UK)
Annick Bureaud, Art-El, ASTN (France)
Andrea Di Castro, CNA (Mexico)
Lorne Falk, Independent (USA)
Monika Fleischmann, GMD (Germany)       

Eduardo Kac, U. of Kentucky (Brazil)
Derrick de Kerckhove, McLuhan Institute (Canada)
Machiko Kusahara, GCL, NTT (Japan)
J. Seijdel & G. Strengholt, Mediamatic (Netherlands)
Roger Malina, Leonardo, ISAST (USA)
Marcos Novak, U. of Texas (USA)
Allucquere Rosanne Stone, U. of Texas (USA)
Jeffrey Shaw, ZKM (Australia)
Gerfried Stocker, Ars Electronica (Austria)
Christine Tamblyn, Florida International U. (USA)


=================================
*        LOCAL COMMITTEE        *
=================================

Montxo Algora, Art Futura
Carlota Alvarez Basso, Reina Sofia Museum
Xavier Berenguer, U. Pompeu Fabra 

Daniel Canogar, Independent
Fernando Castro, Instituto de Estetica y Teoria de las Artes
Estrella de Diego, U. Complutense
Javier Echeverria, U. del Pais Vasco
Pedro Garhel, Espacio "P"
Antonio Golderos, Telefonica I+D
Francisco Jarauta, U. de Murcia
Jose Jimenez, Instituto de Estetica y Teoria de las Artes
Emilio Lopez-Galiacho, Arquimedia
Jose Antonio Mayo, Realidad Virtual S. L.
Karin Ohlenschlaeger, Proyectos Culturales
Maria Pallier, Independent


=================================
*    FOR FURTHER INFORMATION    *
=================================

5CYBERCONF
Fundacion Arte y Tecnologia
Gran Via, 28. 2 planta
28013 Madrid, Espana
Tel. 34-1-542-9380
Fax. 34-1-521-0041 

Email 5cyberconf@ceai.telefonica.es
http://www.telefonica.es/fat/




------- End of Forwarded Message



From meg@Steam.Stanford.EDU Thu Dec  7 18:47:16 1995
Received: from Steam.Stanford.EDU (steam.Stanford.EDU [36.28.0.81]) by leland.Stanford.EDU (8.7.1/8.6.11) with ESMTP id SAA16641 for <xinwei@leland.Stanford.EDU>; Thu, 7 Dec 1995 18:47:14 -0800 (PST)
Received: (from meg@localhost) by Steam.Stanford.EDU (8.7.1/8.7.1) id SAA18826 for xinwei@leland.Stanford.EDU; Thu, 7 Dec 1995 18:47:14 -0800 (PST)
From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512080247.SAA18826@Steam.Stanford.EDU>
Subject: Re: img
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Thu, 7 Dec 1995 18:47:14 -0800 (PST)
In-Reply-To: <199511030224.SAA13157@elaine16.Stanford.EDU> from "Xin-Wei Sha" at Nov 2, 95 06:24:48 pm
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
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Status: RO

Sorry I didn't make it to IMG today -- my philosophy
class ran way over time (and it was going *well*, so
I was hardly in a position to complain).  I hope the
meeting went well.  Anything interesting come up?

I checked, and you're right, Tamara's party is on
saturday.  Usually she has her parties on fridays,
so I guess I was committing the Humean fallacy.  So,
will the three of you be there?  I hope so.

The address of SRL:
http://robotics.eecs.berkeley.edu

I enjoyed lunch.  We'll have to do it again soon --
we've got a lot of markers out!  (But I prefer to
think of them as bookmarks: Having markers out sounds
too much like mafia machinations.)

have a good w.e.

meg


From meg@Steam.Stanford.EDU Thu Dec  7 18:47:16 1995
Received: from Steam.Stanford.EDU (steam.Stanford.EDU [36.28.0.81]) by leland.Stanford.EDU (8.7.1/8.6.11) with ESMTP id SAA16641 for <xinwei@leland.Stanford.EDU>; Thu, 7 Dec 1995 18:47:14 -0800 (PST)
Received: (from meg@localhost) by Steam.Stanford.EDU (8.7.1/8.7.1) id SAA18826 for xinwei@leland.Stanford.EDU; Thu, 7 Dec 1995 18:47:14 -0800 (PST)
From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512080247.SAA18826@Steam.Stanford.EDU>
Subject: Re: img
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Thu, 7 Dec 1995 18:47:14 -0800 (PST)
In-Reply-To: <199511030224.SAA13157@elaine16.Stanford.EDU> from "Xin-Wei Sha" at Nov 2, 95 06:24:48 pm
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Status: RO

Sorry I didn't make it to IMG today -- my philosophy
class ran way over time (and it was going *well*, so
I was hardly in a position to complain).  I hope the
meeting went well.  Anything interesting come up?

I checked, and you're right, Tamara's party is on
saturday.  Usually she has her parties on fridays,
so I guess I was committing the Humean fallacy.  So,
will the three of you be there?  I hope so.

The address of SRL:
http://robotics.eecs.berkeley.edu

I enjoyed lunch.  We'll have to do it again soon --
we've got a lot of markers out!  (But I prefer to
think of them as bookmarks: Having markers out sounds
too much like mafia machinations.)

have a good w.e.

meg


From meg@Steam.Stanford.EDU Sun Dec  3 22:06:34 1995
Received: from Steam.Stanford.EDU (steam.Stanford.EDU [36.28.0.81]) by leland.Stanford.EDU (8.7.1/8.6.11) with ESMTP id WAA28323 for <xinwei@leland.Stanford.EDU>; Sun, 3 Dec 1995 22:06:33 -0800 (PST)
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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512040606.WAA24909@Steam.Stanford.EDU>
Subject: Re: Next Meeting
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Sun, 3 Dec 1995 22:06:34 -0800 (PST)
In-Reply-To: <199511181835.KAA24870@elaine17.Stanford.EDU> from "Xin-Wei Sha" at Nov 18, 95 10:35:48 am
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Status: RO

Howdy.  Hope your trip out of town was productive, fun, or both.

I was hoping I could impose upon you to test out the frames I've
been working on for my page.  I've tried to test it out thoroughly,
but I need an external witness to give it a run, and no one seems
to be looking in this week.  Could you check it out?  Thanks.

As you'll see, I still haven't got the cgi-bin scripts up and 
running, but I'm closer.  I decided to abandon TCL and go with
python -- much more elegant, inherited classes, big improvement.

I'm still interested in hearing whatever you have to tell about
SATI (or Satie, if that interests you more ;-), if you want to
have a coffee sometime this week.  Let me know what's convenient.

meg


From img-mail-owner@lists.Stanford.EDU Mon Dec 11 11:58:02 1995
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Received: by otter.Stanford.EDU (NX5.67d/NX3.0S)
	id AA01643; Mon, 11 Dec 95 11:57:47 -0800
Date: Mon, 11 Dec 95 11:57:47 -0800
From: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
Message-Id: <9512111957.AA01643@otter.Stanford.EDU>
Received: by NeXT.Mailer (1.100)
Received: by NeXT Mailer (1.100)
To: img-mail@lists.Stanford.EDU
Subject: 5Cyberconf, Madrid, June 95
Cc: schnapp@leland.stanford.edu, tlenoir@leland.stanford.edu,
        pedwards@pcd.stanford.edu, ssjain@cafs.ucsc.edu,
        marco@ccrma.stanford.edu
Status: RO

[For your amusement. - Xin Wei]

Subject: 5Cyberconf
Date: Mon, 11 Dec 95 14:01:51 -0500


------- Forwarded Message
From: 5cyberconf@ceai.telefonica.es (Rafael Lozano-Hemmer)
Subject: 5CYBERCONF call for participation

Please distribute the following information among people who might be 

interested. Sorry if you receive more than one call :> 



========================================================================
*                         Call for Participation                       *
========================================================================

                                5CYBERCONF
                Fifth International Conference on Cyberspace
                --------------------------------------------
                      June 6th to 9th, 1996. Madrid, Spain
          Hosted by "Fundacion Arte y Tecnologia de Telefonica"


5CYBERCONF is an international conference that addresses the social, 

political and cultural implications of cyberspace from a critical 

standpoint and encourages discussion between theoreticians and 

practitioners. Hosted for the first time in Europe, this fifth edition 

of CYBERCONF considers computer-human interface breakthroughs, our 

fascination and weariness with disobedient technology, the role of 

synthetic behaviour in virtual design, and the increasing importance of 

cross-cultural contributions to the electronic community.

In the 90s cyberspace has reached a critical mass. The tools to 

construct and navigate virtual worlds are becoming increasingly 

affordable, intuitive and widespread. The rise in bandwidth and dropping 

prices have provoked the exponential growth of the online population (or 

is it the other way around?). As the net becomes a mainstream hit, how 

has the transition from science fiction to reality changed cyberspace?


=================================
*      CONFERENCE FORMAT        *
=================================

5CYBERCONF is scheduled to start on Thursday afternoon, June 6th and 

take place over three and a half days. There will be 8 keynote speakers, 

18 plenary sessions, special events, a videoconference link-up and a 

banquet dinner on Sunday June 9th. All sessions are designed to foster 

discussion. Presentations will be in English and Spanish with 

simultaneous translation. The six themes are:

INTER-FACE LIFT
How are the boundaries of the computer-human interface disappearing? Is 

the "window onto the world" metaphor exhausted? Can we unframe our 

synthetic worlds? What can replace the cartesian grid as a reference for 

non-linear worlds?

CYBER SICK-AND-TIRED
Who is leaving cyberspace and why? What are the different forms of 

cyber-sickness? Is the body rejecting interfaces that ignore it? What 

are the old and new psychological disorders manifested in or caused by 

cyberspace? What are the different forms of cyber-tiredness? How can we 

counteract the disenchantment brought about by the unfulfilled promises 

of the cyber-hype industry? Who is buying the media's portrayal of 

cyberspace as dirty and dangerous? Who is winning the battles to control 

or dominate access?

TECHNOLOGY GOOD, PEOPLE BAD (Virtual Perversions)
When will the predicted death of "outmoded" dualisms finally happen? Is 

accepting our own cyborgness the only way to explore post-humanism, or 

are there other, as-yet-unimagined, ways? How do we create new languages 

to describe unprecedented experiences? How has the language of 

cyberspace changed since the first CYBERCONF?

DIGITAL THIRD WORLDS
Are there digital ethnic groups? How can ceremony and language be used 

in the retro-colonization of cyberspace? Can the international economic 

system be de-virtualized? What kinds of non-digital virtuality are 

there? What are the experiences of new online communities in countries 

where access is relatively recent, and how are their contributions 

changing the time and space of cyberspace? Who are the new marginals? 

The "Global Village" and other myths.

CRASH TECHNOLOGY
What is seductive about technology out-of-control? What would be the 

uses of a "personal dis-organizer"? What is technological correctness? 

How will our ethics be transformed by the ability to "undo" our virtual 

actions? Will artificial intelligence finally deliver an automaton that 

disobeys? What is cyber-pain? (and where to find it).

SYNTHETIC BEHAVIOUR (Recombinart)
Can cyberspace behaviour be "rendered" (as in designer-behaviour)? What 

constitutes interesting behaviour? Will synthetic behaviour change what 

we mean by normal behaviour? What is the virtual equivalent of the 

Undead? What proposals challenge the dead/alive binary (videogames, 

military simulators, etc.) as the primary paradigm of virtual 

interaction?


=================================
*      CALL FOR ABSTRACTS       *
=================================

To submit an abstract for the potential inclusion of your paper in the 

5CYBERCONF programme, please follow these format guidelines:

Title of the paper
Author(s)
Institutional affiliation, if any
Chosen 5CYBERCONF theme (from the list above)
Abstract, 500 words maximum
Brief biography, 100 words maximum
Audiovisual equipment requirements
Contact information (email preferred)

There are two ways to submit: 1) Email 5cyberconf@ceai.telefonica.es 

with the subject "5CYBERCONF Submission" or 2) mail both a printed copy 

and a PC or MAC diskette to the address given below. 


The selection will be done by an international and a local committee 

made up of academics, theorists, artists and technicians in the field. 

Submission of an abstract indicates the submitter's intention and 

capability to write and present the corresponding, full length paper, if 

chosen. Papers will be alloted a half hour for presentation and may be 

in English or Spanish. Please be advised that the selection committees 

will not consider abstracts that are not formatted as stated above nor 

papers that have been previously published. 


All papers will be published in a bilingual edition of the proceedings, 

which will be available in late 1996.


=================================
*           DEADLINES           *
=================================

Deadline for reception of abstracts: February 15, 1996
Notification of selection for presentation: March 15, 1996
Deadline for registration: May 1, 1996


=================================
*     FINANCIAL ASSISTANCE      *
=================================

The registration fee will be waived for those presenting a paper in 

5CYBERCONF. In addition, a limited number of grants are available to 

those presenters who demonstrate financial need. These grants cover the 

costs of travel, accommodation and a per diem.


=================================
*      FEES & REGISTRATION      *
=================================

The registration fee for attending 5CYBERCONF is US$200 (US$100 for 

students). For detailed information on how to register and information 

on travel and accommodation, please contact Susie Ramsay at 

5cyberconf@ceai.telefonica.es or at the address given below. Please note 

that registration is on a first-come, first serve basis and attendance 

is limited to 140. Late registration will be available as space permits 

and at an extra charge.


=================================
*           LOCATION            *
=================================

5CYBERCONF will take place in the comfortable, modern auditorium of the 

Art and Technology Foundation situated in the heart of Madrid. The 

historic building that houses the Foundation is within walking distance 

of sites of interest such as the Plaza Mayor, la Puerta del Sol and the 

Prado Museum. Madrid has a lively street life and is famous for its tapa 

bars, Flamenco scene, sidewalk cafes and all night festivities. June is 

usually warm, sunny and dry.


=================================
*  CONFIRMED KEYNOTE SPEAKERS   *
=================================

Carolina Cruz Neira (Spain)
Manuel de Landa (Mexico-USA)
Antoni Muntadas (Spain-USA)
Avital Ronell (USA)
Allucquere Rosanne Stone (USA)
Florian Roetzer (Germany)


=================================
* SPECIAL EVENTS TO BE CONFIRMED*
=================================

Performance by Guillermo Gomez-Pena.
Private screening of David Cronenberg's new film "Crash" based on the 

J.G. Ballard novel.

The list of keynote speakers and special events is preliminary; more to 

be added. Please visit our Web site for more information and updates on 

5Cyberconf.


=================================
*     5CYBERCONF ORGANIZERS     *
=================================

Rafael Lozano-Hemmer, Chair
Susie Ramsay, Coordinator
Allucquere Rosanne Stone, Goddess of Cyberspace


=================================
*     5CYBERCONF PRODUCTION     *
=================================

Fundacion Arte y Tecnologia de Telefonica
Candido Velazquez-Gaztelu, Chair
Roberto Velazquez Martin, Manager 

L. Ishi-Kawa, Curator and Assistant Manager.


=================================
*    INTERNATIONAL COMMITTEE    *
=================================

Alex Adriaansens, V2 (Netherlands)
Roy Ascott, CAIIA (UK)
Annick Bureaud, Art-El, ASTN (France)
Andrea Di Castro, CNA (Mexico)
Lorne Falk, Independent (USA)
Monika Fleischmann, GMD (Germany)       

Eduardo Kac, U. of Kentucky (Brazil)
Derrick de Kerckhove, McLuhan Institute (Canada)
Machiko Kusahara, GCL, NTT (Japan)
J. Seijdel & G. Strengholt, Mediamatic (Netherlands)
Roger Malina, Leonardo, ISAST (USA)
Marcos Novak, U. of Texas (USA)
Allucquere Rosanne Stone, U. of Texas (USA)
Jeffrey Shaw, ZKM (Australia)
Gerfried Stocker, Ars Electronica (Austria)
Christine Tamblyn, Florida International U. (USA)


=================================
*        LOCAL COMMITTEE        *
=================================

Montxo Algora, Art Futura
Carlota Alvarez Basso, Reina Sofia Museum
Xavier Berenguer, U. Pompeu Fabra 

Daniel Canogar, Independent
Fernando Castro, Instituto de Estetica y Teoria de las Artes
Estrella de Diego, U. Complutense
Javier Echeverria, U. del Pais Vasco
Pedro Garhel, Espacio "P"
Antonio Golderos, Telefonica I+D
Francisco Jarauta, U. de Murcia
Jose Jimenez, Instituto de Estetica y Teoria de las Artes
Emilio Lopez-Galiacho, Arquimedia
Jose Antonio Mayo, Realidad Virtual S. L.
Karin Ohlenschlaeger, Proyectos Culturales
Maria Pallier, Independent


=================================
*    FOR FURTHER INFORMATION    *
=================================

5CYBERCONF
Fundacion Arte y Tecnologia
Gran Via, 28. 2 planta
28013 Madrid, Espana
Tel. 34-1-542-9380
Fax. 34-1-521-0041 

Email 5cyberconf@ceai.telefonica.es
http://www.telefonica.es/fat/




------- End of Forwarded Message



From Stephen.Tingley@Forsythe.Stanford.EDU Fri Dec 15 10:13:43 1995
Received: from Forsythe.Stanford.EDU (forsythe.Stanford.EDU [36.54.0.16]) by leland.Stanford.EDU (8.7.1/8.6.11) with SMTP id KAA26438 for <xinwei@leland>; Fri, 15 Dec 1995 10:13:41 -0800 (PST)
Message-Id: <199512151813.KAA26438@leland.Stanford.EDU>
Date:     Fri, 15 Dec 95 10:13:33 PST
From: "Stephen K. Tingley"  <Stephen.Tingley@Forsythe.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject:  Rm 303
Status: RO

Xin Wei,

Here are the days and times open that you might want to consider.
There is not a problem scheduling you for 5-7 on Thursdays.
Wednesdays are also taken until 5, so any Wednesday meetings would
have to be 5-7 also. I do have Tuesdays and Fridays available from
4-6 if one of those days would fit your schedule.

The room will not be available before 5 between Jan 30, 1996 and
Feb. 8, 1996 due to 8 full day classes that Ron Burback has
scheduled. I was told to block off the entire day, but I assume that
the class will not go beyond 5 pm. I will check on that for you when
I can find Ron.

Starting with Thursday, April 11 I can pencil you in for Thursday
from 4-6. The only reservation I have is that I think that Ron is
going by the rule that you can only schedule for 1 quarter at a
time, not for the whole year all at once. So, I guess the only thing
you may have to be aware of is that there may be some all day
conference or class in the Spring that I don't know about yet, and
we might have to push one of your meetings back an hour if there is
a need for the whole day. I would be able to inform you at least a
couple weeks in advance so you could get the message out to
everyone. If that sounds agreeable then I can put you down for
Thurs. from 4-6 starting April 11 and continuing through the summer.

Let me know about the time from now until April 11, if you want the
5-7 or if Tues or Fri from 4-6 is better for you. Those days are
open for the whole year, so you could have that time slot if you
wanted to make it the regular one.

Sorry this has been such a pain. Let me know if you and Ron decide
anything about switching his times.

Steve

To:  XINWEI@LELAND

From xinwei@jessica.Stanford.EDU Mon Dec 18 14:55:06 1995
Received: from jessica.Stanford.EDU (Jessica.Stanford.EDU [36.21.0.20]) by leland.Stanford.EDU (8.7.3/8.7.3) with ESMTP id OAA19219; Mon, 18 Dec 1995 14:55:05 -0800 (PST)
Received: from localhost (xinwei@localhost) by jessica.Stanford.EDU (8.7.1/8.6.11) with ESMTP id OAA16430; Mon, 18 Dec 1995 14:55:03 -0800
Message-Id: <199512182255.OAA16430@jessica.Stanford.EDU>
To: ak.cfc@forsythe.stanford.edu
cc: keeling@leland.stanford.edu, larryf@leland.stanford.edu,
        xinwei@leland.stanford.edu
Subject: Humanities Center Seminar: Interactive Media Theory
Date: Mon, 18 Dec 1995 14:55:02 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: RO


Dear Alex,

Would you please reserve a room for a faculty seminar: Interactive
Media: Theory and Representations sponsored by the Humanitites Center?
The responsible faculty is Prof. Larry Friedlander in the English
Department.

For the entire Winter and Spring quarters, we need a room for 35
people Thursdays 4:00-6:00 pm which has (1) Macintosh and VHS video
projection, (2) overhead transparency projector, and ideally, (3) an
ethernet connection robust enough for World Wide Web (WWW).

I do not have a course number, since this is sponsored by the 
Humanities Center.   Please respond directly to John Keeling
(keeling@leland) or Prof. Friedlander (larryf@leland).

Thanks very much,
Sha Xin Wei
seminar co-coordinator
ASD/SULAIR

From owner-img-mail@lists.Stanford.EDU Wed Jan 17 23:25:41 1996
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Message-Id: <199601180725.XAA02934@jessica.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
Subject: topics and discussion facilitators for this term
Date: Wed, 17 Jan 1996 23:25:21 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O


Dear img folk,

It would be good if we can each pick a topic that interests us, and volunteer to take responsibility for starting a discussion about it.  This is a grabbag of some topics that people said they might be interested in discussing, based on the final seminar from Fall quarter.   I can't recall everything, and I'm sure this list is pretty haphazard.  Please help -- suggest some topic and the week in which you can lead a discussion. In parentheses, I named people who expressed an interest in the given subject.   Please complain or correct me if you or a favorite topic were left out. We can help assemble some readings/recordings with a couple of weeks of lead time.

Cinema  and  video
	narrative, game, commercial advertisements, music, documentary and news
	(Charles K., Marc D - video
	Karen L. - cinema, interactive games)

Music
	performance, composition, theory, notation
	(Mark G., Mike M.) 

Animation
	traditional tools -- analog, electronic tools, eg. Director,3D modeling, etc.; languages -- eg. ScriptX
	(John K., Xin Wei)

Visual representations and languages
	maps, diagrams, text + graphics
	(Bob H., Barbara T.)

Theater and narrative
	(Diane M., Larry F.)

Historical museums, exploratoriums, art galleries and other simulations
	(Sarah, Larry)

Urban design and cyberspace architecture
	C. Alexander, M. Davis, W. Mitchell, N.Negroponte, ...

Geometry and topology of media
	(Xin Wei)

AI and A-life
	Burke, Hayes-Roth, Oz, Alive, ...


Systems theories
	(Ben R.)

Logic of hypermedia
	(Alan B.)

Translation, error, computable or performable writing
	(Meg, XW)

From owner-img-mail@lists.Stanford.EDU Wed Jan 17 23:15:09 1996
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Message-Id: <199601180714.XAA02892@jessica.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
Subject: img seminar Thursday 5:00, Sweet 303
Date: Wed, 17 Jan 1996 23:14:32 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O

Dear IMG folk,

We'll meet at 5:00 this Thursday Jan 18 in Sweet Hall 303.  Please see
the webpage for the topic.
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

We'll also discuss alternate meeting times, and arrange for topics + 
discussion leaders.

see you tomorrow!
Xin Wei

From owner-img-mail@lists.Stanford.EDU Wed Jan 24 23:46:23 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199601250745.XAA00836@elaine29.Stanford.EDU>
Subject: film festival tonight (Thursday)
To: img-mail@lists.Stanford.EDU
Date: Wed, 24 Jan 1996 23:45:35 -0800 (PST)
Cc: rocha@jupiter.SJSU.EDU
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Dear IMG folk,

We will meet today (Thursday) at 5:00 in Sweet Hall 303.  In
my next email, I'll post some notes.

You may be interested in this:

The Stanford Film Society presents a film and video festival,
"spotlighting cutting edge narrative, documentary, and experimental work"

Thursday, January 25
10:00 PM
Cubberley Auditorium

Tickets $2 in advance with SUID at White Plaza

$4 with SUID at the door, $5 without

- Xin Wei

 

From Gwen.Lorraine@Forsythe.Stanford.EDU Thu Jan 25 16:35:21 1996
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Date:     Thu, 25 Jan 96 16:35:11 PST
From: "Gwen Lorraine"   <Gwen.Lorraine@Forsythe.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject:  Annex reservations
Status: RO

Xin Wei,

Apparently I misunderstood you, but I thought you were going to be
using the Annex today, Thurs.  1/25 at 4:00 P.M.  for the Graduate
Research Workshop on Interactive Media Theory with Larry
Friedlander, and that you would be stopping by to pick up the key.
Along with the key, I wanted to give you an Agreement Form to sign.
Please let me know as soon as possible if you are planning to use
the Annex on the following days:
Feb. 1
Feb. 15
Feb. 22
Feb. 29
Mar. 14
Mar. 21
Mar. 28

Thank you,
Gwen
3-3052, ext. 6

To:  XINWEI@LELAND

From owner-img-mail@lists.Stanford.EDU Fri Jan 26 11:09:42 1996
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Date:     Fri, 26 Jan 96 11:09:01 PST
From: "Patience Young"  <Patience.Young@forsythe.stanford.edu>
To: "Betsy Fryberger" <Betsy.Fryberger@forsythe.stanford.edu>,
        "Bernard Barryte" <Bernard.Barryte@forsythe.stanford.edu>,
        "Hilarie Faberman"  <Hilarie.Faberman@forsythe.stanford.edu>,
        "Mona Duggan"     <Mona.Duggan@forsythe.stanford.edu>,
        "Susan Roberts Mangan"  <Susan.Roberts.Manganelli@forsythe.stanford.edu>,
        "Thomas Seligman" <Thomas.Seligman@forsythe.stanford.edu>,
        img-mail@lists.Stanford.EDU, jleivick@leland.stanford.edu,
        ruthf@leland.stanford.edu
Subject:  following on discussion of 1/25/96
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Following up on yesterday's discussion about 'performable
writing/language':  what did not surface was the basic distinction
that the content of language/messages in math and sciences are
universally understood/accepted:  a theorem or principle valid here
is agreed to be valid anywhere--whereas the content/meaning of the
many forms of art are culture-specific, indeed individual-specific.

Allow me to clarify "aesthetic/s":  although the term has often been
reduced to the question "what is beauty?" its meaning is far more
comprehensive:  how one perceives.  The study of perception is both
physical/organic (how the eye receives stimuli, etc.) and culturally
grounded: a carved mask will be perceived quite differently by two
people from different cultures, as well as by two people from the
same household.

It is understandable that study/investigation of others begins with
the arts (including the culinary): through our senses we perceive
qualities that are distinctive and revealing in countless subtle
ways--revealing about our own aesthetics and vantagepoint as well.

Yesterday's discussion was great!  I look forward to its continuing
next week.

-py

To:  IMG-MAIL@LISTS.STANFORD.EDU
cc:  SUMACURATORS+(Betsy.Fryberger, Bernard.Barryte, Hilarie.Faberman,
     Mona.Duggan, Susan.Roberts.Manganelli, Thomas.Seligman,
     JLEIVICK@LELAND, RUTHF@LELAND)

From xinwei@jessica.Stanford.EDU Fri Jan 26 13:09:53 1996
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To: Barbara Tversky <bt@psych.stanford.edu>, bobhorn@well.com
cc: larryf@leland.stanford.edu, keeling@leland.stanford.edu,
        xinwei@leland.stanford.edu
Subject: talk about pictorial displays Feb 29?
In-reply-to: Your message of "Wed, 17 Jan 1996 23:40:03 PST."
             <199601180740.XAA10822@psych.Stanford.EDU> 
Date: Fri, 26 Jan 1996 13:09:48 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: RO

Hello Barbara,

> I can certainly talk about pictorial displays.  I'll be awau
> tomorrow and the following Thursday.  Also, I generally
> teach Thursdays from 1-3, so I'd prefer to talk in the seminar
> on the Thursdays I have guest lectures or exams (my voice
> won't hold up to 3 hours of talking, I fear), so Feb. 15, 
> Feb. 29, or Mar 7 would work.
> 

Last Thursday, we hammered out a schedule for the quarter.

How about speaking Feb. 29? 

BTW, We'll be meeting every Thursday 4-6 in the Humanities Annex.

Xin Wei
5-3152


From Gwen.Lorraine@Forsythe.Stanford.EDU Fri Jan 26 14:27:01 1996
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Date:     Fri, 26 Jan 96 14:26:52 PST
From: "Gwen Lorraine"   <Gwen.Lorraine@Forsythe.Stanford.EDU>
To: xinwei@leland.stanford.edu
Subject:  Re: Annex reservations
Status: RO

REPLY TO 01/26/96 11:29 FROM xinwei@leland.Stanford.EDU "Xin-Wei Sha": Re:
Annex reservations

Xin Wei,

Certainly, I will let you know if the Annex becomes available on 2/8
and 3/7.  In the meantime, enjoy your workshop & I have penciled you
in for every Thursday from 4-6 during the Spring Quarter.

- Gwen

To:  xinwei@leland.Stanford.EDU

From xinwei@truffaut.stanford.edu Fri Jan 26 14:52:46 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 26 Jan 96 14:54:50 -0800
To: keeling@leland.Stanford.EDU, larryf@leland.Stanford.EDU
Subject: aenda,topics, schedule
Cc: xinwei@leland.Stanford.EDU
Status: O

Hi John,

At the last seminar, we came up with a schedule for the next few  
weeks.    How does this sound?

Feb 1 - Hypertext etc. (John Keeling)

Feb 8 * ALTERNATE LOCATION - A multimedia biography (Dianne Middlebrook)

Feb 15 - Digital video (?Mark Davis, Charles Kerns)

Feb 22 - Logic and semantics of hypermedia (Alan Bush)

Feb 29 - pictorial displays

Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and  
Michael McNabb)

Mar 14 - Software, scripts, literaure? (Sha Xin Wei)


We'll need to get a place with the right equipment + projection for  
Feb 8 and Mar 7.   (In fact we have no room at 4:00 on those  
dates.)

I will contact Mark Davis, Charles Kerns and Alan Bush about these  
first presentations.   I have already asked Barbara T. and Bob Horn  
about theirs.   Barbara T. even suggested dates.

Xin Wei


PS.  By the way, I got a key to the Humanities Annex from Gwen today.

PPS..  Here's the "topics" file that I reprinted for people:


Topics IMG	
25 January 1996

Dear img folk,

It would be good if we can each pick a topic that interests us, and  
volunteer to take responsibility for starting a discussion about  
it.  This is a grabbag of some topics that people said they might be  
interested in discussing, based on the final seminar from Fall  
quarter.   I can't recall everything, and I'm sure this list is  
pretty haphazard.  Please help -- suggest some topic and the week in  
which you can lead a discussion. In parentheses, I named people who  
expressed an interest in the given subject.   Please complain or  
correct me if you or a favorite topic were left out. We can help  
assemble some readings/recordings with a couple of weeks of lead  
time.

AGENDA

 AGENDA
	 Survey of representations of digital media
	 Modality-specific representations and art
		 Photography
		 Cinema/video
		 Music
		 Theater and narrative (Fall quarter)
	 Interpretation and manipulation
		 Diagrams (geometry)
		 Metaphors (logos)
		 Structures
			_  Hypermedia logic and semantics
			_
		 Scripts, software, performable literature?
		 Bodies - Lenoir
		 Materialities of Communication: (Luhman, Kittler?)  
Schnapp, Gumbrecht?

	 Architecture, urban design
		 Alexander; Negroponte; W. Mitchell; that  
Australian architect
		 SimCity
		 Politics of design (Mike Davis; Michael Sorkin);  
Winograd?
	 Critiques
		 Deleuze, ...



TOPICS

Cinema  and  video
	narrative, game, commercial advertisements, music,  
documentary and news
	(Charles K., Marc D - video
	Karen L. - cinema, interactive narratives)

Music
	performance, composition, theory, notation
	(Mark G., Mike M.)

Animation
	traditional tools -- analog, electronic tools, eg.  
Director,3D modeling, etc.; languages -- eg. ScriptX
	(John K., Xin Wei)

Visual representations and languages
	maps, diagrams, text + graphics
	(Bob H., Barbara T.)

Theater and narrative
	(Diane M., Larry F.)

Historical museums, exploratoriums, art galleries and other simulations
	(Sarah, Larry)

Urban design and cyberspace architecture
	C. Alexander, M. Davis, W. Mitchell, N.Negroponte, ...

Geometry and topology of media
	(Xin Wei)

AI and A-life
	Burke, Hayes-Roth, Oz, Alive, ...

Systems theories; framing issues
	(Ben R.)

Logic of hypermedia
	(Alan B.)

SCHEDULE

	 Jan 18, Representations of digital media (XW)
		 Preliminaries on digital media structures:
			_  Characteristics of writing
				_  Citability, iterability,  
separability (Derrida)
			_  Characteristics of documents
				_  Fixity vs fluidity;  
extensibility (David Levy)
			_  Digital media encoding, examples
				_  TIFF: Tagged Image File Format
				_  AIFF; MIDI: (music device  
scripts); SCORE files
				_  RTF: Rich Text Format
				_  SGML: Structured Geneal Markup  
Language
				_  VRML: Virtual Reality Modeling  
Language
				_  Mathematica: Graphics objects
			_  Levels of description
			_  Expression, ----> to complexity, efficiency
				_  Expressivity: how easily author  
can achieve an effect
				_  Is there some sort of relation  
between complexity, efficiency, and expressivity?
				_  Example: word processing, using  
menus vs. writing code
				_  Example: making clothes from  
thread, dye and needle to express self, vs buy readymade

	 Jan 25 - Representations of digital media (XW)
		 Levels of description, revisited
		 Encoding vs language (mere mechanical filter vs  
description)
		 Performable writing?


	 Feb 1 - Hypertext etc. (John Keeling)

	 Feb 8 * ALTERNATE LOCATION - A multimedia biography  
(Dianne Middlebrook)

	 Feb 15 - Digital video (?Mark Davis, Charles Kerns)

	 Feb 22 - Logic and semantics of hypermedia (Alan Bush)

	 Feb 29 - Software, scripts, literaure? (Sha Xin Wei)

	 Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein  
and Michael McNabb)

	 Mar 14

	 Mar 21


------------------- Fall Quarter -------------------
Interactive Media: Theory and Technologies of Representation		 
19 October 1995


What time?	Thursdays  4-6?, biweekly?

Location?	Sweet Hall conference room 303,   Humanities Annex

		http://www-leland.stanford.edu/~xinwei/pub/img/img.html

Contacts:	AWS -- keeling@leland.stanford.edu,  
xinwei@leland.stanford.edu
		  WS -- larryf@leland.stanford.edu

What are some themes?	We have been engaged in a preliminary study  
of issues relevant to
interactive media, hoping to find our way toward a constructive  
theory of how people compose and inhabit interactive media.

What seems most interesting to us is the way certain fields are  
yielding unexpected and fruitful clues for practical developments in  
technology. So, for example. theater may provide models for  
user-interface design, topology and geometry for media structures,  
and urban architecture for cyberspace design.

What is an appropriate format? The seminar can have two aspects:  
(1) regular sessions in which we will present and discuss prepared  
topics, and (2) a cybernetic space in the form of a shared website  
which will hold references and media contributed by local and remote  
participants.

In a typical session, a speaker might discuss a theoretical issue  
or artifact and situate it with respect to some design problems.  We  
can have a series of prepared responses to the presentation, as  
well as some discussion of the practical implications of the  
theoretical approach for practical issues. The discussion will be  
presented on the Web and further responses from the community will  
be invited. The website will also contain a bibliography and  
selections from the readings.

Topics visited last year (partial list):

	Case study: the flexible classroom.
	Metz's typology for film;
	Lakoff's study of categories;
	Objectivist semantics, physical symbol system hypothesis,  
speech act theory, and
		criticisms (Putnam-Lakoff, Derrida, Pratt)
	Systems theories (Parsons, Luhmann)
	The "design - theory" tension



Some topics emerging from previous seminars.

	apparent dichotomies between design and theory,  
particularity and abstraction
	objects/artifacts
		design
			theories or ideologies
				rip. da capo...

	Performance
		Music performance (CCRMA  - Chafe?, Goldstein-McNabb?)
		Theatrical performance (Friedlander, Laurel)
		Multimedia art (Slayton)
			Embodied theories of action and meaning  
(Maturana, Varela, Rosch, M. Johnson)
	Meaning systems,
		Systems theories
			Topology
			Dynamical systems
	
	Symbolic  artifacts I: visual representations, meaning (Tversky?)
		Iconic/mimetic vs ideographic systems
		Visual sign languages (written-sign pidgins: Horn)
		Graphic design
		Musical notation

	Symbolic artifacts II: language
		Literature and literary theory (Schnapp?)
		Symbolic architecture and design
			Sociology of design (Winograd,Star, Latour?)

	Symbolic artifacts III: computational artifacts
		Scientific visualization, modeling (Lenoir?, Edwards?)
		Design of data structures, tools vs languages
			Ideologies:
			   Artificial languages: economics,  
animation - ScriptX
			   Models (Varian; a-life & complexity)
			   Graph metaphor in linguistics,  
hypermedia (Landow?), AI (Winograd)
				Metric spaces and differential  
geometry (Sha)
		

From xinwei@leland.Stanford.EDU Fri Jan 26 14:38:25 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199601262238.OAA09823@elaine17.Stanford.EDU>
Subject: invitation to IMG
To: marc_davis@interval.com
Date: Fri, 26 Jan 1996 14:38:03 -0800 (PST)
Cc: larryf@elaine17.Stanford.EDU (Larry Friedlander),
        xinwei@elaine17.Stanford.EDU (Xin-Wei Sha),
        keeling@elaine17.Stanford.EDU (John Keeling)
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Status: O

Dear Marc,

Happy New Year.   How are you doing?

Larry and I would like to invite you to speak at our Interactive Media
seminar about "writing video."  Can you speak on Thursday Feb. 15?
(Or failing that, Feb 29?)  The audience comprises faculty and
graduate students from German Studies, Modern Thought, English,
Philosophy, Art, Computer Science, Music, etc.

This quarter, our thematic agenda looks like this:

	 Survey of representations of digital media

	 Modality-specific representations and art
		 Theater and narrative (last quarter)
		 Photography <--- Greg Niemeyer?
		 Cinema/video <<<---Marc Davis?
		 Music <--- Mark Goldstein, Mike McNabb, et al.

	 Interpretation and manipulation
		 Diagrams
		 Metaphors
		 Structures, models
			Hypermedia logic and semantics
			Topological theories
		 Scripts, software, performable/executable writing
		 Materialities of Communication
		Bodies and action

	 Architecture, urban design
		 (Alexander; Negroponte; W. Mitchell)
		 Case: SimCity
		 Case: Object-oriented pattern langauge, Booch, Cox
		 Politics of design,( Michael Sorkin)

	 Critiques and framing issues

Of course, we will offer an honorarium for your trouble.

Hope to see you,
Xin Wei

From xinwei@leland.Stanford.EDU Wed Jan 24 15:10:06 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199601242309.PAA27339@elaine37.Stanford.EDU>
Subject: first winter seminar
To: larryf@leland.Stanford.EDU
Date: Wed, 24 Jan 1996 15:09:57 -0800 (PST)
Cc: keeling@elaine37.Stanford.EDU (John Keeling),
        xinwei@elaine37.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199601232036.MAA08710@popserver.Stanford.EDU> from "larryf@leland.stanford.edu" at Jan 23, 96 12:36:56 pm
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Status: RO

Hi Larry,

	Sorry I've been so sporadic....The first session went alright.
Dianne M., Bob H., John K., Michael ? (German), Marc Goldstein and
Greg N.  met.  I began a discussion of digital media representations,
and segued into a discussion of complexity of an encoding or writing
technology and expressivity.  I'll continue this presentation tomorrow.

We'll meet at 5:00 in Sweet Hall 303, again for an abbreviated session.

Starting Feb 1, we can meet in the Humanities Annex, thanks to Gwen

We have the Hum Annex available for the rest of this quarter EXCEPT
Feb 8 and March 7.  Maybe John you and I can work on scheduling the
performances that require special siting (like Marc Goldtein and
McNabb's computer music concert) for those dates.

I'll post a brief synopsis of last week to the img-mail@lists.

Xin Wei

> 
> Xin Wei
> 
>  I am back in the world again after this horrible messy cold. What is
> happening with the Seminar? How did the meeting go? And what are our plans
> for Thursday?
> 
> Larry
> Larry Friedlander
> English Department
> Stanford, CA 94305
> 
> 415 723-2635
> 
> 116 Divisadero St
> San Francisco, CA 94117
> 
> 415 621-1756 
> 
> 


From owner-img-mail@lists.Stanford.EDU Mon Jan 29 14:06:22 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 29 Jan 96 14:07:34 -0800
To: img-mail@lists.Stanford.EDU
Subject: agenda for this term
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----------------------------------------------------------------------
NOTE	Generally this term, we will meet Thursdays 5:00 - 6:30
	in the Humanities Annex at Campus Drive & Alvarado
map -- http://www-pcd.stanford.edu/cgi-bin/map/map.html?SHC+Annex

----------------------------------------------------------------------
Dear img folk,

Here's another attempt at a thematic agenda.  I tried to start with  
a small focus familiar to traditional computer software designers.   
 This brackets out issues such as interpretive context, audience,  
politics of design etc.   But it seems that one way to get started  
is to look at some digital media under a microscope so we can  
experience firsthand the eyestrain and the (necessary?) myopia that  
software writers endure.

This then yields to a survey of some particular examples of art and  
performance, which should inspire questions with an enlarged scope,  
such as interpretation and manipulation. But we need not stop even  
at that, which would be the classical limit of concern for the study  
of literary artifacts.   Especially as media is becoming  
distributed through network channels, and since designers of very  
large scale, complex software systems are now appealing to metaphors  
from urban design, it seems crucial to expand our critical study of  
media to include social systems.

Architecture and urban design are just one way to segue from  
"individualist" and dualist theories of interactive  
media/performance/art to systemic or historicist critiques of  
interactive technology in the age of the WWWeb.   To me it seems  
that analyzing "interactivity" between technology and society at  
this scale would demand discussion of issues such as post-fordist  
models of production and the multimedia industry, the politics of   
technology-mediated "education reform," and the philosophical  
underpinnings of complex systems theory or object-oriented  
multimedia software systems.

All this should proceed spirally, so that we'll revisit issues from  
multiple perspectives.  Along the way, and hopefully as early in  
the spiral as possible, we'll see examples of working software/art.   
 But, personally, I hope that we do not lose ourselves in a thicket  
of examples.   That's why we should try to stick to a thematic  
agenda, and fit particular demonstrations in the most appropriate  
moments.   There's no aspiration to a Theory of Everything, just an  
attempt to let people know what to expect.   Please comment on the  
agenda, and help focus the themes for this term.  Spring term, I  
propose that we select one or two topics, perhaps from the undated  
lists, to explore in depth.


AGENDA
------------------------------------------------------

	 Survey of representations of digital media (January 18, 25)

	 Modality-specific representations and art (February 1, 8,  
15; March 7)
		 Theater and narrative (last quarter)
		 Photography
		 Cinema/video
		 Music

	 Interpretation and manipulation  (Feb 22, 29; March 14, 21 )
		 Diagrams
		 Metaphors
		 Structures, models
			Hypermedia logic and semantics
			Topological theories
		 Scripts, software, performable/executable writing
		 Materialities of communication
		Bodies and action

	 Architecture, urban design
		 C. Alexander; N. Negroponte; W. Mitchell
		 Case: SimCity
		 Case: Object-oriented pattern langauge, E. Gamma et al.
		 Politics of design: Theme parks -- Michael Sorkin  
et al.  --  and museums

	 Critiques and framing issues
		Computers and cognition, Winograd
		Designing information technology in the postmodern  
age, Coyne


SCHEDULE
------------------------------------------------------

	 Jan 18, Representations of digital media I (Sha Xin Wei)

	 Jan 25 - Representations of digital media II (Sha Xin Wei)


	 Feb 1 - Hypertext etc. (John Keeling)

	 Feb 8 * ALTERNATE LOCATION - A multimedia biography (Diane  
Middlebrook)

	 Feb 15 - Digital video (?Mark Davis, Charles Kerns)

	 Feb 22 - Logic and semantics of hypermedia (Alan Bush)

	 Feb 29 - Pictorial diagrams (Barbara Tversky) & Visual  
Languages (Bob Horn)

	 Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein  
and Michael McNabb)

	 Mar 14	

	 Mar 21


Volunteers and nominations are most welcome!

Xin Wei

From Sue.Dambrau@Forsythe.Stanford.EDU Tue Jan 30 08:13:06 1996
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Date:     Tue, 30 Jan 96 08:12:56 PST
From: "Sue Dambrau"     <Sue.Dambrau@Forsythe.Stanford.EDU>
To: dannyc@leland.Stanford.EDU, egginton@leland.Stanford.EDU,
        "Karen Rezendes"  <Karen.Rezendes@Forsythe.Stanford.EDU>,
        "Sue Dambrau"     <Sue.Dambrau@Forsythe.Stanford.EDU>,
        kokoloco@leland.Stanford.EDU, lanet@leland.Stanford.EDU,
        xinwei@leland.Stanford.EDU
Subject:  Workshop Meetings
Status: RO

TO:    Humanities Center Workshop coordinators

FROM:  Sue Dambrau,Humanities Center

RE:    Workshop Meetings



Please make sure that the Humanities Center is sent announcements of
all the workshop meetings.  In addition, I would also like to
receive a copy of these announcements -- either by ID mail at
Mairposa House, MC: 8630, or e-mail.

Thanks you very much.


To:  LANET@LELAND, XINWEI@LELAND, KOKOLOCO@LELAND, HF.KLR(Karen.Rezendes),
     DANNYC@LELAND, EGGINTON@LELAND
cc:  HF.SMA(Sue.Dambrau)

From owner-img-mail@lists.Stanford.EDU Sun Jan 28 17:47:19 1996
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Date: Sun, 28 Jan 1996 17:47:07 -0800 (PST)
From: Diane W Middlebrook <dwm@leland.stanford.edu>
To: keeling@leland.stanford.edu
cc: img-mail@lists.Stanford.EDU
Subject: Middlebrook Presentation 8 February
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Dear John and all:  

	At the IMG session on Thursday, February , 5-6:30pm I
will present a CD-ROM titled "Finding the Girlfriends: The Biographer as
Investigative Journalist / A Multimedia Showcase."  
	The CD-ROM was designed by a computer consultant at the University of 
Warwick in Coventry, England, to accompany my presentation at a 
conference, "Literary Journalism & Literary Scholarship,"  held at 
Warwick 3-5 November 1995. "Finding the Girlfriends" was a 
behind-the-scenes report on the process of writing the biography of Billy Tipton (1914-1989), a female jazz musician
who spent fifty years masquerading as a man.  The CD-ROM contains samples
of photographs, newspapers clippings, official documents, music, a video
clip from the film "They Shoot Horses, Don't They?", and audio interviews
with people who knew Billy Tipton, accompanied by transcripts of these
interviews.  It closes with a sample of Billy Tipton's voice. 
	 The following is the last paragraph of the talk, which states a thesis 
about the usefulness of multimedia to the genre of biography.  This will 
be my jumping-off point at the seminar on 8 February: 


[Coda]
	I decided to adopt multimedia showcase for my talk in order to
make a further point about the relationship between scholarship and
journalism today.  Just as my work on this biography has required learning
methods of discovery that were new to me as an academic researcher,
methods greatly enabled by sophisticated forms of information retrieval,
so do the new technologies make possible an evolution of biography as a
genre.  A coherent narrative will always be essential to the genre, and
the construction of a transparent, story-telling narrator will always be
the test of the biographer's powers as an artist.  But the straw from
which this gold is spun is valuable, too--though never before has there
been a medium of "publication" capacious enough and condensed enough to
permit its full exposure. 
	I believe that the possibility of retrieving the discovery phase
of the biographer's work from the finished narrative will sharpen
awareness of the ethical issues inherent in the genre of biography as
well. Hypermedia make available a re-enactment of the biographer's primary
encounter with the materials of the finished narrative.  They restore to
the process of citation fundamental to scholarship an acknowledgment of
the ambiguity of what we like to think of as "information."  For a last
word on that subject, let me return to the horse's mouth.  Here is Billy
Tipton, explaining to one of his fathers-in-law how easy it is to make a
tape recording say anything you want it to say. 

BT: This is a test, made from Idaho Falls, August the twenty-sixth, made
from radio and tv station KID.  Testing: one two three four, testing,
one two. One two. Testing: one two three four. Testing: one two three
four.  Say something there.  

"Dad": I can't say anything, I don't know what to say. [...] 

BT: [giggles] Dad says can you clean it up.  

"Dad": Yeah, clean the, uh, 

BT: Yeah, Clean the tape. [inaudible] 

"Dad": Well I'm not ready yet.  As I say, wait till we get ready to say 
something.  

BT: We'll scrape off all the dirty words you say. 

"Dad": You can scrape that all off, and rebroadcast on it, eh?  

BT: Sure you can. ###




From owner-img-mail@lists.Stanford.EDU Tue Jan 30 17:07:27 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 30 Jan 96 17:08:26 -0800
To: img-mail@lists.Stanford.EDU
Subject: Notes; Agenda; Coyne & Sorkin
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Dear img folk,

I posted the latest version of the thematic agenda on our img website:

	http://www-leland.stanford.edu/~xinwei/pub/img/img.html

follow link to "Agenda."

You'll also find some very atmospheric notes for Jan 18, 25, linked  
to the "Agenda/themes" page.  It would be great if you would  
contribute your own impressions.

And finally, for later, escalating Mark Goldstein's bid of Birket's  
elegy,  let me recommend two other references that I suspect  
contain much more substantial critiques:

Author: Coyne, Richard (Richard D) (1 citation)
1.1) Coyne, Richard (Richard D). DESIGNING INFORMATION TECHNOLOGY IN
	THE POSTMODERN AGE (Cambridge, Mass. : MIT Press, c1995)
	LOCATION: Math & Comp Sci T58.5.C69 1995

Author: Sorkin, Michael, 1948- (5 citations)
1.1) VARIATIONS ON A THEME PARK. 1st ed. (New York : Hill and Wang, 1992)
       LOCATION: Green Library Stacks HT123.V37 1992

- Xin Wei

From xinwei@truffaut.stanford.edu Wed Jan 31 17:58:30 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 31 Jan 96 17:59:17 -0800
To: xinwei@leland.Stanford.EDU
Subject: Malcolm McCullough <mmccullo@parc.xerox.com>
Status: RO



Begin forwarded message:

Date: Wed, 31 Jan 1996 17:33:51 -0800 (PST)
From: Barbara Tversky <bt@psych.Stanford.EDU>
To: xinwei@truffaut.Stanford.EDU
Subject: another member?

Xinwei--

There's an interesting architect from Harvard's School
of Design who's visiting PARC and who's working on
navigation in cyberspace and other HCI issues.  He's
just written a book on that or something related.
His name is Malcolm McCullough and I believe he's
mmccullo@parc.xerox.com

Barbara

From larryf@leland.stanford.edu Tue Jan 23 12:37:04 1996
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Date: Tue, 23 Jan 1996 12:36:56 -0800 (PST)
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
Subject: Re: Cognitive-Science lunch series
Cc: keling@leland.stanford.edu
Status: RO

Xin Wei

 I am back in the world again after this horrible messy cold. What is
happening with the Seminar? How did the meeting go? And what are our plans
for Thursday?

Larry
Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756 


From owner-asd@lists.Stanford.EDU Tue Jan 23 12:09:23 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199601232009.MAA04715@elaine28.Stanford.EDU>
Subject: Cognitive-Science lunch series
To: img-mail@lists.Stanford.EDU
Date: Tue, 23 Jan 1996 12:09:05 -0800 (PST)
Cc: asd@lists.Stanford.EDU, kernsc@elaine28.Stanford.EDU (Charles Kerns)
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Hi,

For those of you inclined toward cognitive science, there's a lunch
series on Thursdays at CSLI.  I forward the schedule (from the web).

Xin Wei

CSLI COGLUNCH
		    on Thursdays, 12:00-1:30 p.m.
		      Cordura Hall, Room 100
		 A Seminar Series on Consciousness

The CSLI CogLunch seminar series is an interdisciplinary forum of ideas,
exchanges, and debates.  This year's designated theme is consciousness.
Throughout the year, we hope to approach problems of consciousness
from various perspectives, e.g., those of philosophy, psychology,
psychiatry, neuroscience, biology, cognitive science, artificial
intelligence, and quantum mechanics, as well as the humanities.

********************
			Winter 1996 Calendar
		           [Please Post]
********************

1/18:  JOHN FLAVELL (Psychology, Stanford U.)
"The Development of Children's Knowledge About Thinking
and Consciousness"
1/25:  GUVEN GUZELDERE (Philosophy & CSLI, Stanford U.)
"The Nature of Phenomenal Consciousness"
2/01:  DAVID SPIEGEL (Psychiatry, Stanford U.)
"Disintegrated Experience: Dissociation, Hypnosis and Trauma"
2/08:  PAT SUPPES (Philosophy, Stanford U.)
"The Scientific Study of Consciousness: Problems and Prospects"
2/15:  BRIAN WANDELL (Psychology, Stanford U.)
"Imaging Human Brain Activity"
2/22:  WALTER FREEMAN (Neurobiology, UC Berkeley)
"A Biological View of Consciousness and Intentionality"
2/29:  DAVID CHALMERS (Philosophy, UC Santa Cruz)
"On the Search for a Neural Correlate of Consciousness"
3/07:  ALAN WALLACE (Religious Studies, Stanford U.)
"Attentional Training, Introspection, and the
Investigation of Consciousness in Tibetan Buddhism"

From duggie@taligent.com Thu Jan  4 18:04:19 1996
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Cc: doug_felt@taligent.com
Subject: Re: oz 
In-Reply-To: (Your message of Mon, 18 Dec 95 16:42:06 -0800.)
             <199512190042.QAA16544@elaine13.Stanford.EDU> 
Date: Thu, 04 Jan 96 18:04:12 -0800
From: Doug Felt <duggie@taligent.com>
Status: RO

Xinwei:

Hello!  I'm glad you found the OZ stuff interesting, I stumbled over it
quite by accident.  I hope you had a nice holiday, unfortunately we all
got sick.  I saw Rosanna at the recycling center the middle of last week,
and the kids were looking better that day, but unfortunately they got
sick again that evening, and stayed sick through Saturday.  Sigh.  It's
better than being sick during a work week, I suppose.

I'd like to get together, but I'm not sure what's happening next Thurs
here.  If you let me know where your meeting is I might try to make it,
but I might be moving into my office that day.  Some other day though
perhaps I can drop by.  Are any days better or worse for you?

Doug


From owner-img-mail@lists.Stanford.EDU Fri Feb  2 17:12:39 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri,  2 Feb 96 17:13:03 -0800
To: img-mail@lists.Stanford.EDU
Subject: MIT Interactive Narrative Course Syllabus
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[ Dear img-folk,

For those of you who may be interested in some canonical references on
"hyperfiction,"  here is a syllabus from Janet Murray's course,
"Non-Linear and  Interactive Narrative: Theory and Practice" at MIT.

>From her description:

"It is a project-oriented writing course focusing
on the STRUCTURE of interactive narrative, looking to narrative in other 
media as well as to electronic webs and games for models.  The aim is to 
nurture the growth of expressive narrative in an evolving new medium. "

- Xin Wei
]
...

1       Feb.  7 Overview of Non-linear and Interactive Structure;  
Hypercard
authoring
2       Feb.  14        Read EITHER Dictionary of the Khasars; (any  
100 pages) or
Tristram Shandy (Books I and II only);  Complete appropriate assignment. 
Class Discussion: Segmentation, Connectivity; Digression; Establishing 
conventions for the unconventional; The Dictionary and the Journey as 
narrative structures.
Web Authoring tutorial in class
3       Feb. 21 Read: Borges and Lightman handouts
View: EITHER Star Trek  or Groundhog Day and complete appropriate
assignment.
Class Discussion: The theme of the Labyrinth; Labyrinths and Webs as 
Narrative Structures
4       Feb. 28 Read: The Search for Intelligent Life in the Universe
View: Lily Tomlin video of the play. Prepare assignment
Class Discussion: Encyclopedic Form; Segmentation and Connectivity; 
Kaleidoscopic Narrative;  POV and Reader's/Viewer's orientation.

5       Mar. 6  Webcrawl Week: Choose from a list of potential on-line 
narratives. Assignment to come.
Class Discussion: Varieties of Form; Good and Bad Design Elements; Lexia 
segmentation. Navigation and Orientation. Relation of Content to Form.
TOPIC DUE FOR YOUR FIRST PROJECT
6       Mar. 13 Lexia Workshop.  Bring sample lexia and links from  
your first
project for mutual critique.
7       Mar. 20 PROJECT I DUE
Project I should be composed of at least 15 writing spaces. More
detailed description on assigment sheet.
                VACATION WEEK
8       Apr. 3  Read: Vladimir Propp (selections). Assignment on  
Genre Fiction.
Class Discussion:   How do we identify the "morphemes" or formulaic 
parts of narratives? How are formulaic narratives composed? We will 
experiment with formula and variation. Procedural Form -- i.e. Narrative 
that derives from a set of rules about how to combine the elements.
9       Apr.  10        Interact: Run the Eliza program under Emacs  
(instructions
will be given out). Create the most entertaining and coherent
conversation you can with her.
Class Discussion: What is character in a procedural form? How does
creating electronic characters resemble/differ from creating characters 
in traditional narrative forms?
10      Apr.  17        Character Project Due for 2nd Annual  
Interactive Character
Contest
Using special software designed for the course, you will create your own 
Eliza-like character. Students will spend the class period interacting 
with one another's characters. Prizes will be given to those who can 
create the most conversable characters and those who can sustain the 
longest entertaining and coherent conversations with the artificial 
characters.
11      Apr.  24        Interactive Games as Narratives
We will explore a wide range of electronic and non-electronic
interactive games to assess them as narrative. Is it possible to have a 
satisfying narrative within a game, or are the two mutually exclusive?  
Conferences: Students must identify the topic of their final project by 
the end of this week.
12      May 1   Open
13      May    8        PROJECT II   In class presentations
Project II  is an electronic narrative with 30 or more lexia and  more 
complex in form than Project I.
14      May 15  PROJECT II  In class presentations continued

Grading will be 20% classwork, 20% weekly assignments, 20% Project I, 
10% Interactive Character 30% Final Project. Since the class meets once 
weekly more than one absence will affect grade. Weekly assigments will 
focus on articulating the structure of assigned texts with diagrams or 
simple hypertexts. Some collaborative work will be acceptable with
consent of the instructor.  Graduate students may receive graduate
credit through special arrangement with the instructor.
Reading  List

Jorge Luis Borges, "The Garden of Forking Paths" from  Ficciones (1941)  
(handout)

Alan Lightman, Einstein's Dreams (1993), excerpt, "19 April 1905," pp 
18-22 (handout)

Milorad Pavic, Dictionary of the Khasars  (1988)  (Selections only)

Vladimir Propp, Morphology of the Folktale  (1928)

Laurence Sterne, The Life and Opinions of Tristram Shandy   (1759-67) 
(Books I and II only)

Jane Wagner, The Search for Signs of Intelligent Life on Earth,  1990 
(playscript in Coop; video available in LLARC)

Joseph Weizenbaum, "ELIZA--A Computer Program for the Study of Natural 
Language Communication between Man and Machine," Communications of the 
Association for Computing Machinery, 9 (1966), 36-45 (handout)

Films:

Duck Amuck (1951), animated cartoon, produced by Warner Brothers, Chuck 
Jones, director.

Groundhog Day (1993), feature-length film, Harold Ramis, director, Danny 
Rubin and Harold Ramis, writers.

"Parallels" episode of Star Trek: The Next Generation (1993),  Robert 
Wiemer, director, Brannon Braga, writer,.

Computer Programs (these will all be available over the net or in the 
LLARC and do not have to be purchased)

Joseph Weizenbaum, Eliza (1966) (emacs version)
Stuart Moultrop,  Victory Garden  (1992)
Michael Joyce, afternoon  (1987)
Stuart Moultrop, Hejira  (1995)
Randi Miller and Robyn Miller Myst  (1993) CD-ROM Broderbund.
Janet Murray and Jeffrey Morrow, Conversation  and Character Maker  

Student Fiction to be announced

More titles to come....

Supplementary Reading on Reserve

Jay Bolter,  Writing Space : The Computer, Hypertext, and the History of 
Writing  (1991)

George Landow, Hypertext: The Convergence of Contemporary Critical
Theory and Technology  (1992)

Sherry Turkle,  The Second Self  (1984)

Roger C. Schank and Robert P. Abelson Scripts, Plans, Goals , and
Understanding  (1977)

Margaret Boden, Artificial Intelligence, and Natural Man, 1977

From tlenoir@leland.stanford.edu Sat Feb  3 22:29:26 1996
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Date: Sat, 3 Feb 1996 22:32:13 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Re: Santa Barbara Trip
Status: RO



--============_-1388706963==_============
Content-Type: text/plain; charset="us-ascii"

Xin Wei,

Brian Rotman sent me this attached file in response to my plea for a copy
of "Dia-Gram" Hope you like it....

T



--============_-1388706963==_============
Content-Type: application/mac-binhex40; name="Rotman_Mathematical_Grams.doc"
Content-Disposition: attachment; filename="Rotman_Mathematical_Grams.doc"

(This file must be converted with BinHex 4.0)

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--============_-1388706963==_============--


From owner-img-mail@lists.Stanford.EDU Wed Feb  7 11:15:58 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602071915.LAA26855@elaine38.Stanford.EDU>
Subject: Diane Middlebrook tomorrow
To: img-mail@lists.Stanford.EDU
Date: Wed, 7 Feb 1996 11:15:42 -0800 (PST)
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Status: RO

Dear IMG folk,

At tomorrow's seminar, Diane Middlebrook will show and discuss her
multimedia biography of Billy Tipton, a female jazz musician who spent
fifty years masquerading as a man.  Her talk is titled:

Finding the Girlfriends: The Biographer as Investigative Journalist / A Multimedia Showcase


We'll meet at 5:00 as usual, but in the

PRESENTATION PALACE
in the ground floor of SWEET HALL

Please see the img homepage for more information.
http://www-leland.stanford.edu/~xinwei/pub/img/img.html

Xin Wei

From larryf@leland.stanford.edu Wed Feb  7 14:28:08 1996
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Date: Wed, 7 Feb 1996 14:28:05 -0800 (PST)
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: larryf@leland.stanford.edu (Larry Friedlander)
Subject: Re: $
Status: RO

>Hello Larry, John,
>
>And by the way, did we ever send a little thank you note + honorarium to
>Glorianna Davenport?
>
>What's the procedure for $ reimbursement?   Who's the English
>department administrator who can cut a check, and can any one of us
>three submit receipts to this person?   I think that we should bring
>some food or drink tomorrow.
>
>Xin Wei

Her name is Alice Bopyster adn I will check it out with her. Perhaps I need
to countersign (?)


Larry

Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756



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From: John Keeling <keeling@leland.stanford.edu>
Message-Id: <199602081741.JAA03035@elaine15.Stanford.EDU>
Subject: h-text refs
To: img-mail@lists.Stanford.EDU
Date: Thu, 8 Feb 1996 09:41:55 -0800 (PST)
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Hi all, I realize I forgot to post the hypertext references I promised.

Probably the best bibliography is maintained by Michael Shumate
at Duke University, including works by those trying to get out of
the link-node box:

http://www.duke.edu/~mshumate/hyperfic.html

To add just one more on top of this comprehensive list, I recommend a 
book that is not about hypertext at all:

_Rational Geomancy:  The Kids of the Book-Machine; The Collected Research 
Reports of the Toronto Research Group_ by Steve McCaffery & bpNichol. 
Research into experimental fiction that includes theories of geomantic
translation, pataphysics, the language of performance, comic strip
formalism, pop-up books, scratch-n-sniff, and much more.  

Two of the poets/poetries we discussed:

John Cayley  --  aleatory poems and collocations
http://www.inforamp.net/~cayley/wshome.html#KINETIC

Jim Rosenberg -- word nets, diagrammatic syntax
http://www.well.com/user/jer/poetries.html

also, new from a Stanford alum, "Patchwork Girl" by Shelley Jackson

Finally, to contextualize a bit of our discussion, here's the series
of flea hops from Micheal Joyce's "Afternoon, A Story" referenced in
our discussion:

		There is no simple way to say this.
		I want to say I may have seen my son die this morning.
				|
                                |
                                |
                                |
				here
				
		or     happening 
		 is  an   event  only
		 for   the    observer?

		   No   one
		 there.      Everyone
		  here.


		
	       Here  is  all   there  is
		    but  there  seems  so
	       insistently   across    the   way 
					     
			Robert Creeley / Pieces
				|
                                |
		            ____
			   |
                           |
                           |
	I try to recall winter.  "As if it were yesterday?" she says, but I 
	do not signify one way or another.

	By five the sun sets and the afternoon melt freezes again across the
	blacktop into crystal octopi and palms of ice--rivers and continents 
	beset by fear, and we walk out to the car, the snow moaning beneath 
	our boots and the oaks exploding in series along the fenceline on 
	the horizon, the shrapnel settling like relics, the echoing thundering 
	off far ice.  This was the essenceof wood, these fragments say.  And 
	this darkness is air.	

Here are my notes on this sequence:

Creeley's poem was chosen, presumably, to comment on the 
larger story's mode of presentation and narrative thematics.
Like "Afternoon," "here" leaves readers asking, 'What is
the antecedent?', to the poem's partial act of representation. 
Even more than the story itself, Creeley's poem lacks immediate 
referentiality and all sense of place is dislocated. Only the
copulative "or" gives a place,"here," a tentative context in relation 
to some "happening." Thus, there is the irony of the enjambment in lines
two and three which affords "event" some kind of independent status and, 
one line later, suggests "event" is restricted by the perspective of
any single observer. So Creeley is not relying on the combinatory effect 
of grammar, with its causal linkages, to create precision; rather, in the
sliding from "here" to "there," from "No one" to "Everyone," it is clear 
that such dislocations are built into our language: "Here is all
there is" (my italics). And in that common phrase the subject has undergone 
a transformation from one discrete stage to another, from here to there--and 
yet again in the poem's concluding lines. In breaking up very prose-like 
sentences into elements that often do not correspond to syntactical elements, 
Creeley isolates active parts of a sentence and foregrounds discontinuities 
that are smoothed over in the cumulative logic of grammatical prose. We could 
further isolate words or word groupings in Creeley's lines to emphasize
different latent meanings and contexts (e.g. Here is all / there is but 
there / . . .). 

What I am trying to suggest is that Creeley's poem is a kind of self-contained 
hypertext; the poem departs from a norm of ordinary English usage--rather, 
highlights something very unusual in ordinary language--and, in doing so, moves
readers into a more thoroughly disjunctive terrain in which readers might 
establish
any number of mininarratives in the space that gets opened up. Is the 
"No one / there" in stanza two pointing up the lack of an 'observer elect' 
("the observer" from stanza one)? Does stanza three reinstate someone
"insistently across the way"? Creeley's poem invites readers to establish 
such relationships in multiple causal linkages it makes available--invites 
readers to recognize that  such relationships are enacted by our language,
even if we are not consciously  aware of them, all the time. I would suggest 
that the links of hypertextual narratives should make possible a similar series
of relationships in the space they open up between narrative nodes. In a sense,
I am suggesting the need for a more explicit understanding of the "syntax" of
links within  hypertexts. (Link to hear more on links) Furthermore, and this is
important as it is often overlooked, these links should reassert, rather than 
attenuate, the textual power of each individual node (as Creeley maximizes the
potential of each word in his self-contained hypertextual poem). To borrow from
(and adapt) Creeley's signature line, "(hypertext) should never be more than an
extension of content."


and so on...I go on to argue that there is less irony and little tension
in Joyce's overwrought metaphors....

--john

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To: img-mail@lists.Stanford.EDU
Subject: and finally... Lukas Ligeti's Groove Magic, computer-"conducted"
	human performance
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[OK, this is my last salvo from the music world, for today.  Do  
browse the ccrma bboard occasionally. NOTE THAT THIS IS PAST!
- xw]

From: putnam (William Putnam)
Newsgroups: su.org.ccrma.bboard
Subject: CCRMA colloquium
Date: 24 Jan 1996 17:52:48 GMT
Organization: CCRMA, Stanford University, California, USA


Hello-

This week, Lukas Ligeti will be speaking about a recent work of his.   
Lukas' description of the talk follows the announcement. Please join  
us!


	WHO:	Lukas Ligeti
	WHAT:	Groove Magic
	WHEN:	Wednesday Jan. 24th, 1:15-2:05
	WHERE:	CCRMA Ballroom

*****

What I'd like to talk about is a piece of mine called "Groove Magic",  
which I wrote about 3 years ago and recently revised. It is for 11  
musicians playing mainly (should I admit it?) non-electronic
instruments. (One person plays a sampler, though.) With the musicians  
on-stage is a computer (saved!) :-) that acts as a conductor of
sorts. All musicians play using headphones and the computer controls  
complexely related click-tracks that keep all the parts in sync. The  
result is some of the rhythmically craziest music you've ever heard,  
totally impossible to play without the computer. Syncopations (or are  
they?) fly by at 600 mph and there's what may be the fastest
Klangfarbenmelodie ever.  I'll play a recording made recently in
Berlin, with the Ensemble Modern playing the piece with ultimate
bravura.

****

From xinwei@leland.Stanford.EDU Thu Feb  8 14:58:57 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602082258.OAA28830@elaine10.Stanford.EDU>
Subject: reserve Ballroom?
To: cc@ccrma.Stanford.EDU
Date: Thu, 8 Feb 1996 14:58:50 -0800 (PST)
Cc: xinwei@elaine10.Stanford.EDU (Xin-Wei Sha),
        larryf@elaine10.Stanford.EDU (Larry Friedlander),
        keeling@elaine10.Stanford.EDU (John Keeling)
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Hi Chris Chafe,


Larry Freiedlander and I are running a faculty seminar on Interactive
Media (see: http://www-leland.stanford.edu/~xinwei/pub/img/img.html)

and one of the sessions will be a performance by Michael McNabb and
Mark Goldstein.  Do you think we could reserve the Ballroom
or some other performance space at CCRMA with speakers and NeXTs, etc.?

Their lec/demo is scehduled for Thursday March 7, 5:00-6:30, so
they'd probably need an hour setup.

Who should I talk to?

regards,
Xin Wei


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Subject: another concert, CNMAT/UCB
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From: leslie@cnmat.berkeley.edu (Leslie Delehanty)
Newsgroups: su.org.ccrma.bboard
Subject: CNMAT Concert
Date: 5 Feb 1996 23:52:07 GMT
Organization: CCRMA, Stanford University, California, USA

The Center for New Music & Audio Technologies (CNMAT) presents:

MY BODY BECAME A TROMBONE

with Composer

VINKO GLOBOKAR


Tuesday, February 13, 1996

Lecture: 2 pm - Admission Free
Concert: 8 pm - Admission $8/$5 students

Both lecture and concert held at CNMAT, 1750 Arch Street,
Berkeley (near Hearst).

Vinko Globokar  made his debut as a musician in Yugoslavia,
where he lived from 1947-1955, as a jazz trombonist.  On his
return to France he studied at the Paris Conservatory and led a
career as a solo trombonist.  As such he brought about the
creation of a veritable contemporary literature for the
trombone, many of these works being dedicated to him.  At the
same time, Globokar studied composition and conducting first
with Ren=E9 Leibowitz then Luciano Berio.  He wrote his first work
(Voie)  at the age of 30 and now has a catalogue of some sixty
works in all genres - orchestra, chorus, solo music, as well as
music theater pieces.
        As a composer, Globokar is difficult to categorize.  On
the one hand, he has written works centered in the
relationship of voice to instrument or of text to music.
On the other hand he has interested himself in the
potential for invention within the interpreter, inciting
him to participate in collective creation.  In parallel,
he has composed works in which theatrical elements are
adjoined.  He has confronted problems of a social nature
in some of his works (Les =C9migr=E9s, L'Armonia Drammatica,
etc.)  as he is persuaded that music today must have a
critical role in society.  In order to compose, he often
finds inspiration in extra-musical questions such as
politics, society or humanism, which generate the
invention of new techniques, of new materials and of new
means of presentation.  Globokar considers that any
model of organization existing in nature or in culture
can become music.


or more information email: leslie@cnmat.berkeley.edu

Leslie Delehanty
leslie@cnmat.berkeley.edu
Center for New Music & Audio Technologies (CNMAT)
1750 Arch Street, Berkeley, CA 94709-1328
510-643-9990 x300  * 510-642-7918 fax


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Date: Thu,  8 Feb 96 14:46:38 -0800
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Subject: COMPUTER MUSIC CONCERT, SATURDAY FEBRUARY 10TH 1996
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From: Tobias Kunze <t@kunze.stanford.edu>
Newsgroups:  
su.events,su.org.i-center,su.org.ieee,su.org.multimedia,su.org.womens-center,su.org.ccrma.bboard
Subject: COMPUTER MUSIC CONCERT, SATURDAY FEBRUARY 10TH 1996
Date: Thu, 01 Feb 1996 17:08:56 -0800
Organization: CCRMA--Stanford University

CCRMA CONCERT, SATURDAY FEBRUARY 10TH 1996 AT 8 P.M., DINKELSPIEL
AUDITORIUM,  STANFORD CAMPUS, TICKETS $8, STANFORD STUDENTS FREE.


This quarter's concert of computer music from Stanford's Center for
Computer Research in Music and Acoustics features new music by present
and past CCRMA composers as well as a rare opportunity to hear
Stanford professor Jonathan Harvey's Ritual Melodies, a piece for
quadraphonic tape.  Details of the program are given below.




Frammenti e Variazioni su Aura (1995), for stereo tape, Marco Trevisani
Time is Over (1995), for Computer driven Disklavier and one performer,
Servio Marin.
Vicissitudes (1995), for stereo tape, Jonathan Norton
Far Memory (1984), for stereo tape, Marcia Bauman

INTERVAL

Collage (1995), for stereo tape, Fiammetta Pasi
New Music for Electronic Percussion (1996), Lukas Ligeti
Ritual Melodies (1990), for quadraphonic tape, Jonathan Harvey
segmentation fault beta1.0 (1996), for prepared piano and computer,
Michael
Edwards and Marco Trevisani



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

Frammenti e Variazioni su Aura (1995), for stereo tape, Marco Trevisani

Variazioni e Frammenti su Aura (1995) (in memory of Bruno Maderna)
is a composition for digital tape.  It comprises variations and
computer elaborations of Aura's fragments, a composition for large
orchestra written by Bruno Maderna (1925-1973) in 1970.  The samples
are excerpts from an analogue recording of a live performance of
Aura, conducted by the composer.


Marco Trevisani, born in Verona, Italy in 1963, studied music
composition and piano with private teachers:  In Verona and Milan
with Luigi Bonafede, then electronic music and composition at the
Musik Hochschule in Vienna with Dieter Kaufmann and Tamas Ungvary,
as well as with John Chowning at Stanford.  Mr. Trevisani's music
has been performed in Italy, Austria, Hungary, Romania, Slovenia,
USA, and Germany.  In addition, he holds a degree in architecture
from the Politecnico of Milano (University of Milan).  He has been
a visiting composer at CCRMA since 1992.  His interest is also
focused on theatre and computer music.



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

Time is Over (1995), for Computer driven Disklavier and one performer,
Servio Marin.

The title Time is Over refers metaphorically to various levels of
interpretation.  Philosophically, it refers to life itself as an
evolving process whose different phases terminate when time is
over.  Cognitively, it refers to the way human activity is constrained
by time.  The speed of thought processes, the reflex of the knee,
the ability to recognize new situations, as well as our decision-making
responses are all defined by time boundaries.  For instance, the
reaction boundary to acoustical stimuli lies around one tenth of
a second (E Poepel, 1985).  Psychologically, daily life is shaped
by the "time is over" factor, and there are always "external" events
demanding us to move on or else get sidetracked.  As a metaphor,
this piece symbolizes the mechanical and spiritual aspects of the
relationship between the Disklavier and the performer.  The Disklavier
provides the piece's harmonic-rhythmic frame and time boundaries.
In each section of the the piece the performer reacts to the
Disklavier by improvising until the latter interrupts to remind
the performer that time for "playing" is over.



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

Vicissitudes (1995), for stereo tape, Jonathan Norton

Vicissitudes was inspired by, and is based on, a documentary video
project on the history of East Palo Alto.  The work is created from
several sound bytes used in the video and also includes a portion
of the original music that I composed for the video.  This piece
attempts to capture the essence of the struggle created by the
people's desire for community and need of economic security.
Vicissitudes is permeated by a driving pulse that symbolizes the
dynamic energy of this community despite the numerous problems it
is faced with.

Vicissitudes was realized on the NeXT computer running Common Lisp
Music to process the sounds which were then compiled on the Dyaxis
II system using MultiMix 2.3.


Jonathan Norton was born in Philadelphia, PA in 1966.  He is
currently in his third year at CCRMA working towards a Ph.D. in
computer-based music theory.  Before coming to CCRMA, he received
his Masters in composition at Northwestern University where he
studied computer music theory and composition under the tutelage
of Amnon Wolman, Gary Kendall, and Stephen Syverud.



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

Far Memory (1984), for stereo tape, Marcia Bauman

Far Memory, composed in 1984, was realized at the Eastman School
of Music Computer and Electronic Music Center, on the ancient PDP-11
computer.  The equally ancient Music11 music programming language,
and Aleck Brinkman's Score11 score pre-processor were used to
generate sound files.  Various utilities were used for filtering
techniques, and to create a variety of textures which were further
processed and mixed.  This work represents my very first efforts
to use the computer to produce musical sound.  At the time, the
title Far Memory reflected my interest in exploring the collective
unconscious, with memories perhaps stored in DNA, and the notion
that composing could be viewed as a form of expressive archaeology.
Today, the title also applies to the language and equipment on
which the piece was created!


Marcia Bauman (b. 1949, Hackensack, NJ)  received the B.A. degree
in psychology from Ithaca College in 1971, the MA degree in music
theory and composition from San Francisco State University in 1982,
and the Ph.D. in composition from the Eastman School of Music in
1995.  She has composed music for dance, radio drama and film,
including the internationally distributed documentary Word Is Out,
aired on PBS television stations nationwide.  Her works have been
featured on public radio (KPFA radio in Berkeley, CA, and WXXI
Radio in Rochester, NY), and her electroacoustic music has received
numerous performances, including presentations by the Syracuse New
Music Society (in conjunction with Meet the Composer) and the
National Association for Composers, USA.  Since 1990, she has been
a Research Associate at CCRMA.  Her project, the International
Digital ElectroAcoustic Music Archive (IDEAMA) involves the collection
and preservation of historically significant electroacoustic music.



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

INTERVAL

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

Collage (1995), for stereo tape, Fiammetta Pasi

As the word "Collage" suggests, and similar to the work in the
visual arts which is made by putting together various patches of
color, this short piece is based on approaching and overlapping
many pieces of sounds.  It is the first work that I have completed
at Stanford, and is the result of my explorations in several
different music programming languages (specifically CSound, Stella,
the NeXT Music Kit, CLM) where the basic materials, the timbres
(or "instruments") are realized using the most simple techniques
of additive and FM synthesis.  Formally speaking, the piece was
not composed according to a pre-established project, but rather
proceeding with little sections, fragment by fragment, leaving any
possibility open, and with the constant intention to always keep
the internal movement and energy alive.  We could say a "changing
over time" form, maybe, based on sound planes that emerge, approach
and overlap one another in various different ways.


Fiammetta Pasi graduated in Musical Composition from the University
of Milan, Italy, in 1993.  She studied with Giuliano Zosi, Giacomo
Manzoni and Umberto Rotondi.  She also attended courses with Franco
Donatoni in Milan and in Siena at the Accademia Musicale Chigiana.
Her musical interest and creativity expanded thereafter into the
area of electronic music, which she began to study with Riccardo
Sinigaglia in Milan in 1992.  She is currently a visitor scholar
at CCRMA, and has been working here since December 1994.



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

New Music for Electronic Percussion (1996), Lukas Ligeti

I'm currently working on a solo program for electronic percussion
and this performance features some of the music I've been working
on; it is therefore a work-in-progress "sneak preview" of a 45-minute
program I hope to have completed by the end of March.

When I first heard traditional music of the Kingdom of Buganda,
long lost in what is now Uganda, I was intrigued by the rhythmic
patterns that are possible in this musical style thanks to a
"relative" way of perceiving the beat: any note played may be
considered on the beat by some, and off the beat by other players.
Attempting to transfer some of the ideas contained in this xylophone
and harp music to drum set, I soon came up with a new way of playing
based solely on patterns of motion which made it possible to perform
polymetric sequences that run for an extremely long time before
repeating.  Using the powerful software of my electronic drums, I
can now play even longer patterns: one, I have calculated, will
run 75000 years before the first repetition (don't fret: I won't
play the entire piece).  But using electronics also allows me to
ask other questions: how will the possibility of playing non-percussive
sounds change technical aspects of percussion playing?  How will
these changes influence my musical thinking, or that of, say,
traditional musicians in Africa who experiment with these instruments
when I go there to collaborate with them?  How can I utilize the
technical possibilities of this instrument while at the same time
perform in such a way that the audience can connect my movements
in some way with what they hear?  How can playing a MIDI controller
enhance my control over form, meter, and timbre?  It is really a
path of discovery for me, and developing my solo program is one of
my first steps on this path.


Lukas Ligeti's newest piece, a string quartet commissioned by the
Kronos Quartet, will be premiered by the Kronos Quartet this coming
Friday, February 16, here at Stanford.  Born in Vienna, Austria,
in 1965, Lukas Ligeti studied at the Vienna Music Academy, where
his teachers were Erich Urbanner (composition) and Fritz Ozmec
(drums).  His music has been performed by the Austrian Radio Symphony
Orchestra, Ensemble Modern, London Sinfonietta, "die reihe", Vienna
Saxophone Quartet, and the Amadinda (Budapest), Synergy (Sydney),
Tokyo Arts University, and CSU Sacramento Percussion Ensembles.
As a drummer, he has performed with Henry Kaiser, Tom Constanten
(formerly of the Grateful Dead), Roy Nathanson (of the Jazz
Passengers), Gregg Bendian, Willie Winant, Steve Adams (of ROVA)
and others.  He has recorded CDs with Things of NowNow, Kombinat
M, and the Siamese Stepbrothers.  With Things of NowNow, he performed
in Germany at events organized by the German edition of Scientific
American, in conjunction with lectures by Heinz-Otto Peitgen and
Richard Voss, pioneers of fractal computer graphics.  In 1994, on
a commission of the Goethe Institute, he led a cultural exchange
workshop in Abidjan, Cote d'Ivoire, as a result of which the group
Be-Ta-Foli was formed, featuring 13 African traditional musicians.
He returned to Abidjan in 1995 to continue this collaboration.



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

Ritual Melodies (1990), for quadraphonic tape, Jonathan Harvey

After an initial research period at IRCAM (Institut de Recherche
et Coordination Musique/Acoustique, Paris) starting in 1985, Ritual
Melodies was completed there in 1990.  It is for tape alone and
consists of sounds generated artificially by computer.  There are
no recorded sounds in the piece.  Jan Vandenheede made simulations
of Indian oboe, Vietnamese koto, shakuhachi, Tibetan temple bell,
Western plainchant voice and Tibetan chant voice.  They were so
designed to be able (by means of the FORMES program) to change one
into the other, one type of synthesis into another--a revolution
in programming.  Their innards, as it were, transform.  They play
sixteen melodies, transmuting as they go.  The melodies are of the
same sort as in From Silence (1988); they form an interlocking
chain with simple ones combining to form composite ones (A, AB, B,
BC, C...etc.).  They all use only the harmonic series from partials
6 to 40--one series throughout the piece, except for the low Tibetan
chants.  At first the melodies are used in polyphony, often in
close canon.  Later (at 3 minutes 53 seconds) clouds of reverberated
melody hang in the air and subsequently form a backdrop to melodic
development.  At 7 minutes 45 seconds the melodies start to move
in parallel chords, though the parallelism is topologiccal, i.e.
it stretches to the bigger intervals at the lower end of the harmonic
series and contracts to tinier intervals at the upper end.  As the
melodies become more soloistic and clear towards the end (9 minutes
7 seconds and 10 minutes 7 seconds) so they are simultaneously
further transformed by transposition to higher (smaller) or lower
(larger) intervals and by glissandi.  All the instruments/voices
are ceremonial in character, and the constant use of the Tibetan
temple bell to be everything from low gong to ethereal "ting"
demarcates the structure of this imaginary rite.  The work was
commissioned by South East Arts (U.K.) and I would like to thank
them, IRCAM and especially Jan Vandenheede, my collaborator
throughout, for their invaluable help.


Jonathan Harvey's large musical output covers a broad range of
instrumental, vocal and electronic resources.  In addition to his
compositional activities, he has conducted, broadcast frequently
on music, and authored a book on Karlheinz Stockhausen.  Jonathan
Harvey graduated from St. John's College, Cambridge, later earning
a Ph.D. from Glasgow University and a Mus.D. from Cambridge.  In
1980 he became Professor of Music at Sussex University, England,
and in 1995 joined the composition faculty as Professor of Music
at Stanford.



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

segmentation fault beta1.0 (1996), for prepared piano and computer,
Michael Edwards and Marco Trevisani

Rhythmic segmentation in a non-linear performance under the guise of
merging piano and computer in a truly Marxist dialectic.


Michael Edwards was born in Cheshire, England in 1968.  After
completing a Bachelors and Masters degree in composition at Bristol
University, he came to the United States to study computer music at
Stanford.  His music has been performed in Europe and North and South
America but more importantly he will graduate this year with a D.M.A.
in composition.


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

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  8 Feb 96 14:41:16 -0800
To: Innovation@lists.Stanford.EDU, pcd@cs.Stanford.EDU,
        SATI@lists.Stanford.EDU, su-org-ccrma-bboard@news.Stanford.EDU,
        m-media@lists.Stanford.EDU
Subject: Interactive Media Seminar
Cc: img-mail@lists.Stanford.EDU, sue.dambrau@forsythe.stanford.edu,
        franchi@Csli.Stanford.EDU, cas@riverview.com, steveit@aol.com
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This is a mid-winter notice about the Humanities Center Faculty  
Seminar on Interactive Media.   We welcome participants and  
suggestions for presentations in the Spring term.

Schedule
--------

* Jan 18,  Representations of digital media  I (Sha Xin Wei)

* Jan 25 - Representations of digital media II (Sha Xin Wei)

* Feb 1 -  Hypertext etc. (John Keeling)

* Feb 8 * ALTERNATE LOCATION - A multimedia biography  (Diane  
Middlebrook)

* Feb 15 - Digital video (Charles Kerns)

* Feb 22 - Logic and semantics of hypermedia (Alan Bush)

* Feb 29 -  Pictorial diagrams  (Barbara Tversky)

* Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and  
Michael McNabb)

* Mar 14 Visual languages (Bob Horn)

* Mar 21 Documentary film and new media (Daniel Potter)


Description
-----------

The "IMG" seminar was formed Spring quarter 1995 by a group of  
faculty, students and staff interested in theoretical and practical  
aspects of interactive media.   We are engaged in a preliminary  
study of issues relevant to interactive media, hoping to understand  
these new narratives and cyberspaces, toward a constructive theory  
of how to compose and inhabit interactive media. Some of our  
approaches may draw from art, performance, fiction, music, design,  
linguistics, artificial intelligence, literary theory, philosophy,  
mathematics, or whatever participants feel is relevant.

You can join the mailing list by sending email to
	majordomo@lists.stanford.edu
with the message
	subscribe img-mail YOUR_EMAIL_ADDRESS

Please visit the seminar's website for a schedule of presentations,  
themes and reading list:
	http://www-leland.stanford.edu/~xinwei/pub/img/img.html

regards,
Sha Xin Wei
Larry Friedlander














From owner-img-mail@lists.Stanford.EDU Sat Feb 10 12:39:29 1996
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Date: Sat, 10 Feb 96 12:41:26 -0800
To: img-mail@lists.Stanford.EDU
Subject: illocutionary call for readings
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[img folk,

Next Thursday, Charles Kerns will start us off with examples
of (digital) video used as prosthetics for communication.  If I  
understood him correctly, this is not going to be a discussion of  
time-based media, which I think should be postponed until next term,  
after we've learned more about time-based media and performance.


BTW, I think we're far enough along to devote sessions to
particular themes.  Shall we decide on some readings for future
sessions?  I open the floor to suggestions.

- Xin Wei
]

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

PS  This was posted to the MIT narrative intelligence group.
I thought I'd forward it to our list, because some of us
are interested in such things, too.


Date: Fri, 09 Feb 96 17:03:53 -500
From: schwarz@MIT.EDU (Heinrich Schwarz)
To: ni@media.mit.edu
Subject: fyi ___\|/___

Perhaps it interests some of you.

Heinrich Schwarz
mit - sts


+                                 ^                                  +
                              ___\|/___
                              =========

             The Program in Science, Technology & Society             
                                M.I.T.

                              Presents

                           *GRAFT VS. HOST*
                  Cultural Studies of Technoscience

A workshop series testing various interventions of cultural studies
into technoscience - with emphasis on the study and practice of work,
medicine, design, and technology.

* February 9: Lucy Suchman, Xerox PARC
Reconfiguring Networks of Technical Practice: Reflections on
technology and authority

* February 23: Simon Penny, CMU
Body Knowledge, Digital Prostheses, and Cognitive Diversity

* March 8: Vernon Rosario, M.D., UCLA
The Constructed Penis: Surgical Sexuality or Gender Accesory?
(Presentation contains surgically and sexually explicit images)

* March 22: Faisal Devji, Harvard
The Colonial Modern: 19th Century Medicine in India

* April 5: Lisa Cartwright, Univ. of Rochester
Reach Out and Heal Someone: Telemedicine and the Globalization of
U.S. Health Care

* April 19: Stefan Timmermans, Brandeis
A Black Man and Blue Babies: Articulation Work in Cardio-Vascular
Surgery

* April 26: Stefan Helmreich, Cornell
Anthropological Reflections and Refractions on the Looking-Glass
Worlds of Artificial Life (note special date)

* May 3: Evelynn Hammonds, MIT
AIDS Narratives: Gender, Race, and Representation


Participants are encouraged to read the precirculated papers,
available ten days in advance in the STS main office, E51-185,
70 Memorial Drive.
Workshops are held Fridays, from 12-2 in the STS Reading Room,
adjacent to the main office.
Please, bring your own food. Coffee will be served.
For further information, please call 253-4084.

                             ___\ /___
+                                ^                                   +




From owner-img-mail@lists.Stanford.EDU Tue Feb 20 13:31:14 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602202130.NAA13268@elaine24.Stanford.EDU>
Subject: Kerns on video, last week.
To: img-mail@lists.Stanford.EDU
Date: Tue, 20 Feb 1996 13:30:55 -0800 (PST)
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Dear img folk,

Charles gave a stimulating presentation of experiments with digital
video at the Apple Media Lab.  We'll continue the discussion about
media representation and interpretation this Thursday, 5:00 in the
Humanities Annex.

Here's the URL to my notes -- I hope some one else who was there
can balance my memory...

http://www-leland.stanford.edu/~xinwei/pub/img/general/notes15.2.96.html 


- Xin Wei





From owner-img-mail@lists.Stanford.EDU Wed Feb 21 13:59:38 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602212159.NAA26000@elaine24.Stanford.EDU>
Subject: menu for tomorrow and the new year
To: img-mail@lists.Stanford.EDU
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> Date: Mon, 29 Jan 96 14:07:34 -0800
> To: img-mail@lists.Stanford.EDU
> Subject: agenda for this term
...
> ... start with
> a small focus familiar to traditional computer software designers.   
>  This brackets out issues such as interpretive context, audience,  
> politics of design etc.   But it seems that one way to get started  
> is to look at some digital media under a microscope so we can  
> experience firsthand the eyestrain and the (necessary?) myopia that  
> software writers endure.
> 
> This then yields to a survey of some particular examples of art and  
> performance, which should inspire questions with an enlarged scope,  
> such as interpretation and manipulation. But we need not stop even  
> at that, which would be the classical limit of concern for the study  
> of literary artifacts.   
> 


Dear img folk,

Following up on that note, I hope we can take stock and devote
tomorrow's session to talking about the description, manipulation and
maybe interpretation of interactive media by humans and by algorithms.

Charles gave a provocative presentation about video and film.  But I'm
not sure if we are prepared to launch into a full discussion about
time-based media -- video, video communication, theater, performance
(MPEG4, MHEG, VRML, not to mention ScriptX, Moving Worlds VRML 2,
etc. etc.).

To give some idea of the relative primitiveness of our understanding
of digital time-based media, please see

http://www-leland.stanford.edu/~xinwei/pub/img/media/Cook/CookMusicalAnalysis.html

I scanned chapters 1,2 and 6 to give an idea of what
semi-sophisticated analysis of a traditional time-based medium --
music -- is like.  Also, I happen to think Cook makes some very good
points about analysis, reception, and structure as interpretation,
that we could keep in mind as we try to understand other forms of
interactive time-based media.  He's appealing, and he draws on great
examples.  (If anyone has digitized samples of the cited music, could
you send me a link, please?)

Here's the schedule for the rest of the term:

	Feb 22 - describing and constructing interactive media (all)
	Feb 29 Pictorial diagrams (Barbara Tversky)
	Reply-To: xinwei@leland.stanford.edu
	? Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and Michael McNabb)
	Mar 14 Visual Languages (Bob Horn)
	Mar 21 Documentary film and new media (Daniel Potter)

This will likely change as we scramble up performance spaces.  Sorry
about the hodge-podge ordering.

We'll be moving on to a couple of sessions with Barbara Tversky and
Bob Horn about visual representation, interpretation, and reasoning.
At least in the domains of diagrams and simple iconic languages, there
are claims to understandings of what works and how.  To undermine, I
mean, frame those sessions, you might glance at

1.  George Lakoff.Women, Fire and Dangerous Things: What Categories
Reveal About the Mind. Chicago 1987.  See
http://www-asd.stanford.edu/Media2/texts/Lakoff/WomenFire.book/

2.  Sheldon Sacks, ed., _On Metaphor_. With articles by Donald
Davidson, Nelson Goodman, Max Black, Paul de Man, Paul Ricoeur, etc.

3.  Martin Jay's book: _Downcast Eyes: The Denigration of Vision in
Twentieth Century French Thought_.

I do have some some cognitive psychology papers from Barbara, but she
said there was no need for us to pre-read anything.  Bob Horn should
have a draft of his book(s) at hand.

- Xin Wei

From mwack@mail.wsu.edu Thu Feb 22 16:14:25 1996
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To: xinwei@leland.stanford.edu
From: mwack@mail.wsu.edu (Mary Wack)
Subject: Interactive media theory workshop
Status: RO

I was at the Stanford Humanities Center last weekend, and saw that my old
colleague Larry Friedlander is offering a graduate research workshop in
interactive media theory and technologies of representation.

Since I am currently a founding organizer for a new Institute for Teaching
and Learning at Washington State with a heavy focus on interactive media, I
am quite intereste in obtaining further information on Larry's workshop.

Are there materials you could send me?  Thanks.

Mary Wack
Professor and Chair
English Dept.
Washington State University
mwack@mail.wsu.edu




From xinwei@leland.Stanford.EDU Thu Feb 22 19:19:32 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602230319.TAA04678@elaine17.Stanford.EDU>
Subject: new img attendees
To: keeling@elaine17.Stanford.EDU (John Keeling),
        larryf@elaine17.Stanford.EDU (Larry Friedlander)
Date: Thu, 22 Feb 1996 19:19:19 -0800 (PST)
Cc: xinwei@elaine17.Stanford.EDU (Xin-Wei Sha)
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Hi, here are the names of today's new folk:

Chris Salter  clsalt@leland	Drama PhD student
Laura Farabough  farabo@leland   Drama PhD student

Also, for the record,  Mark Goldstein is a regular --
he's the computer music fellow.

Xin Wei



From owner-img-mail@lists.Stanford.EDU Fri Feb 23 11:43:59 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 23 Feb 96 11:42:53 -0800
To: img-mail@lists.Stanford.EDU
Subject: CCRMA Summer workshop
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[fyi, complementing ocularcentric design - Xin Wei]

Introduction to Psychoacoustics and Psychophysics: Audio and Haptic  
Components of Virtual Reality Design

* June 24 - July 6, 1996
* Individual fee: $800, Affiliate fee: $1000,
* Corporate Non-Affiliate fee: $1200
* Two weeks instruction and laboratory.
* Limited to 15 participants.
* Instructors:
. Brent Gillespie
. Sile O'Modhrain
. Craig Sapp

Guest lecturers: Perry Cook, Louis Rosenberg (Immersion Corp.),  
Bill Verplank (Interval Research), Malcolm Slaney (Interval  
Research).

This course will introduce concepts and apply tools from cognitive  
psychology to the composition of virtual audio and haptic  
environments. In particular, the salience of various auditory and  
haptic phenomena to the perception and performance of music will be  
examined.

Just as visual artists spend time learning perspective to provoke  
3D effects, composers and virtual object designers must study the  
perceptual sciences to create virtual environments which are  
convincing upon hearing and touch. We will study relevant topics  
from acoustics, psychology, physics and physiology. We will apply  
these to the design and rendering of virtual objects not for the  
eyes, but for the haptic and audio senses. Principles of speech,  
timbre, melody, pitch, texture, force, and motion perception will be  
addressed. Various audio and haptic effects and illusions will be  
demonstrated.

Morning lectures will cover these topics and also feature talks by  
eminent researchers and entrepreneurs working in the fields of  
psychoacoustics and haptics. Afternoon labs will provide practical  
experience in psychophysics experiment design and execution. In  
addition to sound synthesis tools, various haptic interfaces will be  
made available for experiment designs. 

From xinwei@leland.Stanford.EDU Tue Feb 27 11:28:18 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602271928.LAA08601@elaine29.Stanford.EDU>
Subject: Cyber-skeptical books
To: rnewman@media.mit.edu
Date: Tue, 27 Feb 1996 11:28:04 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Dear Ron,

Hello from Stanford.  I'm a coordinator of the "interactive media" seminar, which is a sibling of the ni group.   Here are some references that we've come across that may be relevant to critical theory:

Richard Coyne, Designing Information Technology in the Postmodern Age, From Method to Metaphor, MIT Press 1995.
(a very extensive, even-toned survey of positivist, critical, pragmatic and radical theories of technology and culture)

Mike Davis, City of Quartz -- Excavating the Future in Los Angeles, Vintage Books 1992.  (Chapter 1 is an incandescent piece.  Not about computer technology, but about architecture, urban design, local geopolitics.)

Michael Sorkin, ed. Variations on a Theme Park: The New American City and the End of Public Space. NY: Hill & Wang, 1992. (Another in the genre of architecture/urban design, with implications for designers of cybernetic simulacra.  recommended by Carol Stroheker last year)

Anthony and Patricia Wilson. Theme Parks, Leisure Centres, Zoos, and Aquaria Essex UK: Longman Scientific and Technical, copublished with John Wiley & Sons, NY, 1994. ("issues of place-making, spatial metaphors, and virtual environments," -Carol Strohecker) 

For more ambitious radical critiques, it's worth looking at by now fairly canonical works like 

Fedric Jameson, Postmodernism, Or, the Cultural Logic of Late Capitalism,

or 

Gilles Deleuze and Faelix Guattari. Anti-Oedipus : capitalism and schizophrenia / by ; New York : Viking Press, [1977] 

Gilles Deleuze and Faelix Guattari. [MILLE PLATEAUX. ENGLISH] A thousand plateaus : capitalism and schizophrenia, translation and foreword by Brian Massumi. (Minneapolis : University of Minnesota Press, c1987) 

(Warren Sack knows these last works well, I'm sure.)

regards,
Xin Wei


> 
> To: ni@media.mit.edu
> Subject: Cyber-skeptical books
> Date: Tue, 27 Feb 96 13:45:27 -0500
> From: Ron Newman <rnewman@media.mit.edu>
> 
> Quite a few books have been published in the past
> few years asking whether we're going down the right
> path in our rush towards "cyberspace" and "virtual reality".
> 
> Perhaps we might want to have a real-life, face-to-face,
> non-virtual NI session to discuss some or all of the following?
> (Additions to this list are encouraged.)
> 
> 
> War of the worlds : cyberspace and the high-tech
> assault on reality, by Mark Slouka, 1995
> (this one mentions the Media Lab quite a few times)
> 
> Resisting the virtual life : the culture and politics of
> information.  Edited compiilation, City Lights Books, 1995
> 
> Rebels against the future: the Luddites and their war on
> the Industrial Revolution : lessons for the computer age
> by Kirkpatrick Sale, 1995
> 
> Silicon snake oil: second thoughts on the information highway
> by Cliff Stoll, 1995
> 
> The cult of information: the folklore of computers and the
> true art of thinking, by Theodore Roszak, 1986, revised 1994
> 
> Technopoly : the surrender of culture to technology
> by Neil Postman, 1992
> 

From xinwei@leland.Stanford.EDU Wed Feb 28 14:34:34 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602282234.OAA17141@elaine43.Stanford.EDU>
Subject: welcome to img
To: meiyan@aol.com
Date: Wed, 28 Feb 1996 14:34:26 -0800 (PST)
Cc: decker@leland.Stanford.EDU, xinwei@elaine43.Stanford.EDU (Xin-Wei Sha)
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Dear Prof. Mei Yan Lu,

Decker Walker mentioned you to me.  You'd be most welcome to attend
our "interactive media" seminar.  We usually meet this term Thursdays
5:00-6:30, at the Stanford Humanities Center Annex, which is at the
corner of Campus Drive and Alvarado (see map:

http://www-pcd.stanford.edu/cgi-bin/map/zoom-map.html?228,144 

).

Please visit our website if you like:

http://www-leland.stanford.edu/~xinwei/pub/img/img.html 

or join our mailgroup by sending email to majordomo@lists.stanford.edu
with message:

subscribe img-lists Your_Email_Address

regards,
Xin Wei
http://www-leland.stanford.edu/~xinwei/ 


From owner-img-mail@lists.Stanford.EDU Thu Feb 29 13:29:10 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602292128.NAA02996@elaine17.Stanford.EDU>
Subject: Tversky on Diagrams
To: img-mail@lists.Stanford.EDU
Date: Thu, 29 Feb 1996 13:28:53 -0800 (PST)
Cc: bt@psych.stanford.edu
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Today,  Barbara Tversky is scheduled to speak about

Pictorial diagrams
http://www-leland.stanford.edu/~xinwei/pub/img/general/Tversky.html 

Thursday, February 29, 5:00-6:30 pm

in the Humanities Center Annex

Xin Wei
http://www-leland.stanford.edu/~xinwei/pub/img/img.html 



From curtis@roses.Stanford.EDU Thu Feb 29 14:36:42 1996
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From: Gayle Curtis <curtis@roses.Stanford.EDU>
Message-Id: <199602292147.NAA21332@roses.Stanford.EDU>
To: xinwei@leland.stanford.edu
In-reply-to: Xin-Wei Sha's message of Thu, 29 Feb 1996 13:28:53 -0800 (PST) <199602292128.NAA02996@elaine17.Stanford.EDU>
Subject: Tversky on Diagrams
Status: RO

Received your note about Barbara's talk today. Can you remind me where
to find the Humanities Center Annex?


Thanks

Gayle Curtis
Lectuer, ME Design Division

From lesliej@leland.stanford.edu Mon Mar  4 16:03:08 1996
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To: xinwei@leland.stanford.edu
From: lesliej@leland.stanford.edu (Leslie Johnston)
Subject: IMG
Status: RO

Patience Young has been passing along information on the group since I
arrived here 3 weeks ago.  Now that I'm settled in, I would like to be
subscribed to your list and begin to attend your seminars as possible, if
that's not a problem.

Thanks,
Leslie


------------
Leslie Johnston
Information Resources Specialist for Art
Stanford University
lesliej@leland.stanford.edu



From owner-img-mail@lists.Stanford.EDU Mon Mar  4 14:16:04 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199603042215.OAA09873@elaine30.Stanford.EDU>
Subject: no seminar this week
To: img-mail@lists.Stanford.EDU
Date: Mon, 4 Mar 1996 14:15:31 -0800 (PST)
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Dear img folk,

There will be NO SEMINAR THIS WEEK.  We'll pick up
March 14, when Bob Horn will speak about visual language.   I'll leave 
xeroxes of his notes by my office door for you after tomorrow
noon.

Larry's speaking this Thursday at the Symbolic Systems Forum:

Stepping Out of the Box: Interfaces as Human Environments

Larry Friedlander
English Department
Stanford, CA 94305

Time: 4:15 p.m., Thursday, March 7th
Location: Building 60, Room 61F, Stanford University

ABSTRACT:

Computers of the future will no longer be in that now-familiar box, but
will be hidden in the world around us, embedded in floors and walls, and
tucked away in everyday objects. They will be controlled by voice, by
movement, perhaps even by brain waves and body temperature, It will be a
world of virtual and real presences, strangely intermingled. How will we
design for such technology?

Theater and performance traditions offer one paradigm that will be more and
more useful in these radically new situations. I will discuss some early
attempts I and others have made to explore these new kinds of interface and
speculate on some further strategies.

- Xin Wei
 

From keeling@leland.Stanford.EDU Mon Feb 12 14:05:56 1996
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199602122205.OAA21929@elaine38.Stanford.EDU>
Subject: you opened your mouth
To: xinwei@leland.Stanford.EDU
Date: Mon, 12 Feb 1996 14:05:43 -0800 (PST)
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Status: RO

Xin Wei:  Remember our aging poem discussion?  Well, having
nothing to do on a bus trip this weekend, I sketched one
possible version for such a thing. To keep things somewhat
simple, I imagined a form in which the words/lines of a
simple stanza grow old, decay, and generate new words/lines:
			   [bury]
		[Lets] squat here [the dead]
		[and fry]			
		on one of these [our toungues]
		[on] strata [the pavement] of interest
		
The nonbracketed text:   squat here 
			 on one of these
			 strata of interest
						 
would form a first discrete state.  The bracketed words
would regenerate on top of the old.  If, in my notation,
the bracketed word(s) appear beside their progenitor lines,
then they actually can appear on those lines prior to the
line's death, if the bracketed word(s) appear above a line
then they arise out of the ashes of the words below them.  So,
the 2nd discrete state would be:

	Let's bury the dead
	and fry our tongues 
	on the pavement.
	
Which would then age:
			  [sit down]
	[for pete's sake] Let's bury the dead
	
	     [she swears] and fry our tongues [the immortal ichor]
	     
	             [now] on the pavement [a knife in her back]
	             
Creating a 3rd discrete stage:

	For pete's sake sit down
	she swears   the immortal ichor
	now a knife in her back

and so on. I roughted out 7 stages.
Pretty simple, I'd think, and let's not comment on the verse, I'm
not much of one to write in transit, but I think could be handled
fairly straightforwardly by creating variable instances of ScriptX's
Transition Player.  Question would be how well it can work with
text--it's built in subclasses are typical of cinematic dissolves,
fades, slides, etc.  I don't think it would be necessary to mess
around with a bunch of fonts for such a project, but it might be
nice to have some audio accompaniment to the transition process.
Maybe something done on the violin :)  Also, might be fun, or perhaps
too precious, to have something like some shimmering video, light,for
backdrop when words are in severe state of decay. Finally, the screen/page
should age and regenerate as well. This latter could perhaps indicate
a kind of dramatic progression and could have different characteristics
then the stanzas it hosts.

Oh, yes, feel free to say, 'john you're a kook, don't bother me with
your nutty ideas!'

--john

From laurel@interval.com Mon Mar 11 14:34:54 1996
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: laurel@interval.com (Brenda Laurel)
Subject: Re: public discourse and rhetoric
Status: RO

Thanks very much, I'll go see your website asap.

BL



From owner-img-mail@lists.Stanford.EDU Wed Mar 13 12:14:39 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199603132014.MAA04900@elaine30.Stanford.EDU>
Subject: Bob Horn, Sweet Hall 026, Thursday 5
To: img-mail@lists.Stanford.EDU
Date: Wed, 13 Mar 1996 12:14:24 -0800 (PST)
Cc: thare@leland.stanford.edu
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Dear img folk,

Bob Horn will speak about 

Visual Language -- Combining Words, Images and Shapes to Make a New Langauge

Thursday 5:00-6:30

Note that we'll meet in 

Sweet Hall's Presentation Palace (026).

I have a few paper copies of his slides by my office door Sweet 415.

- Xin Wei

From xinwei@leland.Stanford.EDU Thu Mar 14 10:24:18 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603141824.KAA27560@elaine22.Stanford.EDU>
Subject: Re: Graduate Research Workshop flyer
To: Gwen.Lorraine@Forsythe.Stanford.EDU (Gwen Lorraine)
Date: Thu, 14 Mar 1996 10:24:10 -0800 (PST)
Cc: larryf@leland.Stanford.EDU (Larry Friedlander),
        keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199602282356.PAA20787@leland.Stanford.EDU> from "Gwen Lorraine" at Feb 28, 96 03:56:33 pm
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Hi Gwen,

oops, sorry, I've been out of town...
Here's a blurb.  Would you mind printing this out in some jazzy font,
or must someone bring a physical (!) copy to you?

_________________________________________________________________
Interactive Media:    Theory and Technologies of Representation
                      Faculty Seminar

We are an interdisciplinary group interested in the
promises and perils of new media.  We look at a wide
range of subjects, including visual languages, cybernetic
spaces such as the world wide web, immerse environments
suggested by various forms of virtual reality, various
uses of digital texts, music and cinema.

Our study of the methods, theories, and models of interactive
media engages related work on the theory of design, educational
technologies, system theories, multimedia performance, the study
of visual representation, metaphor, and computational languages.

In a typical session we may discuss a shared set of readings,
look at a multimedia artifact, and/or listen to a guest speaker.
In addition to invited lecturers, seminar participants take
turns presenting their research to the group.


    Meeting Time: Thursdays, 5:00-6:30
        Location: Humanities Center Annex (Campus & Alvarado)
         Website: http://www-leland.stanford.edu/~xinwei/pub/img/img.html
       Mailgroup: img-mail@lists.stanford.edu
_________________________________________________________________



> 
> Tim, Xin Wei, & Dominique,
> 
> Do you have a flyer to publicize your Graduate Research Workshop?
> If so, could you please send me a copy?  I would like to post it on
> our bulletin board and keep a record for Keith Baker, Director of
> SHC.
> 
> Thanks,
> Gwen Lorraine
> Humanities Center
> 8630
> 
> 
> To:  LANET@LELAND, XINWEI@LELAND, DOMINIK@LELAND
> 


From owner-sati@lists.Stanford.EDU Thu Mar 14 16:47:43 1996
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Message-Id: <199603150046.QAA13049@lists.Stanford.EDU>
Date:     Thu, 14 Mar 96 16:46:05 PST
From: "Ann Sultan"      <Annie.Sultan@forsythe.stanford.edu>
To: "Distribution list":;
Subject:  NEW COURSE THIS SPRING IN MULTIMEDIA
Sender: owner-sati@lists.Stanford.EDU
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Status: RO


                           ATTENTION!

                  IMPORTANT SPECIAL NEW COURSE!
                    NEW SPRING QUARTER COURSE


                  CS377D: Multimedia Tools and Environments
 (PLEASE NOTE that in an earlier announcement this was listed
 as 377B--B is WRONG; D is RIGHT!)


        Instructor: Stephan Schwanauer
        Time      : Mondays 4:15-6:15
        Location  : Meyer 260
        3 units




        Course Description:

        The course will cover the implications of tools and
environments for a representative set of standards (ISO/ITU,
Trade Group, Vendor, etc.).   For such standards, we'll focus on
HCI issues from media formats, networked and otherwise, to
scripting languages.  Class discussion will link HCI/presentation
topics to the constraints for the underlying media.

        Students will do short assignments and a final project.


Stephan Schwanauer is the author of MACHINE MODELS OF MUSIC (MIT
Press: Cambridge, 1993) and MUSE: A LEARNING SYSTEM FOR TONAL
COMPOSITION (1986).

Detailed Syllabus is available at CS for CS 377b.  This course
would be particularly useful for students whose work integrates
art and technology.  If you have questions, please address them
to Stephan Schwanauer at stephan@ccrma.

OOPS--there it is again--that's still 377D, don't forget.  We
actually did cross-list this course, but you're supposed to
enroll in CS 377D anyway so who cares?

Annie

To:  SATI@LISTS, MUSICGRADS(Public Dist. List), MUSICUGRADS(Public Dist.
     List), LOCAL-USERS@CCRMA

From xinwei@leland.Stanford.EDU Fri Mar 15 16:36:31 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603160035.QAA06327@elaine42.Stanford.EDU>
Subject: some responses & questions
To: bobhorn@well.com
Date: Fri, 15 Mar 1996 16:35:40 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
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Status: RO

Dear Bob,

The way I see it, your Visual Language project is at the Baconian
stage of collecting the lexicon of signs = <word + image + shape>, and
identifying the emerging conventions on their morphology.  As such, it
is quite a useful and interesting project.

I think some of the claims about images' close attachment to emotional
response, o aesthetic effectiveness are completely misfounded.  In
fact, I believe that neuro-psychological evidence syas that its
olfactory sense data that trigger the greatest emotional response.
And music, at least for me, is by far the most affective mode.   Yet
more ocularcentrism, eh?  But for the sake of argument, and since the
session was about _visual_ language I let that pass.  We'll take this up
after Mark plays his Thunder.

But there are a few claims that gave me pause...May I chew these over
with you?  I'd like to get your responses, then post both our points
to the img-mail.  A little scholarly point counterpoint. Would that be
ok?
 
0.  "In ancient Chinese, however, the pictographs become far more
stylized and it is difficult for the stranger to the langauge to
understand the written symbols."

I can understand your rhetorical need to characterize Chinese and
Egyptian written languages as primitive, archaic forms of
representation (viz. use of the adjective "Ancient" Chinese, when the
examples are of modern Chinese characters.)  Unfortunately, at least
in the case of Chinese, this won't stick.  Chinese is a modern, and
one of the most highly evolved languages used by humans.  (The only
other I can think of that has such a long history of refinement is
Tamil.)

1. The system of Chinese or Egyptian marks has no more arbitrary
relation to speech than Roman-languages' alphabetic systems.  (Apres
Derridian semiotics...)  In fact,by what reason should we expect a
sentient alien to find _any_ human writing system to have a less
arbitrary relation to speech sound than another?  This is an
absolutely crucial point.


2. The pictorial glyphs that those two cultures started with several
thousand years ago evolved in quite different ways, but they did
evolve over many centuries.  As graphical languages, they are much
more nuanced, expressive, and exhibit morphological conventions that
are several centuries more evolved than VL.  Tom Hare, who was present
at the seminar, can give a much more expert testimony to this.  There
is a very large body of work on both calligraphic and hieroglyphic
writing systems that one should examine carefully.  And based on such
obvious counter-examples, it seems clear that pidgin VL and iconic
representations are the "backward" and rudimentary systems of writing,
just a-borning.

In fact, just as astronomoers are captivated by transient phenomena
such as a protostar forming from infalling gas or a nova, as an
armchair semiotician, I, quite intrigued by this fledgling phenomenon
that you've discovered.  I'm intrigued because it's at the earliest,
crudest stage, and even more because it's an example of a pidgin
between image and text-word.

3.  But this phenomenon of fusion between image and text is by no
means new or unique, I'm compelled to point out.  The first examples
that leap to mind are the medieval lettered manuscripts, and Chinese
calligraphy/literature.  (There are copious references.)  It's only
with the introduction of Western printing technology (Chinese printing
technology appeared earlier by several centuries) that certain
conventions emerged distinguishing "text" -- the squiggles that the
typesetters decided to keep in their standard trays -- from image --
the squiggles that were still drawn by hand by illuminators (16c).

4.  IndoEuro-centrism & alphabeto-centrism.

"Everyone agrees that ideographic alphabets based on drawings rather
than phonetic alphabets are much harder to learn..."

	"harder to learn" by whom?  By someone who is already
alphabetized?  It would be enlightening to do some estimates of
literacy across 10 centuries in, say, Italy + MittelEuropa, and in
China.  You may well find that the rates are comparable.  The argument
about the advantages of using a small 26-letter "basis" falls into the
trap of assuming that meaning is alphabetically-based.  As Saussure
poi8nted out, it is not even based at the level of words.  And
post-Wittgenstein, we suspect that meaning may inhere not in any
indivduatable graphemic units, but in whole discourse networks.

5.Technological determinism:

"...and much more difficult for contemporary word processing"

	It is a historical contingency that programming languages were
designed by speakers of Indo-European langauges.  I would be shocked
if this historical contingency did not profoundly constrain
Anglo-German linguistic and even logical theories of language.  This
contingency also constrained the design of word-processors.  Computer
operating systems and software designed from "the ground up" by
non-alphabetic cultures would naturally be modelled after their modes
(physical gestures) of writing, and would presumably be hostile to
alphabetic input.  To argue anything else seems to give some
transcendentally essentialist status to the linear, alphabetic
accident.

6.  Ocularcentric assumption of clarity

	I like your observation that images by themselves have
slippery semantics (agrees also with Charles & APple research on
un-intelligibilty of unlabelled poster-frames).  

7. Isn't VL a special case of Graphic Design?

Graphics artists, who are trained to the highest pitch in combining
all manner of image seem to have incredibly sophisticated and powerful
(=effective in your sense) theories of visual language, which includes
more than image + shape + text.  They have, based on my readings and
from conversations with them, conscious, trained control over elements
like: color, texture, layout, balance, rhythm, text font, text
meaning.  Graphic design, (as "opposed" to "art") does seem to already
have a rich theory of visual language, actually several.  And the
proof of it's effectiveness (in the philosophical, epistemological
sense of an effective theory) is in that designers can go to school
and learn the rules of various visual languages, and make a living
applying these rules in a predictable way.  (Of course, some are
"better" than others and the Spirit moves some to more breathtaking
expression, but this is true also for journalism, a text-based craft.)

Finally, questions.

When is a graphic a "shape" and not an "image"?  Derridean and Quinean
citation make this a tough problem.

Taking your use of the term "language" seriously, it would be
conventional to ask you to define the morphology, syntax, grammar of VL,
and a theory of meaning that's connected to those formal descriptions.

(In each layer of description, VL, if it is a langauge, will exhibit
greater or lesser degrees of conventionalization, of course.)

Like Barbara, I think it's too early, both in your project, and in the
evolution of modern  pidgin text-image signs, to say that we have a
language with syntax and grammar and a theory of meaning, yet, even if
we radically generalize linguistic notions of syntax and grammar.

The reason I bothered to write such a lengthy response is becuase I'm
very much interested in grammatical structures that can be used to
describe non-linear, multidimensional media.  The "natural,
grassroots" human phenomena of CAD, architecture software, VRML,
SGML/HyTime, and your VL are all nudging CS & linguistics theorists in
these new directions.

best regards,
Xin Wei

From xinwei@leland.Stanford.EDU Fri Mar 15 17:44:03 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603160144.RAA08660@elaine42.Stanford.EDU>
Subject: img next year?
To: larryf@leland.Stanford.EDU (Larry Friedlander)
Date: Fri, 15 Mar 1996 17:44:00 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <v01510103ad6f18f67b79@[36.128.0.38]> from "Larry Friedlander" at Mar 15, 96 12:57:17 pm
X-Mailer: ELM [version 2.4 PL25]
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Status: RO

Hello  Larry,

Sure, let's meet next week. Say Thursday before the img seminar?
at 3:00?  Earlier in the week's fine, if you'd like to suggest
a time some late morning (11:00 slots are free).

(Daniel Potter's speaking.)

> What should we do about reapplying for next year. Aplications are due
> beginning April.

Yes, it would be good, but should not depend on my presence.

I'd like to participate if 

(1) I'm around next year, and 

(2) the Hum Center will let us split into two parallel tracks: theory
and design/performance.

I noticed that SATI had (is this the appropriate tense?) a theory
group as well as a whatever group.  How about if I try to start up a
theory track (with another faculty sponsor if necessary & strategic)
while you carry on with the design/performance track?

As I said before, while I strongly believe that any flavorful theory
must be based on cases (or case studies), I need a forum for sharp
theoretical work. (My professional work gives me more case experience
than I can swallow:) This is quite the opposite from most of the
faculty and maybe the students, naturally, so I can see the need for
img-performance/design.  In fact, while the natural tendency would be
for folk like comp-lit or philosophy theoreticians to flock to an
img-theory, it would be better if there were a cross-migration.  
So, it would be great if you would continue the img-design/performance
track.

Nevertheless, over the past 1 1/2 yrs, we have attracted a few sharp
theory people who are also creatively juiced.  Unfortunately, they
tend to drop out after awhile because the discussion leaves too many
of their neurons untickled.  We're beginning to recover some of the
analytical and scholarly steam, I think, and this spring, we'll see if
we can do a bit of creative ratiocination with a few close readings.

Next year, if I'm here, I'd like to run a separate track in which the
people who are already deep into philosophy, cultural studies,
etc. can actually get something out of participating.  If the Hum
Center won't go for this, then maybe an ancillary Reading Group might
work.  (I'm talking to people who haven't joined the img yet about
options.)

By the bye, we also have some procedural problems, related to
conversational airtime and turn taking, but I think that can be worked
out with a bit of facilitation.

It's a lovely Spring out there.   Time to play....

take care,
Xin Wei





From larryf@leland.stanford.edu Fri Mar 15 17:53:16 1996
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Date: Fri, 15 Mar 1996 17:53:12 -0800 (PST)
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: larryf@leland.stanford.edu (Larry Friedlander)
Subject: Re: img next year?
Status: RO

>Hello  Larry,
>
>Sure, let's meet next week. Say Thursday before the img seminar?
>at 3:00?  Earlier in the week's fine, if you'd like to suggest
>a time some late morning (11:00 slots are free).
>
>(Daniel Potter's speaking.)
>
>> What should we do about reapplying for next year. Aplications are due
>> beginning April.
>
>Yes, it would be good, but should not depend on my presence.
>
>I'd like to participate if
>
>(1) I'm around next year, and
>
>(2) the Hum Center will let us split into two parallel tracks: theory
>and design/performance.
>
>I noticed that SATI had (is this the appropriate tense?) a theory
>group as well as a whatever group.  How about if I try to start up a
>theory track (with another faculty sponsor if necessary & strategic)
>while you carry on with the design/performance track?
>
>As I said before, while I strongly believe that any flavorful theory
>must be based on cases (or case studies), I need a forum for sharp
>theoretical work. (My professional work gives me more case experience
>than I can swallow:) This is quite the opposite from most of the
>faculty and maybe the students, naturally, so I can see the need for
>img-performance/design.  In fact, while the natural tendency would be
>for folk like comp-lit or philosophy theoreticians to flock to an
>img-theory, it would be better if there were a cross-migration.
>So, it would be great if you would continue the img-design/performance
>track.
>
>Nevertheless, over the past 1 1/2 yrs, we have attracted a few sharp
>theory people who are also creatively juiced.  Unfortunately, they
>tend to drop out after awhile because the discussion leaves too many
>of their neurons untickled.  We're beginning to recover some of the
>analytical and scholarly steam, I think, and this spring, we'll see if
>we can do a bit of creative ratiocination with a few close readings.
>
>Next year, if I'm here, I'd like to run a separate track in which the
>people who are already deep into philosophy, cultural studies,
>etc. can actually get something out of participating.  If the Hum
>Center won't go for this, then maybe an ancillary Reading Group might
>work.  (I'm talking to people who haven't joined the img yet about
>options.)
>
>By the bye, we also have some procedural problems, related to
>conversational airtime and turn taking, but I think that can be worked
>out with a bit of facilitation.
>
>It's a lovely Spring out there.   Time to play....
>
>take care,
>Xin Wei

Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756



From owner-img-mail@lists.Stanford.EDU Fri Mar 15 18:08:52 1996
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Date: Fri, 15 Mar 1996 18:08:40 -0800 (PST)
From: Barbara Tversky <bt@psych.stanford.edu>
Message-Id: <199603160208.SAA10061@psych.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
Subject: interesting website
Cc: levy@psych.stanford.edu, schiano@interval.com, suwa@csli.Stanford.EDU,
        zacks@psych.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

For those of you interested in diagrams, sketches, visual language, etc.,
check out the Electronic Cocktail Napkin, a sketching tool for architects
that isn't confining like current CAD-CAM programs, work of Mark Gross
and Ellen Do.  http://wallstreet.colorado.edu/napkin


From owner-img-mail@lists.Stanford.EDU Wed Mar 20 11:18:34 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 20 Mar 96 11:20:20 -0800
To: img-mail@lists.Stanford.EDU
Subject: Daniel Potter on Documentary Film
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O

Dear img folk,

This Thursday, for the last seminar this quarter, Daniel Potter will
discuss documentary film and new media.   Please check the website

http://www-leland.stanford.edu/~xinwei/pub/img/

for links to Daniel's notes and bibliography.

- Xin Wei

From owner-img-mail@lists.Stanford.EDU Wed Mar 20 11:18:34 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 20 Mar 96 11:20:20 -0800
To: img-mail@lists.Stanford.EDU
Subject: Daniel Potter on Documentary Film
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

Dear img folk,

This Thursday, for the last seminar this quarter, Daniel Potter will
discuss documentary film and new media.   Please check the website

http://www-leland.stanford.edu/~xinwei/pub/img/

for links to Daniel's notes and bibliography.

- Xin Wei

From xinwei@leland.Stanford.EDU Thu Mar 21 11:36:21 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603211936.LAA10461@elaine42.Stanford.EDU>
Subject: Re: List of participants (fwd)
To: sue.dambrau@Forsythe.Stanford.EDU
Date: Thu, 21 Mar 1996 11:36:10 -0800 (PST)
Cc: keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199603211909.LAA28099@elaine20.Stanford.EDU> from "John Keeling" at Mar 21, 96 11:09:53 am
X-Mailer: ELM [version 2.4 PL25]
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Status: O

Dear Sue,

Here's a list of names, mostly as email addresses.   I also ran the
email addresses through the "finger" program to try to extract names.
 I attach the results below.   Apologies -- I couldn't take the
time to edit the results.

best regards,
Xin Wei
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________


-------------  Interactive Media Seminar participants ------------

Alan Bush <bush@team-prometheus.com>
Bill Verplank, Interval Research
John Keeling <keeling@leland.Stanford.EDU>
RFRANK@leland.stanford.edu
Sarah Sarojini Jain <ssjain@cats.ucsc.edu>
Tom Hare, Comparative Literature, Asian Languages
bobhorn@well.com
bt@psych.stanford.edu
clsalt@leland.stanford.edu
cnastro@leland.Stanford.EDU
curtis@roses.stanford.edu
decker@leland.Stanford.EDU
dolan@leland.stanford.edu
doug_felt@taligent.com
drewcb@leland.Stanford.EDU
dwm@leland.stanford.edu
eva@csli.Stanford.EDU
farabo@eworld.com
helga_wild@irl.org
hf.pvy@forsythe.stanford.edu
holeton@leland.stanford.edu
irmscher@Leland.stanford.edu
issac@mednet.Stanford.EDU
jamb@leland.Stanford.EDU
jamb@leland.stanford.edu
josslm@leland.Stanford.EDU
jross@leland.Stanford.EDU
karenl@cats.ucsc.edu
kernsc@leland.stanford.edu
larryf@leland.stanford.edu
leifer@cdr.stanford.edu
marcelo@leland.stanford.edu
mcarter@digipix.com
mcrane@leland.Stanford.EDU
mcyang@cdr.stanford.edu
meg@steam.stanford.edu
mqwang@pcd.stanford.edu
njj@cdr.stanford.edu
nolan@cs.stanford.edu
otto@leland.stanford.edu
paulc@leland.stanford.edu
potter@interval.com
rayner@leland.stanford.edu
reichard@leland.stanford.edu
rjfleck@ccrma.stanford.edu
sau@sandia.gov
schoch@leland.stanford.edu
weinstne@leland.stanford.edu
xinwei@leland.stanford.edu

-------------  more information about img folk  ------------

[leland.stanford.edu]
Login name: rfrank                      In real life: ross frank
Directory: /afs/ir/users/r/f/rfrank     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 21 08:29:35 on ttyq8 from tip-mp9-ncs.Stan
2 minutes 48 seconds Idle Time
Mail last read Thu Mar 21 11:14:13 1996
Plan:
Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 21 09:06:39 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com]
[leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Sun Mar  3 13:37 on ttyp1 from zorro.ucsd.edu
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
Directory: /meta-x-user/neuberg     	Shell: /bin/frozen
Never logged in.
No unread mail
No Plan.
unknown host: eworld.com
unknown host: irl.org
[forsythe.stanford.edu]
User hf.pvy  (Patience Young)  not logged on.
Last logoff was Wed, 20 Mar 96 17:14:21 PST
[leland.stanford.edu]
Login name: holeton                     In real life: Richard Holeton
Directory: /afs/ir/users/h/o/holeton    Shell: /bin/tcsh
No unread mail
[Leland.stanford.edu]
Login name: irmscher                    In real life: Michael Wolf Irmscher
Directory: /afs/ir/users/i/r/irmscher   Shell: /bin/tcsh
No unread mail
[mednet.Stanford.EDU]
finger: issac: no such user
[leland.Stanford.EDU]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: josslm                      In real life: Jocelyn l Marsh
Directory: /afs/ir/users/j/o/josslm     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.Stanford.EDU]
Login name: jross                       In real life: Janice Lynn Ross
Directory: /afs/ir/users/j/r/jross      Shell: /bin/tcsh
No unread mail
[cats.ucsc.edu]
Login name: karenl                      In real life: Karen Lee                 
Nickname:                               Home phone:                             
Office:                                 Office phone:                           
Electronic mail address: karenl@CATS.UCSC.EDU

[leland.stanford.edu]
Login name: kernsc                      In real life: Charles Kerns
Directory: /afs/ir/users/k/e/kernsc     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: larryf                      In real life: Larry Friedlander
Directory: /afs/ir/users/l/a/larryf     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: leifer    			In real life: Larry Leifer
Office:  CDR
Directory: /home/leifer             	Shell: /bin/tcsh
Last login Mon Feb 27, 1995 on ttyp1 from rm507mac.Stanfor
No Plan.
[leland.stanford.edu]
Login name: marcelo                     In real life: Marcelo Clerici-Arias
Directory: /afs/ir/users/m/a/marcelo    Shell: /bin/tcsh
No unread mail
Project: Family and economics (in that order).
Plan:

Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305                      
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres, 
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

[digipix.com]
[leland.Stanford.EDU]
Login name: mcrane                      In real life: Margaret Franklin Crane
Directory: /afs/ir/users/m/c/mcrane     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: mcyang    			In real life: Maria Yang
Office:  MRC
Directory: /home/mcyang             	Shell: /bin/tcsh
Last login Fri Apr  1, 1994 on :0
Project: 
Plan:
Graduate Research Assistant 

Center for Design Research, Room 214
560 Panama Street
Stanford, CA  94305-2232

Home (ans machine)	(415) 322-0657
Office (ans machine)	(415) 723-7909
CDR Computer room   	(415) 725-0163
CDR FAX			(415) 725-8475

Pay no attention to the man behind the curtain!

			-- The Wizard, "The Wizard of Oz"
[steam.stanford.edu]
Login       Name               TTY         Idle    When    Where
meg      Meg Worley            pts/28       <Mar 21 08:47> tip-mp6-ncs.Stan    
[pcd.stanford.edu]
finger: /usr/adm/lastlog open error
Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:03:43 on ttyp0 from Oi.Stanford.EDU:
5 minutes 49 seconds Idle Time
No unread mail
Project: CS Ph.D. (Advisor: Terry Winograd)
Plan:

Address:	Gates Building 3B
		Stanford University
         	Stanford, CA  94305

Phone:   	(415) 723-7784

URL:	 	http://www-pcd.stanford.edu/michelle/

Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:04:35 on ttyp1 from Oi.Stanford.EDU:
22 hours Idle Time
[cdr.stanford.edu]
Login name: njj       			In real life: Natalie Jeremijenko
Office:  LJL
Directory: /home/njj                	Shell: /bin/tcsh
Last login Thu Oct 19 18:25 on ttyp0 from scts3.harvard.ed
Project: No project specified.
Plan:
No plan provided.
[cs.stanford.edu]
fingerd:  connect call died in client
[leland.stanford.edu]
Login name: otto                        In real life: Greg Niemeyer
Directory: /afs/ir/users/o/t/otto       Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: paulc                       In real life: Paul Yung-Wei Chong
Directory: /afs/ir/users/p/a/paulc      Shell: /bin/tcsh
No unread mail
[interval.com]
[leland.stanford.edu]
Login name: rayner                      In real life: Alice Rayner
Directory: /afs/ir/users/r/a/rayner     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: reichard                    In real life: Claude M Reichard
Directory: /s17/r/reichard              Shell: /bin/tcsh
No unread mail
[ccrma.stanford.edu]
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
R. J. Fleck (rjfleck) is not presently logged in.
Last seen at cmn8 on Thu Feb 29 13:52:25 1996 from Terminal Corridor
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
[sandia.gov]

[leland.stanford.edu]
Login name: schoch                      In real life: Richard Walter Schoch
Directory: /afs/ir/users/s/c/schoch     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: weinstne                    In real life: Ann Weinstone
Directory: /afs/ir/users/w/e/weinstne   Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: xinwei                      In real life: Xin-Wei Sha
Directory: /afs/ir/users/x/i/xinwei     Shell: /bin/tcsh
No unread mail
Plan:
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________

From xinwei@leland.Stanford.EDU Thu Mar 21 11:36:21 1996
Received: from elaine42.Stanford.EDU (elaine42.Stanford.EDU [36.218.0.90]) by popserver.Stanford.EDU (8.7.5/8.7.3) with ESMTP id LAA06818 for <xinwei@popserver.Stanford.EDU>; Thu, 21 Mar 1996 11:36:15 -0800 (PST)
Received: (from xinwei@localhost) by elaine42.Stanford.EDU (8.7.5/8.7.3) id LAA10461; Thu, 21 Mar 1996 11:36:10 -0800 (PST)
From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603211936.LAA10461@elaine42.Stanford.EDU>
Subject: Re: List of participants (fwd)
To: sue.dambrau@Forsythe.Stanford.EDU
Date: Thu, 21 Mar 1996 11:36:10 -0800 (PST)
Cc: keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199603211909.LAA28099@elaine20.Stanford.EDU> from "John Keeling" at Mar 21, 96 11:09:53 am
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Status: O

Dear Sue,

Here's a list of names, mostly as email addresses.   I also ran the
email addresses through the "finger" program to try to extract names.
 I attach the results below.   Apologies -- I couldn't take the
time to edit the results.

best regards,
Xin Wei
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________


-------------  Interactive Media Seminar participants ------------

Alan Bush <bush@team-prometheus.com>
Bill Verplank, Interval Research
John Keeling <keeling@leland.Stanford.EDU>
RFRANK@leland.stanford.edu
Sarah Sarojini Jain <ssjain@cats.ucsc.edu>
Tom Hare, Comparative Literature, Asian Languages
bobhorn@well.com
bt@psych.stanford.edu
clsalt@leland.stanford.edu
cnastro@leland.Stanford.EDU
curtis@roses.stanford.edu
decker@leland.Stanford.EDU
dolan@leland.stanford.edu
doug_felt@taligent.com
drewcb@leland.Stanford.EDU
dwm@leland.stanford.edu
eva@csli.Stanford.EDU
farabo@eworld.com
helga_wild@irl.org
hf.pvy@forsythe.stanford.edu
holeton@leland.stanford.edu
irmscher@Leland.stanford.edu
issac@mednet.Stanford.EDU
jamb@leland.Stanford.EDU
jamb@leland.stanford.edu
josslm@leland.Stanford.EDU
jross@leland.Stanford.EDU
karenl@cats.ucsc.edu
kernsc@leland.stanford.edu
larryf@leland.stanford.edu
leifer@cdr.stanford.edu
marcelo@leland.stanford.edu
mcarter@digipix.com
mcrane@leland.Stanford.EDU
mcyang@cdr.stanford.edu
meg@steam.stanford.edu
mqwang@pcd.stanford.edu
njj@cdr.stanford.edu
nolan@cs.stanford.edu
otto@leland.stanford.edu
paulc@leland.stanford.edu
potter@interval.com
rayner@leland.stanford.edu
reichard@leland.stanford.edu
rjfleck@ccrma.stanford.edu
sau@sandia.gov
schoch@leland.stanford.edu
weinstne@leland.stanford.edu
xinwei@leland.stanford.edu

-------------  more information about img folk  ------------

[leland.stanford.edu]
Login name: rfrank                      In real life: ross frank
Directory: /afs/ir/users/r/f/rfrank     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 21 08:29:35 on ttyq8 from tip-mp9-ncs.Stan
2 minutes 48 seconds Idle Time
Mail last read Thu Mar 21 11:14:13 1996
Plan:
Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 21 09:06:39 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com]
[leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Sun Mar  3 13:37 on ttyp1 from zorro.ucsd.edu
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
Directory: /meta-x-user/neuberg     	Shell: /bin/frozen
Never logged in.
No unread mail
No Plan.
unknown host: eworld.com
unknown host: irl.org
[forsythe.stanford.edu]
User hf.pvy  (Patience Young)  not logged on.
Last logoff was Wed, 20 Mar 96 17:14:21 PST
[leland.stanford.edu]
Login name: holeton                     In real life: Richard Holeton
Directory: /afs/ir/users/h/o/holeton    Shell: /bin/tcsh
No unread mail
[Leland.stanford.edu]
Login name: irmscher                    In real life: Michael Wolf Irmscher
Directory: /afs/ir/users/i/r/irmscher   Shell: /bin/tcsh
No unread mail
[mednet.Stanford.EDU]
finger: issac: no such user
[leland.Stanford.EDU]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: josslm                      In real life: Jocelyn l Marsh
Directory: /afs/ir/users/j/o/josslm     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.Stanford.EDU]
Login name: jross                       In real life: Janice Lynn Ross
Directory: /afs/ir/users/j/r/jross      Shell: /bin/tcsh
No unread mail
[cats.ucsc.edu]
Login name: karenl                      In real life: Karen Lee                 
Nickname:                               Home phone:                             
Office:                                 Office phone:                           
Electronic mail address: karenl@CATS.UCSC.EDU

[leland.stanford.edu]
Login name: kernsc                      In real life: Charles Kerns
Directory: /afs/ir/users/k/e/kernsc     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: larryf                      In real life: Larry Friedlander
Directory: /afs/ir/users/l/a/larryf     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: leifer    			In real life: Larry Leifer
Office:  CDR
Directory: /home/leifer             	Shell: /bin/tcsh
Last login Mon Feb 27, 1995 on ttyp1 from rm507mac.Stanfor
No Plan.
[leland.stanford.edu]
Login name: marcelo                     In real life: Marcelo Clerici-Arias
Directory: /afs/ir/users/m/a/marcelo    Shell: /bin/tcsh
No unread mail
Project: Family and economics (in that order).
Plan:

Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305                      
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres, 
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

[digipix.com]
[leland.Stanford.EDU]
Login name: mcrane                      In real life: Margaret Franklin Crane
Directory: /afs/ir/users/m/c/mcrane     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: mcyang    			In real life: Maria Yang
Office:  MRC
Directory: /home/mcyang             	Shell: /bin/tcsh
Last login Fri Apr  1, 1994 on :0
Project: 
Plan:
Graduate Research Assistant 

Center for Design Research, Room 214
560 Panama Street
Stanford, CA  94305-2232

Home (ans machine)	(415) 322-0657
Office (ans machine)	(415) 723-7909
CDR Computer room   	(415) 725-0163
CDR FAX			(415) 725-8475

Pay no attention to the man behind the curtain!

			-- The Wizard, "The Wizard of Oz"
[steam.stanford.edu]
Login       Name               TTY         Idle    When    Where
meg      Meg Worley            pts/28       <Mar 21 08:47> tip-mp6-ncs.Stan    
[pcd.stanford.edu]
finger: /usr/adm/lastlog open error
Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:03:43 on ttyp0 from Oi.Stanford.EDU:
5 minutes 49 seconds Idle Time
No unread mail
Project: CS Ph.D. (Advisor: Terry Winograd)
Plan:

Address:	Gates Building 3B
		Stanford University
         	Stanford, CA  94305

Phone:   	(415) 723-7784

URL:	 	http://www-pcd.stanford.edu/michelle/

Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:04:35 on ttyp1 from Oi.Stanford.EDU:
22 hours Idle Time
[cdr.stanford.edu]
Login name: njj       			In real life: Natalie Jeremijenko
Office:  LJL
Directory: /home/njj                	Shell: /bin/tcsh
Last login Thu Oct 19 18:25 on ttyp0 from scts3.harvard.ed
Project: No project specified.
Plan:
No plan provided.
[cs.stanford.edu]
fingerd:  connect call died in client
[leland.stanford.edu]
Login name: otto                        In real life: Greg Niemeyer
Directory: /afs/ir/users/o/t/otto       Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: paulc                       In real life: Paul Yung-Wei Chong
Directory: /afs/ir/users/p/a/paulc      Shell: /bin/tcsh
No unread mail
[interval.com]
[leland.stanford.edu]
Login name: rayner                      In real life: Alice Rayner
Directory: /afs/ir/users/r/a/rayner     Shell: /bin/tcsh
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__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
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From potter@interval.com Wed Mar 20 11:50:55 1996
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Date: Wed, 20 Mar 1996 11:53:44 +0800
To: Sha Xin Wei <xinwei@leland.stanford.edu>
From: potter@interval.com (Daniel Potter)
Subject: DocuMemory abstract
Status: RO

DocuMemory:  Mnemonics and the Mutations of Documentary

A talk for the IMG, March 21, 1996, 5pm
Humanities Annex
Stanford University

Daniel Potter

I attempt in this presentation to locate what might be considered
*aberrations* of documentary film form and practice.  To initiate this move
outside of traditional documentary forms, production, and scholarship, I
look toward dual historical horizons -- back to the days of rhetorical
invention and the art of memory, and forward into emerging realms of
digital archives, distributed media, and spectator-side authorship.  First
I will set out several issues that have intrigued and plagued the
theoretical scholarship on documentary film; from there, I will sketch the
connection of essay film to the art of memory, and finally look at the
notion and evolving reality of digital audio-visual archives that signal
the advent of new media forms.  Of special interest will be the archival or
compilation film as it moves into multimedia authoring scenarios.




From potter@interval.com Wed Mar 20 10:41:59 1996
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Date: Wed, 20 Mar 1996 10:44:48 +0800
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: potter@interval.com (Daniel Potter)
Subject: DocuMemory Bibliography
Status: RO



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Xin-Wei:
Attached is my bibliography in word form and html.  Abstract to follow in
an hour.  Sorry about the delay.
daniel

>will check my email tonight and tomorrow morn.
>see you...xinwei



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<html><head><!-- This document was created from RTF source by rtftohtml version
2.7.5 --><title>DocuMemory Bibliography</title></head>
<BODY BGCOLOR="#222222" TEXT="#EEEEEE" LINK="#DDDDDD"
ALINK="#BBBBBB" VLINK="#BBBBBB">
<center><font size=+2><b>DocuMemory
Bibliography</b><p></font>
<font size=+1>
<b>Daniel Potter</b><p></font>
<hr size=8 width=8>
</center>
<p>
<font size=+1>A.  Documentary Film<p></font>
<i>100 Ann&eacute;es Lumi&egrave;re.  Retrosp&eacute;ctive de l'oeuvre
documentaire des grands cin&eacute;astes fran&ccedil;ais de Louis
Lumi&egrave;re jusqu'&agrave; nos jours</i>.  Paris:  Minist&egrave;re des
affaires &eacute;trang&egrave;res, 1991.<p>
Barnouw, Eric.  <i>Documentary:  A History of the Non-Fiction Film</i>.
London:  Oxford, 1974.<p>
Barsam, Richard Meran.  <i>Nonfiction Film:  A Critical History</i>.  New York:
Dutton, 1973.<p>
Burton, Juliane, ed.  <i>The Social Documentary in Latin America</i>.
Pittsburg: Univ. of Pittsburg Press, 1990.<p>
Guynn, William.  <i>A Cinema of Nonfiction</i>.  Rutherford:  Fairleigh
Dickinson Univ. Press / London:  Associated Univ. Presses, 1990.<p>
Lovell, Alan and Jim Hillier.  <i>Studies in Documentary</i>.  New York:
Viking, 1972.<p>
Mamber, Steven.  <i>Cinema Verite in America.:  Studies in Uncontrolled
Documentary</i>.  Cambridge, Mass:  MIT Press, 1974.<p>
Renov, Michael, ed.  <i>Theorizing Documentary</i>.  New York:  Routledge,
1993.<p>
Rosenthal, Alan.  <i>New Challenges for Documentary</i>.  Berkeley:  Univ. of
California, 1988.<p>
Roth, Wilhelm.  <i>Der Dokumentarfilm seit 1960</i>.  M&uuml;nchen:  Bucher,
1982.<p>
Trinh, T. Minh-ha.  "Documentary Is/Not a Name."  <i>October</i> 52 (Spring
1990), 76-98.<p>
Vertov, Dziga.  <i>Kino-Eye:  The Writings of Dziga Vertov</i>.  Ed. Annette
Michelson. Trans. Kevin O'Brien.  Berkeley:  Univ. of California Press, 1984.<p>
Winston, Brian.  <i>Claiming the Real:  The Documentary Film Revisited</i>.
London:  BFI, 1995.<p>
Zagaglia, Paolo et al, eds.  <i>Cin&eacute;ma et r&eacute;alit&eacute;</i>.
Bruxelles:  Vie Ouvri&egrave;re / Centre de l'audio-visuel, 1982.<p>
<br>
<hr size=8 width=8>
<font size=+1>
B.  Ethnographic Film / Visual Anthropology<p></font>
Clifford, James.  <i>The Predicament of Culture:  Twentieth Century
Ethnography, Literature and Art</i>.  Cambridge:  Harvard Univ. Press, 1988.<p>
Crawford, Peter, ed.  <i>Film as Ethnography</i>.  Manchester:  Manchester
Univ. Press, 1992.<p>
Heider, Karl G.  <i>Ethnographic Film</i>.  Austin:  University of Texas Press,
1976.<p>
Hockings, Paul, ed.  <i>Principles of Visual Anthropology</i>.  2nd ed.
Berlin/New York:  Mouton de Gruyter, 1995.<p>
Loizos, Peter. <i> Innovation in ethnographic film:  From innocence to
self-consciousness, 1955-1985</i>.  Chicago:  Univ. of Chicago, 1993.<p>
Stoller, Paul.  <i>The Cinematic Griot:  The Ethnography of Jean Rouch</i>.
Chicago:  Univ. of Chicago Press, 1992.<p>
Taylor, Lucien, ed.  <i>Visualizing Theory:  Selected Essays from V.A.R.,
1990-1994</i>.  New York:  Routledge, 1994.<p>
Trinh T., Minh-ha.  <i>When the Moon Waxes Red:  Representation, Gender and
Cultural Politics</i>.  New York:  Routledge, 1991.<p>
<br>
<hr size=8 width=8>
<font size=+1>
C.  Archives and Archival Film<p></font>
Chartier, Roger. <i> The Order of Books:  Readers, Authors, and Libraries in
Europe between the Fourteenth and Eighteenth Centuries</i>.  Trans.  Lydia G.
Cochrane.  Stanford:  Stanford Univ. Press, 1994.<p>
Delage, Christian, ed.  <i>Ecrits, images et sons dans la Biblioth&egrave;que
de France</i>.  Paris:  IMEC / Biblioth&egrave;que de France, 1991.<p>
Houston, Penelope.  <i>Keepers of the Frame:  The Film Archives</i>.  London:
BFI, 1994.<p>
Leyda, Jay.  <i>Films Beget Films:  A Study of the Compilation Film</i>.  New
York:  Hill and Wang, 1964.<p>
<i>Representations</i> 42 (Spring 1993)  "Future Libraries."<p>
Roud, Richard.  <i>A Passion for Films:  Henri Langlois and the
Cin&eacute;mat&egrave;que Fran&ccedil;aise</i>.  New York:  Viking Press,
1983.<p>
<br>
<hr size=8 width=8>
<font size=+1>
D.  Video and Self-Portrait Media<p></font>
Beaujour, Michel.  <i>Miroirs d'encre:  Rh&eacute;torique de
l'autoportrait</i>.  Paris:  Seuil, 1980.  [<i>Poetics of the Literary
Self-Portrait</i>.  Trans. Yara Milos.  New York:  NYU Press, 1991].<p>
Bellour, Raymond. <i> L'Entre-Images.  Photo. Cin&eacute;ma. Vid&eacute;o</i>.
Paris:  La Diff&eacute;rence, 1990.<p>
_______, ed.  <i>Eye for I:  Video Self-Portraits, A Traveling Exhibition</i>.
New York:  Independent Curators Inc. [ICI], 1989.<p>
Hall, Doug and Sally Jo Fifer. <i> Illuminating Video:  An Essential Guide to
Video Art</i>.  New York:  Aperture/BAVC, 1990.<p>
Renov, Michael and Erika Suderburg, eds.  <i>Resolutions:  Contemporary Video
Practices</i>.  Minneapolis:  Univ. of Minnesota Press, 1996.<p>
<br>
<hr size=8 width=8>
<font size=+1>
E.  Rhetoric and the Art of Memory<p></font>
Barilli, Renato.  <i>Rhetoric</i>.  Trans.  Giuliana Menozzi.  Minneapolis:
Univ. of Minnesota Press, 1989.<p>
Beaujour, Michel.  <i>Miroirs d'encre:  Rh&eacute;torique de
l'autoportrait</i>.  Paris:  Seuil, 1980.  [<i>Poetics of the Literary
Self-Portrait</i>.  Trans. Yara Milos.  New York:  NYU Press, 1991].<p>
Bonner, Anthony, ed.  <i>Doctor Illuminatus:  A Ramon Llull Reader</i>.
Princeton:  Princeton Univ. Press, 1993.<p>
Bruno, Giordano.  <i>On the Composition of Images, Signs &amp; Ideas</i>.
Trans.  Charles Doria.  Ed. Dick Higgins.  New York:  Willis, Locker &amp;
Owens, 1991.<p>
Conley, Thomas M.  <i>Rhetoric in the European Tradition</i>.  Chicago:  Univ.
of Chicago Press, 1990.<p>
Ong, Walter J.  <i>Ramus, Method, and the Decay of Dialogue</i>.  Cambridge,
Mass.:  Harvard Univ. Press, 1958.<p>
_______.  <i>Orality and Literacy:  The Technologizing of the Word</i>.
London:  Routledge, 1982.<p>
Yates, Francis.  <i>The Art of Memory</i>.  Chicago:  Univ. of Chicago Press,
1966.<p>
<br>
<hr size=8 width=8>
<font size=+1>
F.  Genre Evolution<p></font>
Bensma&iuml;a, Reda.  <i>The Barthes Effect:  The Essay as Reflective Text</i>.
<p>
Trans. Pat Fedkiew.  Minneapolis:  Univ. of Minnesota Press, 1987.<p>
Deleuze, Gilles.  "The Powers of the False."  <i>Cinema 2: The Time-Image</i>.
Minneapolis:  Univ. of Minnesota Press, 1989, 126-155.<p>
Marker, Chris.  <i>Commentaires 1</i>.  Paris:  Seuil, 1961.<p>
_______.  <i>Commentaires 2</i>.  Paris:  Seuil, 1967.<p>
Renov, Michael.  "Lost, Lost, Lost:  Mekas as Essayist."  <i>To Free the
Cinema:  Jonas Mekas and the New York Underground</i>.  Princeton:  Princeton
Univ. Press, 1992, 215-239.<p>
Silverman, Kaja.  <i>The Threshold of the Visible World</i>.  New York:
Routledge, 1996.<p>
Bl&uuml;minger, Christa and Constantin Wulff, ed.  <i>Schreiben Bilder
Sprechen:  Text zum essayistischen Film</i>.  Vienna:  Sonderzahl, 1992.<p>
Lanham, Richard A.  <i>The Electronic Word:  Democracy, Technology, and the
Arts</i>.  Chicago:  Univ. of Chicago Press, 1993.<p>
Ulmer, Gregory.  <i>Teletheory:  Grammatology in the Age of Video</i>.  New
York:  Routledge, 1989.<p>
Hattendorf, Manfred.  <i>Closeup:  Dokumentarfilm und Authentizit&auml;t:
&Auml;sthetik und Pragmatik einer Gattung</i>.  Konstanz:  Haus des
Dokumentarfilms, 1994.<p>
<hr>
<hr size=8 width=8>
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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!$eI3!!:


--============_-1384832608==_============--


From bt@psych.Stanford.EDU Wed Mar 20 09:44:51 1996
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Date: Wed, 20 Mar 1996 09:44:43 -0800 (PST)
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199603201744.JAA12621@psych.Stanford.EDU>
To: bobhorn@well.com
Subject: pictures
Cc: bt@psych.Stanford.EDU, xinwei@leland.Stanford.EDU
Status: RO

Bob--

Again, I was sorry I couldn't stay longer for last week's discussion; it
was fun.

A number of people in philosophy, CS, and computer science have been
thinking about the role of diagrams in thinking and communication.  Some
of it gets technical and esoteric, and it hasn't coalesced into a
discipline.  Here are a few of those sources:

Writings of C. S. Pierce.

Goodman, N. (1968).  Languages of Art.  Indianopolis:  Bobbs-Merrill.

Stenning, K. and Oberlander, J. (1995). A cognitive theory of graphical
and linguistic reasoning:  Logic and implementation.  Cognitive
Science, 19, 97-140.

Walton, Ken.  A book with Mimetics in the title.

Notes from a 1992 AAAI session on diagrammatic reasoning, some of which
got turned into an MIT press (?) book edited by Hari Narayanan and
others.

Here's part of the issue.  Languages for the most part are symbolic,
with arbitrary relations between the symbols and the things they
signify.  Diagrams, pictures, and the like capitalize on the
non-arbitrariness of the relations between symbols (pictures) and the
things they signify, that is part of their power (Goodman argues that
pictures are symbolic, but many don't agree; his criteria for a symbol
system are very restrictive).  Now clearly there are instances of
pictorics that are arbitrary, like the symbols for notes in musical
notation, but the mapping of higher notes to higher on the page does not
feel arbitrary.  In spoken language, there are examples that don't feel
arbitrary, either, and seem to occur cross-culturally, irrespective of
language, e. g., raising the voice in anger, lowering it in sadness.
Many gestures have similar qualities.  In fact, gesture in spoken speech
seems to me to be a close comparison to diagrams in written (or spoken)
speech; they clearly carry meaning and can supplement and even override
the words.  Gestures and depictions do different things well, gestures
are better at animation and depictions at static concepts on the whole.
(Randi Engle, a grad student in education, is looking at how people use
gesture and diagrams in explaning locks.)  A number of people have been
thinking about these issues on campus, as you probably know, among them
John Etchemendy, John Perry, Betsy Macken, Herb Clark, and others,
though all of this may be more philosophical than what you have in mind.

To be continued...

Barbara

From tlenoir@leland.stanford.edu Sat Mar 23 15:33:58 1996
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Date: Sat, 23 Mar 1996 15:39:15 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Re: Request for approval of Sophomore Dialogue Seminar
Status: RO

What does this mean: > But sure, if I'm around, I'd love to be
>involved.  > Where are you going???? Staying I hope!

I would like to be involved in the interactive media group. Making it the
forum for working out the ideas on the media conference sounds good too.

T



From owner-img-mail@lists.Stanford.EDU Sun Mar 24 13:41:13 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199603242140.NAA17875@elaine18.Stanford.EDU>
Subject: SoundCulture 96
To: img-mail@lists.Stanford.EDU, douge@cs.berkeley.edu, doug_felt@taligent.com,
        as.lll@forsythe.stanford.edu, thurtle@leland.stanford.edu,
        kernsc@leland.stanford.edu, niklas@leland.stanford.edu,
        helga_wild@irl.org, shenly@leland.stanford.edu, trogu@netcom.com,
        rocha@jupiter.SJSU.EDU, JOE.MARHOUL.syntex.com@leland.stanford.edu,
        mackey@hpl.hp.com
Date: Sun, 24 Mar 1996 13:40:55 -0800 (PST)
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Status: O

Amici,

This sounds like a fabulous set of performances and conferences on
sound culture.  See the WWWebsite: http://www.lns.com/sc96.html for
details.  Below I attach the blurb, plus a list of some events that
Rosanna and I would like to attend. Please tell me if you'd like to go
together to some events.

Xin Wei
phone: 327-8533 , 725-3152

--------------- About SoundCulture 96  ------------
J

April 3-13, 1996


about...

April 3-13, 1996, the San Francisco Bay Area will host SoundCulture 96, the third
transpacific festival of contemporary sound practices. It follows two highly successful
SoundCulture events presented in Sydney in 1991 and Tokyo in 1993. Participants will
include artists, researchers, cultural theorists, presenting organizations, academic
institutions, and others working with sound. Events will include performances, exhibitions,
symposia, radio transmissions, experimental and indigenous musics, and new media arts.
As well, listening rooms will provide an opportunity to hear a wide variety of recorded
sound works in an informal setting. SoundCulture 96 will bring together local and
international sound practitioners of the Pacific to explore the varieties of culture that are
perceived through our ears. 

SoundCulture is the only festival of its kind to be held in the United States; no other art or
music festival in this country has focused on the sonic arts with this kind of scope and
format. Due to its ephemeral nature, sonic art work does not fit well into the structures that
support the presentation and discussion of either visual art or music. While the influence of
sound work can be found in everything from film to installation to the media arts, the form
itself has not been accorded the kind of attention its influence warrants. SoundCulture's
unique focus on this kind of activity presents an opportunity to expose experimental sound
work well beyond Eurocentric cultural boundaries, and to demonstrate links, crosscurrents,
and diversity in the sonic arts of the Pacific Region. history 

SoundCulture was initiated by artists and arts organizers in Australia working with the
Performance Space, the Listening Room at the Australia Broadcast Corporation, and the
Sound Studies Program at the University of Technology-Sydney. A festival composed of
exhibitions, performances, radio broadcasts, and symposia was held in October, 1991 under
the name of Invisible Cities/Impossible Objects. Representatives from Japan, New Zealand,
and the United States were invited to attend. Events included installations by Paul DeMarinis
(USA), Minoru Sato (Japan), performances by Anna Sabiel (Australia), Rodney Berry
(Australia), a sonic taxi ride through Sydney, and a piece by Alvin Curran (USA) for ship
horns in Sydney Harbor. 

This was followed in November, 1993 by the second festival, SoundCulture Japan '93,
held in Tokyo. Events took place at several sites including Theatre X, Kiryu Yurin-kan, the
Kawasaki City Museum, Art Forum Yanaka, and the Tokyo Bunka Kakikan. It included
works by Mamoru Fujieda (Japan), Douglas Kahn and Frances Dyson (USA/Australia),
Chris Mann (Australia), Phil Dadson (NZ), and Mineko Grimmer (Japan/USA). 

SoundCulture 96 was made possiible possible through the support and participation of a
large number of local and international institutions.

sponsors 
host committee 
credits 
contact information



sponsors

This festival was assisted by the Government of Australia through the Embassy of Australia,
Washington, D.C. Generous support for SoundCulture 96 was provided by the California
Tamarack Foundation, the Goethe Institute, Meyer Sound, Late Nite Software, and
Vanderbyl & Associates. Trimpin's exhibition at the Exploratorium was made possible by
AT&T: New Experiments in Art & Technology. Ed Osborn's exhibition at the Center for the
Arts at Yerba Buena Gardens was supported in part by Atlas Model Railroad Company and
Builders In Scale. 




host committee

The Host Committee consists of representatives from the organizing institutions, the
International SoundCulture Committee, and others. Members of the Host Committee
include Steve Anker (SF Cinematheque), John Bischoff (Mills College), Laura Brun (The
LAB), Joe Catalano, Mitchell Clark, Paul DeMarinis, Larnie Fox (23-5, Inc.), Rich Gold
(Xerox PARC), Brenda Hutchinson, Scot Jenerik (23-5, Inc.), Miya Masaoka, Susan Miller
(New Langton Arts), Ed Osborn (SoundCulture 96 Director), Tim Perkis, Jeannie
Weiffenbach (San Francisco Art Institute), Pamela Z, and Victor Zaballa. 

director: Ed Osborn 
panel coordinator: Natalie Jeremijenko


contact information

SoundCulture 96 
Box 731 
Oakland, CA 94604 

(510)848-0124 x623 
(510)430-3314 fax

Email: sc96@kumr.lns.com

http://www.lns.com/sc96.html

-------------------------- We're interested in -------------------------- 

3 April 12 noon
Harbor Symphony (for ships in Oakland Bay)

Wed 4 - Thu 5 April 12-5:00
Yerba Buena
Symposia on Sound Art and Aural Culture
	

6 April 12 noon
San Rafael Cultural Center
K. Mizushima

6 April 8 pm
Fairfield Arc Tec
The Dactyls

8 April 8:00 pm
SF Cinematique
Richard Lerman

10 April 7:30 
Pacific Film Archive
films, video (Arnold, Conner, Dye, Rankus, Rose, Dactyls...)

10 April 8:00
Archeology of Stones (Dadson, From Scratch, N. Zealand)

11 April 8:00
Parts of Speech (Pamela Z)

12 April 8:00
Mills College Concert Hall
Mori, Rosenfield, Center for Contemporary Music

12 April 8:00 (repeated Saturday)
SF The LAB
MacMurtrie, human+robot performance

13 April 8:00
Custer, PHFFFT


From potter@interval.com Fri Mar 22 17:22:25 1996
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Content-Type: multipart/mixed; boundary="============_-1384635779==_============"
Date: Fri, 22 Mar 1996 17:25:17 +0800
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: potter@interval.com (Daniel Potter)
Subject: Re: DocuMemory abstract
Status: RO



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Content-Type: text/plain; charset="us-ascii"

Xin Wei:
Here's an outline in html w/ two images included (one gif ruler and one
image of llull's memory tree). They're stuffed in an .sit archive.  The
images should rest at the same level as the html file.
Netscape doesn't seem to interpret the underlining of book/film titles
(<u></u>), plus I should have made the bullets lists in html, but no biggy,
as they say...
best,
daniel
ps if you want a word file of this, let me know

>Dear Daniel,
>
>Thanks for a most enticing talk.  I'm only sorry we didn't have time
>to get to more of your talk.
>
>Would you like to post an outline of the topics we touched on?  It's
>not crucial, but it would help me a lot when I try to write up some
>notes sans the rhetorician's art of memory.
>
>Xin Wei



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--============_-1384635779==_============--


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              Mathematical Sciences Research Institute
                          Empennage Seminar
            2 PM, Tuesday April 2, 1996
		MSRI Lecture Hall

                          Silicon Snake Oil

        Why computers are irrelevant to learning Mathematics
        and How to make money from low dimensional topology

                             Cliff Stoll

(MSRI is the Mathematical Sciences Research Institute
at1000 Centennial Drive, Berkeley.
directions to MSRI are available at the URL:
http://www.msri.org/housing/info/howtoget.html)

Involved with computer networks since their inception, Cliff Stoll is
widely known both online and off -- as astronomer, computer security
expert, and network maven.  In 1987, he tracked down a group of
computer hackers operating over the Internet who turned out to be
spies, working for the Soviet KGB.  He told this story in his
best-selling book, The Cuckoo's Egg.

Despite this, Cliff admits to being deeply ambivalent about computers,
and today is having second thoughts about the the role of networks in
our culture.  In his latest book, Silicon Snake Oil, Cliff questions
our infatuation with the Internet and the overselling of the
information highway.

Rather than bringing us together, might our online obsession be
isolating us from each other?  Do computers belong in classrooms -- or
might they get in the way of learning?  Why do libraries spend money
on multimedia gizmos rather than books, journals and librarians?  If
computers are so great for efficiency, how come American business
productivity has been essentially flat over the past two decades?
Most of all, what's lost when we plop down in front of our keyboard?

About Empennage

        As part of our effort to build bridges between Mathematics  
and the
larger world, the Mathematical Sciences Research Institute is sponsoring
a seminar where mathematicians can meet adventurers on the technological
frontier. The Empennage Seminar will meet in the MSRI lecture hall
Tuesday afternoons from 2 to 3.

        The seminar is intended to bring together not only scientists
from the Bay Area involved directly with mathematical computing, but
also people involved in envisioning and implementing new technologies,
people concerned with the social and political ramifications of the
development of information technology, and people working on problems,
the formal nature of which brings them close to mathematics. The
seminar is aimed at breaking down the walls which in this century
have isolated mathematics from intellectual life outside of its own
tradition.

        While the Empennage seminar is still in its infancy, we have
begun to attract an audience beyond MSRI, including scientists from
other institutions and disciplines, both within and without academe.
If you have any recommendations for possible speakers, please let me
know: Joe Christy, joe@msri.org, (510)643-6069.

        There is a majordomo mailing list for the Empennage seminar.
To subscribe, send email to majordomo@msri.org with body:
    subscribe empennage

About MSRI

        The Mathematical Sciences Research Institute (MSRI) is an
independently funded research institute located on the UC Berkeley
campus, high above the Lawrence Hall of Science. At any given time,
MSRI is host to 50 to 100 post-doctoral fellows and more senior
researchers who come from all over the world for periods of a week to
a year. Most of them participate in one of two topical programs which
change from year to year, with a smaller group in "Area III", our
catch-all. Currently the programs are Holomorphic Spaces and
Several Complex Variables.

        MSRI is aiming to become a model site for the integration of
computing into mathematical research. In practical terms this means
not only the development and use of software for numerical
calculation, symbolic manipulation, and geometric visualization, but
also exploration of the uses of technology in other areas of scholarly
life. This includes network access and distribution of structured
information, new modes of scholarly communication (incorporating Email,
formatted and illustrated mathematical text, and shared interactive
software for experimental mathematics), and the development of software
engineering tools necessary to put the creation of useful, shareable
special purpose software within the reach of the average individual
scientist.

...
About the word "empennage"

Empennage is the French word for fletching - the act of putting
feathers on the tail of an arrow. This makes the arrow fly straighter
by giving it a spin.

From owner-img-mail@lists.Stanford.EDU Mon Mar 25 01:37:18 1996
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Message-Id: <v02120d01ad7c170f7b72@[36.37.0.86]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Date: Mon, 25 Mar 1996 01:43:43 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>, img-mail@lists.Stanford.EDU,
        douge@cs.berkeley.edu, doug_felt@taligent.com,
        as.lll@forsythe.stanford.edu, thurtle@leland.stanford.edu,
        kernsc@leland.stanford.edu, niklas@leland.stanford.edu,
        helga_wild@irl.org, shenly@leland.stanford.edu, trogu@netcom.com,
        rocha@jupiter.SJSU.EDU, JOE.MARHOUL.syntex.com@leland.stanford.edu,
        mackey@hpl.hp.com
From: njj@cdr.stanford.edu (Natalie H. M.  Jeremijenko)
Subject: Re: SoundCulture 96
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

Xin-Wei Sha

Wonderful to get this bit of excitement sent to me and not the reverse!
I second the motion, it will be grand.... though I have vested interest in
papers and panels(having chaired them).
Recommend the exhibition at Blasthaus, Ultasound...that launches the online
sperm bank
Also the SFbay foghorn opera.

regards
natalie
At 1:40 PM 3/24/96, Xin-Wei Sha wrote:
>Amici,
>
>This sounds like a fabulous set of performances and conferences on
>sound culture.  See the WWWebsite: http://www.lns.com/sc96.html for
>details.  Below I attach the blurb, plus a list of some events that
>Rosanna and I would like to attend. Please tell me if you'd like to go
>together to some events.
>
>Xin Wei
>phone: 327-8533 , 725-3152
>
>--------------- About SoundCulture 96  ------------
>J
>
>April 3-13, 1996
>
>
>about...
>
>April 3-13, 1996, the San Francisco Bay Area will host SoundCulture 96,
>the third
>transpacific festival of contemporary sound practices. It follows two
>highly successful
>SoundCulture events presented in Sydney in 1991 and Tokyo in 1993.
>Participants will
>include artists, researchers, cultural theorists, presenting
>organizations, academic
>institutions, and others working with sound. Events will include
>performances, exhibitions,
>symposia, radio transmissions, experimental and indigenous musics, and new
>media arts.
>As well, listening rooms will provide an opportunity to hear a wide
>variety of recorded
>sound works in an informal setting. SoundCulture 96 will bring together
>local and
>international sound practitioners of the Pacific to explore the varieties
>of culture that are
>perceived through our ears.
>
>SoundCulture is the only festival of its kind to be held in the United
>States; no other art or
>music festival in this country has focused on the sonic arts with this
>kind of scope and
>format. Due to its ephemeral nature, sonic art work does not fit well into
>the structures that
>support the presentation and discussion of either visual art or music.
>While the influence of
>sound work can be found in everything from film to installation to the
>media arts, the form
>itself has not been accorded the kind of attention its influence warrants.
>SoundCulture's
>unique focus on this kind of activity presents an opportunity to expose
>experimental sound
>work well beyond Eurocentric cultural boundaries, and to demonstrate
>links, crosscurrents,
>and diversity in the sonic arts of the Pacific Region. history
>
>SoundCulture was initiated by artists and arts organizers in Australia
>working with the
>Performance Space, the Listening Room at the Australia Broadcast
>Corporation, and the
>Sound Studies Program at the University of Technology-Sydney. A festival
>composed of
>exhibitions, performances, radio broadcasts, and symposia was held in
>October, 1991 under
>the name of Invisible Cities/Impossible Objects. Representatives from
>Japan, New Zealand,
>and the United States were invited to attend. Events included
>installations by Paul DeMarinis
>(USA), Minoru Sato (Japan), performances by Anna Sabiel (Australia),
>Rodney Berry
>(Australia), a sonic taxi ride through Sydney, and a piece by Alvin Curran
>(USA) for ship
>horns in Sydney Harbor.
>
>This was followed in November, 1993 by the second festival, SoundCulture
>Japan '93,
>held in Tokyo. Events took place at several sites including Theatre X,
>Kiryu Yurin-kan, the
>Kawasaki City Museum, Art Forum Yanaka, and the Tokyo Bunka Kakikan. It
>included
>works by Mamoru Fujieda (Japan), Douglas Kahn and Frances Dyson
>(USA/Australia),
>Chris Mann (Australia), Phil Dadson (NZ), and Mineko Grimmer (Japan/USA).
>
>SoundCulture 96 was made possiible possible through the support and
>participation of a
>large number of local and international institutions.
>
>sponsors
>host committee
>credits
>contact information
>
>
>
>sponsors
>
>This festival was assisted by the Government of Australia through the
>Embassy of Australia,
>Washington, D.C. Generous support for SoundCulture 96 was provided by the
>California
>Tamarack Foundation, the Goethe Institute, Meyer Sound, Late Nite Software, and
>Vanderbyl & Associates. Trimpin's exhibition at the Exploratorium was made
>possible by
>AT&T: New Experiments in Art & Technology. Ed Osborn's exhibition at the
>Center for the
>Arts at Yerba Buena Gardens was supported in part by Atlas Model Railroad
>Company and
>Builders In Scale.
>
>
>
>
>host committee
>
>The Host Committee consists of representatives from the organizing
>institutions, the
>International SoundCulture Committee, and others. Members of the Host Committee
>include Steve Anker (SF Cinematheque), John Bischoff (Mills College),
>Laura Brun (The
>LAB), Joe Catalano, Mitchell Clark, Paul DeMarinis, Larnie Fox (23-5,
>Inc.), Rich Gold
>(Xerox PARC), Brenda Hutchinson, Scot Jenerik (23-5, Inc.), Miya Masaoka,
>Susan Miller
>(New Langton Arts), Ed Osborn (SoundCulture 96 Director), Tim Perkis, Jeannie
>Weiffenbach (San Francisco Art Institute), Pamela Z, and Victor Zaballa.
>
>director: Ed Osborn
>panel coordinator: Natalie Jeremijenko
>
>
>contact information
>
>SoundCulture 96
>Box 731
>Oakland, CA 94604
>
>(510)848-0124 x623
>(510)430-3314 fax
>
>Email: sc96@kumr.lns.com
>
>http://www.lns.com/sc96.html
>
>-------------------------- We're interested in --------------------------
>
>3 April 12 noon
>Harbor Symphony (for ships in Oakland Bay)
>
>Wed 4 - Thu 5 April 12-5:00
>Yerba Buena
>Symposia on Sound Art and Aural Culture
>
>
>6 April 12 noon
>San Rafael Cultural Center
>K. Mizushima
>
>6 April 8 pm
>Fairfield Arc Tec
>The Dactyls
>
>8 April 8:00 pm
>SF Cinematique
>Richard Lerman
>
>10 April 7:30
>Pacific Film Archive
>films, video (Arnold, Conner, Dye, Rankus, Rose, Dactyls...)
>
>10 April 8:00
>Archeology of Stones (Dadson, From Scratch, N. Zealand)
>
>11 April 8:00
>Parts of Speech (Pamela Z)
>
>12 April 8:00
>Mills College Concert Hall
>Mori, Rosenfield, Center for Contemporary Music
>
>12 April 8:00 (repeated Saturday)
>SF The LAB
>MacMurtrie, human+robot performance
>
>13 April 8:00
>Custer, PHFFFT



From xinwei@leland.Stanford.EDU Mon Mar 25 17:17:31 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603260117.RAA14642@elaine26.Stanford.EDU>
Subject: Spring
To: potter@interval.com (Daniel Potter)
Date: Mon, 25 Mar 1996 17:17:25 -0800 (PST)
Cc: jamb@leland.Stanford.EDU (Benjamin Butt Robinson),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <v02130500ad7c079d558d@[192.203.7.144]> from "Daniel Potter" at Mar 25, 96 04:23:10 pm
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Status: RO

Hi Daniel & Ben,

(Ben, until we snag a modem, forgive my indirection...)

How about these two themes?

1.  socio-politics of cyber-architecture

	the last two chapters in R. Coyne
	What else? (Ann Weinstone has an article on the
	metaphysics of addiction and VR)

2. the  ontological status of "digital (interactive) media"

	selections from M. Jay that summarize various critiques of
	ocularcentrism & logocentrism. What else?  (Tom Hare
	gave me a chapter of his about Egyptian hieroglyphs.)

Let's plot!  Michael Irmscher suggested that img jointly put together a
multi-faceted document this quarter,  a concrete summary report of
this year's thoughts.

Let's talk ... can we get together for dinner this week?  maybe with
Michael?

> 
> Thanks Xin Wei for putting the page together.  It's nice to have a toehold
> in the "real" web, outside our ever-vigilant firewall...
> Ben and I had an idea for some future meeting:  that we read Martin Jay's
> _Downcast Eyes_ (selected sections at least) and meet to discuss it.  I
> noticed that you have that on the IMG bibliography already.  Have you
> discussed it yet?  What do you think?
> 
> daniel
> 
> >Dear Daniel,
> >
> >I got your html + 2 gifs, and posted them on the IMG site.
> >
> >Thanks!
> >Xin Wei
> 
> 
> 


From owner-sati@lists.Stanford.EDU Wed Mar 27 11:47:58 1996
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Message-Id: <199603271945.LAA18957@lists.Stanford.EDU>
Date:     Wed, 27 Mar 96 11:45:36 PST
From: "Patience Young"  <Patience.Young@forsythe.stanford.edu>
To: "Betsy Fryberger" <Betsy.Fryberger@forsythe.stanford.edu>,
        "Bernard Barryte" <Bernard.Barryte@forsythe.stanford.edu>,
        "Diana Strazdes"  <Diana.Strazdes@forsythe.stanford.edu>,
        "Hilarie Faberman"  <Hilarie.Faberman@forsythe.stanford.edu>,
        "Mona Duggan"     <Mona.Duggan@forsythe.stanford.edu>,
        "Susan Roberts Mangan"  <Susan.Roberts.Manganelli@forsythe.stanford.edu>,
        "Thomas Seligman" <Thomas.Seligman@forsythe.stanford.edu>,
        jleivick@LELAND.stanford.edu, lesliej@LELAND.stanford.edu,
        maveety@LELAND.stanford.edu, ruthf@LELAND.stanford.edu,
        sati@lists.Stanford.EDU, strazdes@LELAND.stanford.edu
Subject:  Performance Art symposium in November
Sender: owner-sati@lists.Stanford.EDU
Precedence: bulk
Status: RO

FYI:  Penn State will host a symposim on performance art,
culture, and pedagogy November 13-16 (1996).  "The first of its
kind, this symposium will examine the historical, theoretical, and
experiential significance of performance art in order to distinguish
its pedagogy as an emerging form of art education."

The list of presenters is extensive and impressive; they're bringing
in the major movers and shakers in performance, criticism, and
education.

Further information: call 1-800-PSU-TODAY or check their website:

http://www.cde.psu.edu/C&I/PACP.html

-py

To:  SATI@LISTS.STANFORD.EDU
cc:  SUMACURATORS+(Betsy.Fryberger, Bernard.Barryte, Diana.Strazdes,
     Hilarie.Faberman, Mona.Duggan, Patience.Young,
     Susan.Roberts.Manganelli, Thomas.Seligman, JLEIVICK@LELAND,
     LESLIEJ@LELAND, MAVEETY@LELAND, RUTHF@LELAND, STRAZDES@LELAND)

From xinwei@truffaut.stanford.edu Thu Mar 28 12:02:28 1996
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Content-Type: text/plain
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 28 Mar 96 12:04:05 -0800
To: keeling@leland.Stanford.EDU
Subject: names
Cc: xinwei@leland.Stanford.EDU, larryf@leland.Stanford.EDU
Status: O

Hi John,

could you please help me out with some drudgery?   Here's a file of  
 info I got by
running finger across most of the img-mail  list.    Some (the  
off-campus addresses)
may not show any useful info.  In order to get affiliation, I'm  
afriad you'll
have to run whois on the full names.

Could you please make up a simple list of attendees:
	name, affiliation, email
from this info?   We'll need it by this weekend in order
to re-apply for Hum center support.

Thanks,
Xin Wei

-------------- img attendees (full info) ---------
John Keeling	English	<keeling@leland.Stanford.EDU>
Alan Bush	Philosophy	<bush@team-prometheus.com>
Sarah Sarojini Jain History of Consciousness, UCSC	 
<ssjain@cats.ucsc.edu>

Tom Hare	Asian Studies and Comparative Literature	 
thare@leland

-------------- img attendees (email) ---------
finger bobhorn@well.com > fingers
finger bt@psych.stanford.edu >> fingers
finger clsalt@leland.stanford.edu >> fingers
finger cnastro@leland.Stanford.EDU >> fingers
finger curtis@roses.stanford.edu >> fingers
finger decker@leland.Stanford.EDU >> fingers
finger dolan@leland.stanford.edu >> fingers
finger doug_felt@taligent.com >> fingers
finger drewcb@leland.Stanford.EDU >> fingers
finger dwm@leland.stanford.edu >> fingers
finger eva@csli.Stanford.EDU >> fingers
finger farabo@eworld.com >> fingers
finger helga_wild@irl.org >> fingers
finger hf.pvy@forsythe.stanford.edu >> fingers
finger holeton@leland.stanford.edu >> fingers
finger irmscher@Leland.stanford.edu >> fingers
finger issac@mednet.Stanford.EDU >> fingers
finger jamb@leland.Stanford.EDU >> fingers
finger jamb@leland.stanford.edu >> fingers
finger josslm@leland.Stanford.EDU >> fingers
finger jross@leland.Stanford.EDU >> fingers
finger karenl@cats.ucsc.edu >> fingers
finger kernsc@leland.stanford.edu >> fingers
finger larryf@leland.stanford.edu >> fingers
finger leifer@cdr.stanford.edu >> fingers
finger marcelo@leland.stanford.edu >> fingers
finger mcarter@digipix.com >> fingers
finger mcrane@leland.Stanford.EDU >> fingers
finger mcyang@cdr.stanford.edu >> fingers
finger meg@steam.stanford.edu >> fingers
finger mqwang@pcd.stanford.edu >> fingers
finger njj@cdr.stanford.edu >> fingers
finger nolan@cs.stanford.edu >> fingers
finger otto@leland.stanford.edu >> fingers
finger paulc@leland.stanford.edu >> fingers
finger potter@interval.com >> fingers
finger rayner@leland.stanford.edu >> fingers
finger reichard@leland.stanford.edu >> fingers
finger RFRANK@leland.stanford.edu >> fingers
finger rjfleck@ccrma.stanford.edu >> fingers
finger sau@sandia.gov >> fingers
finger schoch@leland.stanford.edu >> fingers
finger weinstne@leland.stanford.edu >> fingers
finger xinwei@leland.stanford.edu >> fingers


-------------- img attendees (finger info) ---------
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 28 10:56:38 on ttyqa from tip-mp7-ncs.Stan
7 minutes 3 seconds Idle Time
Mail last read Thu Mar 28 11:27:15 1996
Plan:
Out of town:  March 22-24
Conference:   March 25-27

Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher  
Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 28 11:08:46 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com][leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Mon Mar 25 15:43 on ttyp0 from Turing.Stanford.
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
Directory: /meta-x-user/neuberg     	Shell: /bin/frozen
Never logged in.
No unread mail
No Plan.
unknown host: eworld.com
unknown host: irl.org
[forsythe.stanford.edu]
Line Account  User name            Program  Port
2433 Patience.Young  Patience Young  WYLBUR   Elf6-27506 [Patience-Young]
[leland.stanford.edu]
Login name: holeton                     In real life: Richard Holeton
Directory: /afs/ir/users/h/o/holeton    Shell: /bin/tcsh
No unread mail
[Leland.stanford.edu]
Login name: irmscher                    In real life: Michael Wolf  
Irmscher
Directory: /afs/ir/users/i/r/irmscher   Shell: /bin/tcsh
No unread mail
[mednet.Stanford.EDU]
finger: issac: no such user
[leland.Stanford.EDU]
Login name: jamb                        In real life: Benjamin Butt  
Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: jamb                        In real life: Benjamin Butt  
Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: josslm                      In real life: Jocelyn l Marsh
Directory: /afs/ir/users/j/o/josslm     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.Stanford.EDU]
Login name: jross                       In real life: Janice Lynn Ross
Directory: /afs/ir/users/j/r/jross      Shell: /bin/tcsh
No unread mail
[cats.ucsc.edu]
Login name: karenl                      In real life: Karen Lee      

Nickname:                               Home phone:                  

Office:                                 Office phone:                

Electronic mail address: karenl@CATS.UCSC.EDU

[leland.stanford.edu]
Login name: kernsc                      In real life: Charles Kerns
Directory: /afs/ir/users/k/e/kernsc     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: larryf                      In real life: Larry Friedlander
Directory: /afs/ir/users/l/a/larryf     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: leifer    			In real life: Larry Leifer
Office:  CDR
Directory: /home/leifer             	Shell: /bin/tcsh
Last login Mon Feb 27, 1995 on ttyp1 from rm507mac.Stanfor
No Plan.
[leland.stanford.edu]
Login name: marcelo                     In real life: Marcelo  
Clerici-Arias
Directory: /afs/ir/users/m/a/marcelo    Shell: /bin/tcsh
No unread mail
Project: Family and economics (in that order).
Plan:

Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres,
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

[digipix.com][leland.Stanford.EDU]
Login name: mcrane                      In real life: Margaret  
Franklin Crane
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Last login Fri Apr  1, 1994 on :0
Project:
Plan:
Graduate Research Assistant

Center for Design Research, Room 214
560 Panama Street
Stanford, CA  94305-2232

Home (ans machine)	(415) 322-0657
Office (ans machine)	(415) 723-7909
CDR Computer room   	(415) 725-0163
CDR FAX			(415) 725-8475

Pay no attention to the man behind the curtain!

			-- The Wizard, "The Wizard of Oz"
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On since Mar 20 09:03:43 on ttyp0 from Oi.Stanford.EDU:
5 days 17 hours Idle Time
New mail received Thu Mar 28 11:42:16 1996;
  unread since Thu Mar 28 09:23:02 1996
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Address:	Gates Building 3B
		Stanford University
         	Stanford, CA  94305

Phone:   	(415) 723-7784

URL:	 	http://www-pcd.stanford.edu/michelle/

Login name: mqwang    			In real life: Michelle Q  
Wang Baldonado
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No plan provided.
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105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
New mail since Thu Mar 28 11:40:49 1996
Has not read mail for  0:12:54.
Plan:
R.J. Fleck
105 Coleridge Street
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(415) 642-8120

rjfleck@ccrma.stanford.edu
[sandia.gov]

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__________________________________________________________________________
Sha Xin Wei                             e-mail:  
xinwei@leland.stanford.edu
                                     
http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:   
(415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090
__________________________________________________________________________


From xinwei@truffaut.stanford.edu Thu Mar 28 14:43:16 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 28 Mar 96 14:44:51 -0800
To: xinwei@leland.Stanford.EDU
Subject: Tom Hare: invitation to img seminar
Status: O



Begin forwarded message:

Date: Wed, 13 Mar 1996 10:12:15 -0800 (PST)
X-Sender: thare@popserver.stanford.edu
To: Sha Xin Wei <xinwei@truffaut.Stanford.EDU>
From: thare@leland.Stanford.EDU (Tom Hare)
Subject: Re: invitation to img seminar

Dear Xin Wei-

Sorry for the deathly silence from my side.  I had no intention to ignore
your request for references to my articles.  It's just that the  
meetings I
was involved in last week took up nearly every moment of my time on  
campus.
I'll tell you what, though.  I'll bring some things along with me  
tomorrow
for you.  I have a short published article on Japanese writing which is
relevant in some ways to what I think you're looking for.  I haven't
actually published anything on Egyptian yet, but am in the throes of
preparing a fairly long manuscript on various aspects of Egyptian  
culture.
I'll make a copy of the chapter most closely related to Egyptian writing
and bring it too.

I'm looking forward to the seminar.

Best,
Tom Hare

_________________________________________________________________
Thomas Hare                     e-mail: thare@leland.stanford.edu

Department of Comparative Literature    Telephone:  (415)725-8228
Chair, Department of Asian Languages
Stanford University
Stanford, CA 94305-2034
_________________________________________________________________



From keeling@leland.stanford.edu Thu Mar 28 16:32:27 1996
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Message-ID: <315AC124.4922@leland.stanford.edu>
Date: Thu, 28 Mar 1996 16:41:08 +0000
From: John Keeling <keeling@leland.stanford.edu>
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This is a multi-part message in MIME format.

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oops, this time attached as a .sit file to preserve
formatting.  source is a word 5 file.

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From xinwei@truffaut.stanford.edu Mon Apr  1 18:25:33 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon,  1 Apr 96 18:26:10 -0800
To: kbaker@leland.Stanford.EDU
Subject: Proposal for continuing Faculty Seminar on Interactive Media
Cc: sue.dambrau@Forsythe.Stanford.EDU, tlenoir@leland.Stanford.EDU,
        larryf@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
Status: O

[
Professor Keith Baker
Director, Humanities Center

Dear Keith Baker,

	Here's an application for continuation of support for the  
Faculty Seminar
on Interactive Media: Theories and Technology of Representation.
Thanks for your generosity this year.

	The seminar's World Wide Web address is:  
http://www-leland/~xinwei/pub/img/img.html

regards,
Sha Xin Wei
(for Larry Friedlander and Tim Lenoir)
]


Faculty Seminar on Interactive Media: Theory and Technologies of  
Representation
Proposal to Humanities Center for 1996-97



The idea for this seminar flows directly from an informally organized
discussion group that has been meeting every week since the Spring
Quarter 1995.  The Interactive Media Group (IMG) was formed by a group
of faculty, students, and professionals interested in theoretical and
practical aspects of interactive media.  The group was inspired by
some members' recent experiences in tackling these issues: Larry
Friedlander and Barbara Hayes-Roth's course on Interactive Narrative
and Artificial Intelligence; Tim Lenoir's courses on "BodyWorks" and
"Virtuality"; and Terry Winograd and Marc Davis' course on
Phenomenology, Cognition and Computers; and Decker Walker's reading
group on interactive media.

We have been engaged in a preliminary study of issues relevant to
interactive media, hoping to find our way toward a constructive theory of
how people compose and inhabit interactive media. We are now readdy to
expand the focus of our discussions with more structured topics and with
formats which include guest speakers, panels, debate topics, and special
demonstrations. As an experiment, we have been recording the groups
discussions, comments, and readings on the World Wide Web. We would  
like to
explore further this use of the Web by creating a dynamically updated
journal which will reflect our ongoing deliberations but which will also
invite participation from both within and without the university.

FOCUS

Our approaches draw from a wide variety of fields: linguistics,  
artificial
intelligence, literary theory, cognitive science, mathematics,  
performance
art, music, and design. We plan to explore  a variety of  
theoretical topics
that have important but not always obvious connections to the  
formation of
new kinds of cyberspaces and narrative structures. In particular, we are
interested in

*  developing models of media representation, such as  algebraic  
video and
structured texts, which offer alternatives to traditional time-based or
graph structures;

* articulating the dramatic and narrative theories embodied in emerging
interface environments;

* investigating the symbolic architecture  of cyberspaces and the  
influence
of architecture and urban design on systems and interfaces;

* tracing the connection of distributed models of cognition and other
systems with current socio-political and communication theories.

What seems most interesting to us is the way certain fields are yielding
unexpected and fruitful clues for practical developments in  
technology. So,
for example, theater may provide models for user-interface design,  
topology
and geometry for media structures, and urban architecture for cyberspace
design.

The seminar will have two aspects: (1) regular weekly sessions in  
which we
will present and discuss prepared topics, and (2) a cybernetic  
space in the
form of a shared website which will hold references and media contributed
by local and remote participants.

In a typical session, a speaker will discuss a theoretical issue and
situate it with respect to some design problems.  We might have a  
series of
prepared responses to the presentation, as well as some discussion of the
implications of the theoretical approach for issues in design and  
technology.
The discussion will be presented on the Web and further responses  
from the
community will be invited. The website will also contain a  
bibliography and
selections from the readings.

We anticipate that our interdisciplinary approach will draw participants
from diverse domains, and yield reconceptualizations of media and action
that will be useful in practical situations.

The seminar's World Wide Web location is
http://www-leland/~xinwei/pub/img/img.html. This site may be browsed 
by anyone interested in our seminar. It currently contains,

(1) an Agenda of topics and speakers
(2) a Discussion trail -- transcripts of seminar discussion
(3) a Bibliography -- a list of "readings" with WWW links to some  
full media
(4) Sites -- WWW links to affiliate seminars and installations in  
other institutions


TOPICS AND SPEAKERS IN 1995-96

This year the IMG seminar has begun a survey of work in several fields.
The set of past, current and proposed topics is described in the WWW page
http://www-leland.stanford.edu/~xinwei/pub/img/topics.html
but here is a summary of topics and recent speakers.

We began by exploring participant interests in narrative, digital media
representation, pictorial representation, theater, digital video,  
and documentary.

John Keeling discussed hypertext and narrative structures.   Diane  
Middlebrook
presented a case study of a multimedia biography of Tipton.

Sha Xin Wei gave an introduction to representations of digital media.    

Barbara Tversky presented a broad survey of research on pictorial
representations and diagrammatic communication.  Bob Horn previewed  
his book
on Visual Language (image+ text + shape).

Larry Friedlander presented some interactive theater projects with  
the MIT
Media Lab.   Invited speaker Glorianna Davenport from the Media Lab spoke
about novel ways to make evolving interactive documentary video.    
Charles
Kerns summarized five years of research at the Apple Media Lab on digital
video as social forms.   Most recently, invited speaker Daniel  
Potter introduced
us to a study of the essay film and mnemonics in the presence of  
electronic
networked media.

Please see the World Wide Web site's Bibliography page for a  
partial list of
references cited in our discussions.
(http://www-leland.stanford.edu/~xinwei/pub/img/readings.html)


FUTURE PLANS

For the future, we would like to begin work on two fronts:  (1) a  
multi-faceted
critique of interactive media and design; (2) a joint construction  
of a multimedia
artifact, perhaps for a network audience.

We will start the first project this spring term (1996) by weaving  
together
the several threads of analysis running through the year.  To  
support this work,
we will do a close study of some references from our Bibliography.   
The form
may be some appropriately multi-vocal "document" springing from our  
current website.

The constructive project may take the form of a socio-literary  
experiment,
depending on the interests of IMG participants who will continue in  
next year's
incarnation of the seminar.

Larry Friedlander
Department of English
larryf@leland.stanford.edu

Timothy Lenoir
Department of History
tlenoir@leland.stanford.edu

Sha Xin Wei
Libraries and Academic Information Resources
xinwei@leland.stanford.edu

ATTENDEES 1995-96

This is a list of people who have attended the seminar since  
September 1995.

Drew Bamford           Engineering                            
drewcb@leland.Stanford.EDU
Alan Bush              Philosophy                             
bush@csli.stanford.edu
Marcelo Clerici-Arias  Economics                              
marcelo@Leland.stanford.edu
Margaret Crane         Digital Pictuers                       
mcarter@digipix.com
Gayle Curtis           CDR     / RR&D Center office           
curtis@roses.stanford.edu
Judith Anne Dolan      Drama                                  
dolan@leland.stanford.edu
Doug Felt              Taligent                               
doug_felt@taligent.com
R. J. Fleck            CCRMA                                  
rjfleck@ccrma.stanford.edu
Ross Frank             History                                
rfrank@Leland.stanford.edu
Larry Friedlander      English                                
larryf@leland.stanford.edu
Tom Hare               Asian Studies and
                            Comparative Literature            
thare@leland.stanford.edu
Richard Holeton        Writing and Critical Thinking          
holeton@leland.stanford.edu
Bob Horn               Information Mapping, Inc.              
bobhorn@well.com
Micahel Irmscher       German Studies                         
irmscher@Leland.stanford.edu
Natalie Jeremijenko    Center for Design Research             
njj@Cdr.stanford.edu
John Keeling           English                                
keeling@leland.Stanford.EDU
Charles Kerns          Media Center                           
kernsc@leland.stanford.edu
Karen Lee              TOK Design                             
karenl@cats.ucsc.edu
Larry Leifer           Mechanical Engineering                 
leifer@Cdr.stanford.edu
Claude M Reichard      Writing and Critical Thinking          
reichard@leland.stanford.edu
Joss March             English                                
josslm@leland.Stanford.EDU
Diane Middlebrook      English                                
dwm@leland.stanford.edu
Caroline Nastro        Drama                                  
cnastro@leland.Stanford.EDU
Eva Neuberg            Religious Studies                      
neuberg@Kzsu.stanford.edu
Greg Niemeyer          Art                                    
otto@Leland.stanford.edu
Daniel Potter          Interval Research                      
potter@interval.com
Eva Prionas            Linguistics                            
eva@csli.Stanford.EDU
Benjamin Robinson      Modern Thought and Literature          
jamb@Leland.stanford.edu
Janice Ross            Athl Pe & Recreation                   
jross@leland.Stanford.EDU
Christopher Salter     Drama                                  
clsalt@leland.stanford.edu
Sarah Sarojini Jain    History of Consciousness, UCSC         
ssjain@cats.ucsc.edu
Richard Schoch         Drama                                  
schoch@Leland.stanford.edu
Sha Xin Wei            Human-Computer Sys. Arch./SULAIR       
xinwei@Leland.stanford.edu
Barbara Tversky        Psychology                             
bt@psych.stanford.edu
Bill Verplank          Interval Research                      
verplank@interval.com
Decker Walker          Education                              
decker@leland.Stanford.EDU
Michelle Wang          Computer Science                       
mqwang@pcd.stanford.edu
Ann Weinstone          Modern Thought and Literature          
weinstne@Leland.stanford.edu
Meg Worley             Comparative Literature                 
meg@steam.stanford.edu
Maria Yang             Center for Design Research             
mcrane@leland.Stanford.EDU
Patience Young         Art Gallery and Museum                 
patience.young@Forsythe.stanford.edu
Paul Yung-Wei Chong    Symbolic Systems                       
paulc@Leland.stanford.edu


From xinwei@truffaut.stanford.edu Tue Mar 26 18:16:34 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 26 Mar 96 18:18:36 -0800
To: larryf@leland.Stanford.EDU
Subject: img blurb
Cc: xinwei@leland.Stanford.EDU, keeling@leland.Stanford.EDU
Status: RO

[Hi Larry,

Eureka.  Here's last October's blurb about the IMG seminar.
Can we send it in along with a report on this year's work?

I sent Tim an email about co-sponsoring this.   He and I are interested
in starting a research program on "visualization" so there may be some
synergy.

- Xin Wei
]

The idea for this seminar flows directly from an informally organized
discussion group that has been meeting every week since the Spring  
Quarter.
The Interactive Media Group (IMG) was formed  by a group of faculty,
students, and professionals interested in theoretical and practical  
aspects
of interactive media.  The  group was inspired by some members' recent
experiences in tackling these issues: Decker Walker's informal multimedia
seminar; Larry Friedlander and Barbara Hayes-Roth's course on Interactive
Narrative and Artificial Intelligence; and Terry Winograd and Marc Davis'
course on Phenomenology, Cognition and Computers.

We have been engaged in a preliminary study of issues relevant to
interactive media, hoping to find our way toward a constructive theory of
how people compose and inhabit interactive media. We are now ready to
expand the focus of our discussions with more structured topics and with
formats which include guest speakers, panels, debate topics, and special
demonstrations. As an experiment, we have been recording the groups
discussions, comments, and readings on the World Wide Web. We would  
like to
explore further this use of the Web by creating a dynamically updated
journal which will reflect our ongoing deliberations but which will also
invite participation from both within and without the university.

FOCUS

Our approaches draw from a wide variety of fields: linguistics,  
artificial
intelligence, literary theory, cognitive science, mathematics,  
performance
art, music, and design. We plan to explore  a variety of  
theoretical topics
that have important but not always obvious connections to the  
formation of
new kinds of cyberspaces and narrative structures. In particular, we are
interested in

*  developing models of media representation (such as  algebraic  
video and
structured texts) which offer alternatives to traditional time-based or
graphic topologies ;

* articulating the dramatic and narrative theories embodied in emerging
interface environments;

* investigating the symbolic architecture  of cyberspaces and the  
influence
of architecture and urban design on systems and interfaces;

* tracing the connection of distributed models of cognition and other
systems designs with current socio-political and communication theories.

What seems most interesting to us is the way certain fields are yielding
unexpected and fruitful clues for practical developments in  
technology. So,
for example. theater may provide models for user-interface design,  
topology
and geometry for media structures, and urban architecture for cyberspace
design.

The seminar will have two aspects: (1) regular weekly  sessions in  
which we
will present and discuss prepared topics, and (2) a cybernetic  
space in the
form of a shared website which will hold references and media contributed
by local and remote participants.

In a typical session, a speaker will discuss a theoretical issue and
situate it with respect to some design problems.  We might have a  
series of
prepared responses to the presentation, as well as some discussion of the
practical implications of the theoretical approach for practical issues.
The discussion will be presented on the Web and further responses  
from the
community will be invited. The website will also contain a  
bibliography and
selections from the readings.

We anticipate that our interdisciplinary approach will draw participants
from diverse domains, and yield reconceptualizations of media and action
that will be useful in practical situations.   Some guest speakers we may
invite include Brenda Laurel (theater), Glorianna Davenport (interactive
cinema), Marc Davis (video) and Amy Radunskaya (music, mathematics).

The website will be based on a World Wide Web location,
http://www-leland/~xinwei/pub/img/img.html. This site may be browsed now,
for those wishing to have a taste of our procedures. It currently  
contains,
for each group meeting,

(1) a Discussion trail -- transcripts of seminar discussion
(2) a Bibliography -- a list of references with WWW links to multimedia
(3) Sites -- WWW links to affiliate seminars and installations in  
other insti
tutions

From potter@interval.com Wed Mar 27 16:36:53 1996
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Date: Wed, 27 Mar 1996 16:39:40 +0800
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: potter@interval.com (Daniel Potter)
Subject: Re: Spring
Status: RO

Xin Wei:
Sounds great!  On architecture, maybe we could have a look at Jameson's
_Postmodernism_ ch. on architecture (I don't know it but would like to read
it, maybe now's the time).  On vision, I agree with reading M. Jay, and
would also recommend Kaja Silverman, _The Threshold of the Visible World_.
Let's meet soon, let us know when is good (maybe a drink or coffee in the
city sometime).
daniel


>Hi Daniel & Ben,
>
>(Ben, until we snag a modem, forgive my indirection...)
>
>How about these two themes?
>
>1.  socio-politics of cyber-architecture
>
>        the last two chapters in R. Coyne
>        What else? (Ann Weinstone has an article on the
>        metaphysics of addiction and VR)
>
>2. the  ontological status of "digital (interactive) media"
>
>        selections from M. Jay that summarize various critiques of
>        ocularcentrism & logocentrism. What else?  (Tom Hare
>        gave me a chapter of his about Egyptian hieroglyphs.)
>
>Let's plot!  Michael Irmscher suggested that img jointly put together a
>multi-faceted document this quarter,  a concrete summary report of
>this year's thoughts.
>
>Let's talk ... can we get together for dinner this week?  maybe with
>Michael?



From xinwei@leland.Stanford.EDU Fri Mar 29 14:40:45 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603292240.OAA20153@elaine16.Stanford.EDU>
Subject: img
To: weinstone@igc.apc.org (Ann Weinstone)
Date: Fri, 29 Mar 1996 14:40:33 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199603292151.NAA06470@igc2.igc.apc.org> from "Ann Weinstone" at Mar 29, 96 01:51:57 pm
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
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Status: RO

Hi Ann,

Here's what I sent to Daniel and Ben after the last session.
I haven't sent anything out to img-mail yet, because I wanted
to coax focussed proposals w/ commitments from a few friends
(speech act theory in its most coercive mode!).  Besides, my last
few general calls for proposals didn't net anything, so it's back
to face-to-face negotiations.  

> How about these two themes?
> 
> 1.  socio-politics of cyber-architecture
> 
>         the last two chapters in R. Coyne
>         What else? (Ann Weinstone has an article on the
>         metaphysics of addiction and VR)
> 
> 2. the ontological status of digital (interactive) media
> 
>         selections from M. Jay that summarize various critiques of
>         ocularcentrism & logocentrism. What else?  (Tom Hare
>         gave me a chapter of his about Egyptian hieroglyphs.)
> 
> ... Michael Irmscher suggested that img jointly put together a
> multi-faceted document this quarter,  a concrete summary report of
> this year's thoughts.
> 

This next is the disgruntled email I sent to Larry.

Things have changed since my little chat with Larry last week, so
maybe we don't have to splinter into two tracks.  Maybe I should just
reserve the right to drop out next year if things get dull or
oppressive?  How can I say this in a diplomatic and constructive way?
(ha ha) How can we draw together some fun, sharp folk like Alice
Rayner (Drama), Tom Hare?  (Jeff Schnapp'll be away.)

> 
> > What should we do about reapplying for next year. Aplications are due
> > beginning April.
> 
> Yes, it would be good, but should not depend on my presence.
> 
> I'd like to participate if 
> 
>... the Hum Center will let us split into two parallel tracks: theory
> and design/performance.
> 
> I noticed that SATI had (is this the appropriate tense?) a theory
> group as well as a whatever group.  How about if I try to start up a
> theory track (with another faculty sponsor if necessary & strategic)
> while you carry on with the design/performance track?
> 
> As I said before, while I strongly believe that any flavorful theory
> must be based on cases (or case studies), I need a forum for sharp
> theoretical work. (My professional work gives me more case experience
> than I can swallow:) This is quite the opposite from most of the
> faculty and maybe the students, naturally, so I can see the need for
> img-performance/design.  In fact, while the natural tendency would be
> for folk like comp-lit or philosophy theoreticians to flock to an
> img-theory, it would be better if there were a cross-migration.  
> So, it would be great if you would continue the img-design/performance
> track.
> 
> Nevertheless, over the past 1 1/2 yrs, we have attracted a few sharp
> theory people who are also creatively juiced.  Unfortunately, they
> tend to drop out after awhile because the discussion leaves too many
> of their neurons untickled.  We're beginning to recover some of the
> analytical and scholarly steam, I think, and this spring, we'll see if
> we can do a bit of creative ratiocination with a few close readings.
> 
> Next year, if I'm here, I'd like to run a separate track in which the
> people who are already deep into philosophy, cultural studies,
> etc. can actually get something out of participating.  If the Hum
> Center won't go for this, then maybe an ancillary Reading Group might
> work.  (I'm talking to people who haven't joined the img yet about
> options.)
> 
> By the bye, we also have some procedural problems, related to
> conversational airtime and turn taking, but I think that can be worked
> out with a bit of facilitation.
> 
> 

And finally, this is from Ben (jamb@leland), relevant to #1.

> Two, maybe I can bounce some ideas around about the cyber-politics
> questions we were briefly talking about after Daniel's presentation.
> (I'm doing my ACLA--Am. Comp. Lit. Assoc.--paper on "perceptual politics",
> using Husserl's critique of Vienna positivism, Derrida's critique of
> Husserl, etc. to talk about changes in left-wing writing between the
> two world wars.  Some of the issues that come up in my paper, however,
> might have implications for thinking through the politics of and
> politics through the "new media".  I think we have a tendency optimistically
> to imagine that we can be the engineers of a more politically just
> shape for the emerging info technologies.  Alot of this has to do
> with thoughts about maximizing the opportunities for individual agency
> in self-expression through these new technologies.  Alas, it seems that
> so much of this shape will be determined by processes that are not
> ultimately conceptualizable through individual agency.  Of course, it is
> an open question as to what systems or processes are determining what;
> which systems are more causally basic than which--this is a "systems
> ontology" question, which you mentioned.  In any case, it seems that we
> have to be sociologists of trends that are emerging regardless of the
> utopian efforts of individual designers.  The political problems that
> we'll most likely be confronted with probably won't have solutions in
> technologies that simply maximize individual expressive autonomy.  Rather,
> we might also want to consider technologies that have more slow-paced
> economies; that create stablely evolving meaning fields; that constrain
> the flux of data to selections based not primarily on the preferences
> of individuals at their isolated work-spaces, but on the basis of the
> needs of some project that has been settled on through a political
> franchise.  Who knows?  Hence, the desire for a brain-storming session
> with possible img implications.  Cosa pensi?)
> 

So maybe your could take a look at out Readings and Agenda pages:
http://www-leland.stanford.edu/~xinwei/pub/img/img.html
and suggest some readings?

ciao,
Xin Wei


From weinstone@igc.apc.org Fri Mar 29 16:01:33 1996
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Date: Fri, 29 Mar 1996 16:01:04 -0800 (PST)
From: Ann Weinstone <weinstone@igc.apc.org>
Message-Id: <199603300001.QAA05367@igc4.igc.apc.org>
To: xinwei@leland.Stanford.EDU
Subject: Re:  img
Sender: weinston@igc.apc.org
Status: RO

xin wei,

on topic 2: ontology, etc. there's a new book out (1996) called
_Virtual Reality and its Discontents_ ed. Robert Markley that has
a slew of articles about VR/logocentrism/boundary mathematics/
talmudic reading/the relationship of talmudic page design, temple
architecture, and cyberarchitecture among other topics.

There are cyberarchitecture articles in _Cyberspace First Steps_,
ed. Michael Benedikt.

If you can't find the Markley book, I can lend it to you. My copy
is very marked up, though.

Call me old fashioned, but I like the idea of a reading group
where people can really get into the nitty gritty of things. I
feel that when we have presentations, the conversation swims
around. My suggestions, or preference, would be to have a basic
reading group structure with occasional presentations on an ad hoc
basis.

see you soon, I hope!

Ann

From weinstone@igc.apc.org Fri Mar 29 17:31:24 1996
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Date: Fri, 29 Mar 1996 17:30:46 -0800 (PST)
From: Ann Weinstone <weinstone@igc.apc.org>
Message-Id: <199603300130.RAA12928@igc4.igc.apc.org>
To: xinwei@leland.Stanford.EDU
Subject: Re: img
Sender: weinston@igc.apc.org
Status: RO

xin wein,

(I mean "wei") I just got a book catalogue from Sage Press, the 
Cultural Studies press from Britain. (Serious stuff). There are two
new books coming out:

Cyberspace/cyberbodies/cyberpunk ed. Mike Featherstone and Roger
Burrows. It looks very cultural studies-y, not particularly 
GRITTY where relationships between digital representation and
ontology are concerned, but there are some good writers in it.

Also, Cutlures of the Internet: toward a social theory of cyberspaces
and virtual realities, ed. Rob Shields.

see ya,

Ann

From xinwei@leland.Stanford.EDU Sun Mar 31 13:01:26 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603312101.NAA23485@elaine41.Stanford.EDU>
Subject: proposal IMG 96
To: tlenoir@leland.Stanford.EDU (Timothy Lenoir),
        larryf@leland.Stanford.EDU (Larry Friedlander),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Sun, 31 Mar 1996 13:01:21 -0800 (PST)
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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Status: RO

[Tim, Larry, Here's another version of a draft proposal for the
Humanities Center seminar on interactive media.  Please take a look
and edit as you see fit.  As Larry said, we don't have to be too
detailed.  please cut and paste the remaining part of this message
into an ascii file, then open it as RTF under your favorite Word
processor. 

I'll be up in SF today, but will check back by email tonight.

 - Xin Wei]

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IMG proposal for 96-97\par 
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\fs24 \tab \tab \tab \tab \tab \tab \tab \tab \fs20 Sha Xin Wei\par 
\tab \tab \tab \tab \tab \tab \tab \tab March 1996\par 
\par 
\f3 \fs32 --------------\b  Announcement for IMG 1995-96\b0   
--------------\f2 \fs20 \par 
\par 
The idea for this seminar flows directly from an informally organized\par 
discussion group that has been meeting every week since the Spring 
Quarter.\par 
The Interactive Media Group (IMG) was formed  by a group of faculty,\par 
students, and professionals interested in theoretical and practical 
aspects\par 
of interactive media.  The  group was inspired by some members' 
recent\par 
experiences in tackling these issues: Decker Walker's informal 
multimedia\par 
seminar; Larry Friedlander and Barbara Hayes-Roth's course on 
Interactive\par 
Narrative and Artificial Intelligence; and Terry Winograd and 
Marc Davis'\par 
course on Phenomenology, Cognition and Computers.\par 
\par 
We have been engaged in a preliminary study of issues relevant 
to\par 
interactive media, hoping to find our way toward a constructive 
theory of\par 
how people compose and inhabit interactive media. We are now ready 
to\par 
expand the focus of our discussions with more structured topics 
and with\par 
formats which include guest speakers, panels, debate topics, and 
special\par 
demonstrations. As an experiment, we have been recording the groups\par 
discussions, comments, and readings on the World Wide Web. We 
would like to\par 
explore further this use of the Web by creating a dynamically 
updated\par 
journal which will reflect our ongoing deliberations but which 
will also\par 
invite participation from both within and without the university.\par 
\par 
FOCUS\par 
\par 
Our approaches draw from a wide variety of fields: linguistics, 
artificial\par 
intelligence, literary theory, cognitive science, mathematics, 
performance\par 
art, music, and design. We plan to explore  a variety of theoretical 
topics\par 
that have important but not always obvious connections to the 
formation of\par 
new kinds of cyberspaces and narrative structures. In particular, 
we are\par 
interested in\par 
\par 
*  developing models of media representation, such as  algebraic 
video and\par 
structured texts, which offer alternatives to traditional time-based 
or\par 
graph structures;\par 
\par 
* articulating the dramatic and narrative theories embodied in 
emerging\par 
interface environments;\par 
\par 
* investigating the symbolic architecture  of cyberspaces and 
the influence\par 
of architecture and urban design on systems and interfaces;\par 
\par 
* tracing the connection of distributed models of cognition and 
other\par 
systems with current socio-political and communication theories.\par 
\par 
What seems most interesting to us is the way certain fields are 
yielding\par 
unexpected and fruitful clues for practical developments in technology. 
So,\par 
for example, theater may provide models for user-interface design, 
topology\par 
and geometry for media structures, and urban architecture for 
cyberspace\par 
design.\par 
\par 
The seminar will have two aspects: (1) regular weekly  sessions 
in which we\par 
will present and discuss prepared topics, and (2) a cybernetic 
space in the\par 
form of a shared website which will hold references and media 
contributed\par 
by local and remote participants.\par 
\par 
In a typical session, a speaker will discuss a theoretical issue 
and\par 
situate it with respect to some design problems.  We might have 
a series of\par 
prepared responses to the presentation, as well as some discussion 
of the\par 
practical implications of the theoretical approach for practical 
issues.\par 
The discussion will be presented on the Web and further responses 
from the\par 
community will be invited. The website will also contain a bibliography 
and\par 
selections from the readings.\par 
\par 
We anticipate that our interdisciplinary approach will draw participants\par 
from diverse domains, and yield reconceptualizations of media 
and action\par 
that will be useful in practical situations.   Some guest speakers 
we may\par 
invite include Brenda Laurel (theater), Glorianna Davenport (interactive\par 
cinema), Marc Davis (video) and Amy Radunskaya (music, mathematics).\par 
\par 
The seminar's World Wide Web location is\par 
http://www-leland/~xinwei/pub/img/img.html. This site may be browsed 
\par 
by anyone interested in our seminar. It currently contains,\par 

\par 
(1) an Agenda of topics and speakers
(2) a Discussion trail -- transcripts of seminar discussion\par 
(3) a Bibliography -- a list of "readings" with WWW links to some full media\par 
(4) Sites -- WWW links to affiliate seminars and installations 
in other institutions\par 
\f0 \par 
\par 
\f3 \fs32 -------------- \b Topics, Speakers for 1995-96\b0   
--------------\par 
\f2 \fs20 \par 
This year the IMG has begun a survey of work in several fields.\par 
The set of past, current and proposed topics is described in the 
WWW page\par 
http://www-leland.stanford.edu/~xinwei/pub/img/topics.html\par 
but here is a summary of topics and recent speakers.\par 
\par 
We began by exploring participant interests in narrative, digital 
media representation, pictorial representation, theater, digital 
video, and documentary.\par 
\par 
For example, John Keeling discussed hypertext and narrative structures. 
  Dianne Middlebrook presented a case study of a multimedia biography 
of Tipton.\par 
\par 
Sha Xin Wei gave an introduction to representations of digital 
media.    \par 
\par 
Barbara Tversky presented a broad survey of research on pictorial 
representations and diagrammatic communication.  Bob Horn previewed 
his book on Visual Language (image+ text + shape).\par 
\par 
Larry Friedlander presented some interactive theater projects 
with the MIT Media Lab.   Invited speaker Glorianna Davenport 
from the Media Lab spoke about novel ways to make evolving interactive 
documentary video.   Charles Kerns summarized five years of research 
at the Apple Media Lab on digital video as social forms.   Most 
recently, invited speaker Daniel Potter introduced us to a study 
of the essay film and mnemonics in the presence of electronic 
networked media.\par 
\par 
Please see the World Wide Web site's Bibliography page for a partial 
list of references cited in our disucssions.  (http://www-leland.stanford.edu/~xinwei/pub/img/readings.html)\par 
\par 
\f3 \fs32 --------------\b  Future Plans\b0   --------------\par 
\f2 \fs20 \par 
For the future, we would like to begin work on two fronts:  (1) 
a multi-faceted critique of interactive media and design; (2) 
a joint construction of a multimedia artifact, perhaps for a network 
audience.\par 
\par 
We will start the first project this spring term (1996) by weaving 
together  the several threads of analysis running through the 
year.  To support this work, we will do a close study of some 
references from our Bibliography.  The form may be some appropriately 
multi-vocal "document" springing from our current website.\par 
\par 
The constructive project may take the form of a socio-literary 
experiment, depending on the interests of IMG participants who 
will continue in next year's incarnation of the seminar.\par 
\par 
\par 
\f3 \fs28 \par 
\fs32 \b -------------- Attendees (1995-96) --------------\par 
\li0 \fi0 \ri0 \f0 \fs20 \b0 \par 
Bob Horn               Information Mapping, Inc.             bobhorn@well.com\par 
Barbara Tversky        Psychology                            bt@psych.stanford.edu\par 
Alan Bush              Philosophy                            bush@csli.stanford.edu\par 
Christopher Salter     Drama                                 clsalt@leland.stanford.edu\par 
Caroline Nastro        Drama                                 cnastro@leland.Stanford.EDU\par 
Gayle Curtis           CDR     / RR&D Center office          curtis@roses.stanford.edu\par 
Decker Walker          Education                             decker@leland.Stanford.EDU\par 
Judith Anne Dolan      Drama                                 dolan@leland.stanford.edu\par 
Doug Felt              Taligent                              doug_felt@taligent.com\par 
Drew Bamford           Engineering                           drewcb@leland.Stanford.EDU\par 
Diane Middlebrook      English                               dwm@leland.stanford.edu 
\par 
Eva Prionas            Linguistics                           eva@csli.Stanford.EDU 
\par 
Richard Holeton        Writing and Critical Thinking         holeton@leland.stanford.edu\par 
Micahel Irmscher       German Studies                        irmscher@Leland.stanford.edu\par 
Benjamin Robinson      Modern Thought and Literature         jamb@Leland.stanford.edu\par 
Joss March             English                               josslm@leland.Stanford.EDU\par 
Janice Ross            Athl Pe & Recreation                  jross@leland.Stanford.EDU\par 
Karen Lee              TOK Design                            karenl@cats.ucsc.edu\par 
John Keeling           English                               keeling@leland.Stanford.EDU\par 
Charles Kerns          Media Center                          kernsc@leland.stanford.edu\par 
Larry Friedlander      English                               larryf@leland.stanford.edu\par 
Larry Leifer           Mechanical Engineering                leifer@Cdr.stanford.edu\par 
Marcelo Clerici-Arias  Economics                             marcelo@Leland.stanford.edu\par 
Margaret Crane         Digital Pictuers                      mcarter@digipix.com\par 
Maria Yang             Center for Design Research            mcrane@leland.Stanford.EDU\par 
Meg Worley             Comparative Literature                meg@steam.stanford.edu\par 
Michelle Wang          Computer Science                      mqwang@pcd.stanford.edu\par 
Eva Neuberg            Religious Studies                     neuberg@Kzsu.stanford.edu\par 
Natalie Jeremijenko    Center for Design Research            njj@Cdr.stanford.edu\par 
Greg Niemeyer          Art                                   otto@Leland.stanford.edu\par 
Patience.Young         Art Gallery and Museum                patience.young@Forsythe.stanford.edu\par 
Paul Yung-Wei Chong    Symbolic Systems                      paulc@Leland.stanford.edu\par 
Daniel Potter          Interval Research                     potter@interval.com\par 
Claude M Reichard      Writing and Critical Thinking         reichard@leland.stanford.edu\par 
Ross Frank             History                               rfrank@Leland.stanford.edu\par 
R. J. Fleck            CCRMA                                 rjfleck@ccrma.stanford.edu\par 
Richard Schoch         Drama                                 schoch@Leland.stanford.edu\par 
Sarah Sarojini Jain    History of Consciousness, UCSC        ssjain@cats.ucsc.edu 
\par 
Tom Hare               Asian Studies and\par 
                            Comparative Literature           thare@leland.stanford.edu\par 
Bill Verplank          Interval Research                     verplank@interval.com\par 
Ann Weinstone          Modern Thought and Literature         weinstne@Leland.stanford.edu\par 
Sha Xin Wei            Human-Computer Sys. Arch./SULAIR      xinwei@Leland.stanford.edu\par 
\par 
}

From larryf@leland.stanford.edu Mon Apr  1 15:04:09 1996
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Date: Mon, 1 Apr 1996 15:04:03 -0800 (PST)
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Message-Id: <v01510100ad859fd01621@[36.128.0.38]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: larryf@leland.stanford.edu (Larry Friedlander)
Subject: Re: another IMG seminar proposal for HumCen
Status: RO

Xin Wei, this looks great. Send it just as is, I think to Humanities
Center, care of Keith Baker, or just to the Hmanities sponsored project (?)

Larry

>Tim, Larry,


>
>Here's another draft of the IMG proposal.  Any glaring
>problems?  I think there should be a reference to Tim's
>"Body" course or next year's visualization project, in
>the first paragraph.
>
>Who should send this to whom today?  (The deadline is today, isn't
>it?)
>
>Xin Wei
>--------------
>
>Faculty Seminar on Interactive Media: Theory and Technologies of Representation
>Proposal to Humanities Center for 1996-97
>
>The idea for this seminar flows directly from an informally organized
>discussion group that has been meeting every week since the Spring Quarter.
>The Interactive Media Group (IMG) was formed  by a group of faculty,
>students, and professionals interested in theoretical and practical aspects
>of interactive media.  The  group was inspired by some members' recent
>experiences in tackling these issues: Decker Walker's informal multimedia
>seminar; Larry Friedlander and Barbara Hayes-Roth's course on Interactive
>Narrative and Artificial Intelligence; and Terry Winograd and Marc Davis'
>course on Phenomenology, Cognition and Computers.
>
>We have been engaged in a preliminary study of issues relevant to
>interactive media, hoping to find our way toward a constructive theory of
>how people compose and inhabit interactive media. We are now readdy to
>expand the focus of our discussions with more structured topics and with
>formats which include guest speakers, panels, debate topics, and special
>demonstrations. As an experiment, we have been recording the groups
>discussions, comments, and readings on the World Wide Web. We would like to
>explore further this use of the Web by creating a dynamically updated
>journal which will reflect our ongoing deliberations but which will also
>invite participation from both within and without the university.
>
>FOCUS
>
>Our approaches draw from a wide variety of fields: linguistics, artificial
>intelligence, literary theory, cognitive science, mathematics, performance
>art, music, and design. We plan to explore  a variety of theoretical topics
>that have important but not always obvious connections to the formation of
>new kinds of cyberspaces and narrative structures. In particular, we are
>interested in
>
>*  developing models of media representation, such as  algebraic video and
>structured texts, which offer alternatives to traditional time-based or
>graph structures;
>
>* articulating the dramatic and narrative theories embodied in emerging
>interface environments;
>
>* investigating the symbolic architecture  of cyberspaces and the influence
>of architecture and urban design on systems and interfaces;
>
>* tracing the connection of distributed models of cognition and other
>systems with current socio-political and communication theories.
>
>What seems most interesting to us is the way certain fields are yielding
>unexpected and fruitful clues for practical developments in technology. So,
>for example, theater may provide models for user-interface design, topology
>and geometry for media structures, and urban architecture for cyberspace
>design.
>
>The seminar will have two aspects: (1) regular weekly sessions in which we
>will present and discuss prepared topics, and (2) a cybernetic space in the
>form of a shared website which will hold references and media contributed
>by local and remote participants.
>
>In a typical session, a speaker will discuss a theoretical issue and
>situate it with respect to some design problems.  We might have a series of
>prepared responses to the presentation, as well as some discussion of the
>implications of the theoretical approach for issues in design and technology.
>The discussion will be presented on the Web and further responses from the
>community will be invited. The website will also contain a bibliography and
>selections from the readings.
>
>We anticipate that our interdisciplinary approach will draw participants
>from diverse domains, and yield reconceptualizations of media and action
>that will be useful in practical situations.
>
>The seminar's World Wide Web location is
>http://www-leland/~xinwei/pub/img/img.html. This site may be browsed
>by anyone interested in our seminar. It currently contains,
>
>(1) an Agenda of topics and speakers
>(2) a Discussion trail -- transcripts of seminar discussion
>(3) a Bibliography -- a list of "readings" with WWW links to some full media
>(4) Sites -- WWW links to affiliate seminars and installations in other
>institutions
>
>
>TOPICS AND SPEAKERS IN 1995-96
>
>This year the IMG seminar has begun a survey of work in several fields.
>The set of past, current and proposed topics is described in the WWW page
>http://www-leland.stanford.edu/~xinwei/pub/img/topics.html
>but here is a summary of topics and recent speakers.
>
>We began by exploring participant interests in narrative, digital media
>representation, pictorial representation, theater, digital video, and
>documentary.
>
>John Keeling discussed hypertext and narrative structures.   Dianne Middlebrook
>presented a case study of a multimedia biography of Tipton.
>
>Sha Xin Wei gave an introduction to representations of digital media.
>
>Barbara Tversky presented a broad survey of research on pictorial
>representations and diagrammatic communication.  Bob Horn previewed his book
>on Visual Language (image+ text + shape).
>
>Larry Friedlander presented some interactive theater projects with the MIT
>Media Lab.   Invited speaker Glorianna Davenport from the Media Lab spoke
>about novel ways to make evolving interactive documentary video.   Charles
>Kerns summarized five years of research at the Apple Media Lab on digital
>video as social forms.   Most recently, invited speaker Daniel Potter
>introduced
>us to a study of the essay film and mnemonics in the presence of electronic
>networked media.
>
>Please see the World Wide Web site's Bibliography page for a partial list of
>references cited in our disucssions.
>(http://www-leland.stanford.edu/~xinwei/pub/img/readings.html)
>
>
>FUTURE PLANS
>
>For the future, we would like to begin work on two fronts:  (1) a multi-faceted
>critique of interactive media and design; (2) a joint construction of a
>multimedia
>artifact, perhaps for a network audience.
>
>We will start the first project this spring term (1996) by weaving together
>the several threads of analysis running through the year.  To support this
>work,
>we will do a close study of some references from our Bibliography.  The form
>may be some appropriately multi-vocal "document" springing from our
>current website.
>
>The constructive project may take the form of a socio-literary experiment,
>depending on the interests of IMG participants who will continue in next year's
>incarnation of the seminar.
>
>
>ATTENDEES 1995-96
>
>This is a list of people who have attended the seminar since September 1995.
>
>Drew Bamford           Engineering
>drewcb@leland.Stanford.EDU
>Alan Bush              Philosophy
>bush@csli.stanford.edu
>Marcelo Clerici-Arias  Economics
>marcelo@Leland.stanford.edu
>Margaret Crane         Digital Pictuers
>mcarter@digipix.com
>Gayle Curtis           CDR     / RR&D Center office
>curtis@roses.stanford.edu
>Judith Anne Dolan      Drama
>dolan@leland.stanford.edu
>Doug Felt              Taligent
>doug_felt@taligent.com
>R. J. Fleck            CCRMA
>rjfleck@ccrma.stanford.edu
>Ross Frank             History
>rfrank@Leland.stanford.edu
>Larry Friedlander      English
>larryf@leland.stanford.edu
>Tom Hare               Asian Studies and
>                            Comparative Literature
>thare@leland.stanford.edu
>Richard Holeton        Writing and Critical Thinking
>holeton@leland.stanford.edu
>Bob Horn               Information Mapping, Inc.             bobhorn@well.com
>Micahel Irmscher       German Studies
>irmscher@Leland.stanford.edu
>Natalie Jeremijenko    Center for Design Research
>njj@Cdr.stanford.edu
>John Keeling           English
>keeling@leland.Stanford.EDU
>Charles Kerns          Media Center
>kernsc@leland.stanford.edu
>Karen Lee              TOK Design
>karenl@cats.ucsc.edu
>Larry Leifer           Mechanical Engineering
>leifer@Cdr.stanford.edu
>Claude M Reichard      Writing and Critical Thinking
>reichard@leland.stanford.edu
>Joss March             English
>josslm@leland.Stanford.EDU
>Diane Middlebrook      English
>dwm@leland.stanford.edu
>Caroline Nastro        Drama
>cnastro@leland.Stanford.EDU
>Eva Neuberg            Religious Studies
>neuberg@Kzsu.stanford.edu
>Greg Niemeyer          Art
>otto@Leland.stanford.edu
>Daniel Potter          Interval Research
>potter@interval.com
>Eva Prionas            Linguistics
>eva@csli.Stanford.EDU
>Benjamin Robinson      Modern Thought and Literature
>jamb@Leland.stanford.edu
>Janice Ross            Athl Pe & Recreation
>jross@leland.Stanford.EDU
>Christopher Salter     Drama
>clsalt@leland.stanford.edu
>Sarah Sarojini Jain    History of Consciousness, UCSC
>ssjain@cats.ucsc.edu
>Richard Schoch         Drama
>schoch@Leland.stanford.edu
>Sha Xin Wei            Human-Computer Sys. Arch./SULAIR
>xinwei@Leland.stanford.edu
>Barbara Tversky        Psychology
>bt@psych.stanford.edu
>Bill Verplank          Interval Research
>verplank@interval.com
>Decker Walker          Education
>decker@leland.Stanford.EDU
>Michelle Wang          Computer Science
>mqwang@pcd.stanford.edu
>Ann Weinstone          Modern Thought and Literature
>weinstne@Leland.stanford.edu
>Meg Worley             Comparative Literature
>meg@steam.stanford.edu
>Maria Yang             Center for Design Research
>mcrane@leland.Stanford.EDU
>Patience Young         Art Gallery and Museum
>patience.young@Forsythe.stanford.edu
>Paul Yung-Wei Chong    Symbolic Systems
>paulc@Leland.stanford.edu

Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756



From xinwei@leland.Stanford.EDU Mon Apr  1 14:25:42 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199604012225.OAA23240@elaine42.Stanford.EDU>
Subject: addendum to IMG seminar proposal for HumCen
To: larryf@leland.Stanford.EDU (Larry Friedlander),
        tlenoir@leland.Stanford.EDU (Timothy Lenoir)
Date: Mon, 1 Apr 1996 14:25:41 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
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Status: RO

Tim, Larry,

I added a reference to Tim's courses in the first paragraph, which now
reads:

"The idea for this seminar flows directly from an informally organized
discussion group that has been meeting every week since the Spring
Quarter 1995.  The Interactive Media Group (IMG) was formed by a group
of faculty, students, and professionals interested in theoretical and
practical aspects of interactive media.  The group was inspired by
some members' recent experiences in tackling these issues: Larry
Friedlander and Barbara Hayes-Roth's course on Interactive Narrative
and Artificial Intelligence; Tim Lenoir's courses on "BodyWorks" and
"Virtuality"; and Terry Winograd and Marc Davis' course on
Phenomenology, Cognition and Computers; and Decker Walker's reading
group on interactive media."

I put an HTML version on the IMG website:

http://www-leland.stanford.edu/~xinwei/pub/img/general/FacSem96.4.html

Xin Wei


From owner-img-mail@lists.Stanford.EDU Tue Apr  2 12:40:46 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue,  2 Apr 96 12:36:21 -0800
To: img-mail@lists.Stanford.EDU
Subject: SoundCulture this Thursday (and Friday)
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O

img-folk,

I'll go up to SF Thursday noon-evening...
Give me a ring 725-3152 or 327-8533 if you'd like a ride from Stanford.

- Xin Wei

april 4: thursday

noon - 5pm: _Symposia on Sound Art and Aural Culture_

Locating with Sound: Situated Sound Practices, Parochial Politics  
and Native Noises, panelists include Nicholas Gebhardt (Australia),  
Don Rhine (USA), and others; moderated by Ron Kuivila (USA).  
Instruments of Sound: Thinking Culture with Devices and Vice Versa ,  
Panelists include Frances Dyson (Australia), Ron Kuivila (USA),  
Mitchell Clark (USA), and John Potts (Australia); moderated by  
Natalie Jeremijenko (Australia) and Rich Gold (USA). Architectured  
Sound, Urbanity and Paranoid Space, panelists include John Randolph  
(USA), Bruce Tomb (USA), Douglas Kahn (USA), and Nigel Helyer  
(Australia). _Yerba Buena Gardens_ in the Media Screening Room

5:30pm - 7:30pm: Reception for _Ursonate & Spinnet, Rebound, and Thunder_

Join us to kick off Jack Ox's Ursonate and Tom Stanton's Spinnet,  
Rebound, and Thunder. _Morphos Gallery_ (49 Geary Street, 2nd Floor
San Francisco, CA 94108, (415) 399-1439)

7pm - 10pm: Reception for _Bureau of Inverse Technology and others._

_blasthaus_(217 Second Street, San Francisco, CA 94103, (415)  
896-1700, Http://blue.org/blasthaus/_)

From owner-img-mail@lists.Stanford.EDU Tue Apr  2 12:40:46 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue,  2 Apr 96 12:36:21 -0800
To: img-mail@lists.Stanford.EDU
Subject: SoundCulture this Thursday (and Friday)
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

img-folk,

I'll go up to SF Thursday noon-evening...
Give me a ring 725-3152 or 327-8533 if you'd like a ride from Stanford.

- Xin Wei

april 4: thursday

noon - 5pm: _Symposia on Sound Art and Aural Culture_

Locating with Sound: Situated Sound Practices, Parochial Politics  
and Native Noises, panelists include Nicholas Gebhardt (Australia),  
Don Rhine (USA), and others; moderated by Ron Kuivila (USA).  
Instruments of Sound: Thinking Culture with Devices and Vice Versa ,  
Panelists include Frances Dyson (Australia), Ron Kuivila (USA),  
Mitchell Clark (USA), and John Potts (Australia); moderated by  
Natalie Jeremijenko (Australia) and Rich Gold (USA). Architectured  
Sound, Urbanity and Paranoid Space, panelists include John Randolph  
(USA), Bruce Tomb (USA), Douglas Kahn (USA), and Nigel Helyer  
(Australia). _Yerba Buena Gardens_ in the Media Screening Room

5:30pm - 7:30pm: Reception for _Ursonate & Spinnet, Rebound, and Thunder_

Join us to kick off Jack Ox's Ursonate and Tom Stanton's Spinnet,  
Rebound, and Thunder. _Morphos Gallery_ (49 Geary Street, 2nd Floor
San Francisco, CA 94108, (415) 399-1439)

7pm - 10pm: Reception for _Bureau of Inverse Technology and others._

_blasthaus_(217 Second Street, San Francisco, CA 94103, (415)  
896-1700, Http://blue.org/blasthaus/_)

From owner-img-mail@lists.Stanford.EDU Thu Apr  4 10:04:01 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  4 Apr 96 10:03:37 -0800
To: img-mail@lists.Stanford.EDU
Subject: GRAVITY: digital print installation
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[fya.  - Xin Wei]


		G	A digital print installation by
		R	Gregory Lam-Niemeyer in the elevator
		A	of the Cummings Art Building at Stanford
		V	University.  Please come to the opening on
		I	Friday, April 12, 1996, from 4PM to 7PM.
		T
		Y	This project is sponsored by SATI

From bt@psych.Stanford.EDU Thu Apr 11 16:22:42 1996
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Date: Thu, 11 Apr 1996 16:22:39 -0700 (PDT)
From: Barbara Tversky <bt@psych.Stanford.EDU>
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Status: RO


Hi Xin Wei,

Again, that was fun today.

Here's the message I got from Fred Lakin (I replied that
he should contact you if he wanted to be on the IMG list;
I'm not recommending him as I don't know him well enough
nor do I know if the group is open to outsiders).

Barbara

>From lakin@csli.Stanford.EDUSun Apr  7 22:06:37 1996
Date: Fri, 22 Mar 1996 20:02:19 -0800 (PST)
From: Fred Lakin <lakin@csli.Stanford.EDU>
To: bt@psych.stanford.edu
Subject: sketching tools for designers

Barbara --

Gayle Curtis forwarded this msg to me:

   Date: Fri, 15 Mar 1996 18:08:40 -0800 (PST)
   From: Barbara Tversky <bt@psych.stanford.edu>
   To: img-mail@lists.Stanford.EDU
   Subject: interesting website
   Sender: owner-img-mail@lists.Stanford.EDU

   For those of you interested in diagrams, sketches, visual language, etc.,
   check out the Electronic Cocktail Napkin, a sketching tool for architects
   that isn't confining like current CAD-CAM programs, work of Mark Gross
   and Ellen Do.  http://wallstreet.colorado.edu/napkin

Yes, it is an interesting site. Ellen contacted me
in January about the work, and it's nice to see how
far they have gotten with it.

By the way, what is the img-mail list? I see you are
the maintainer, so I thought to ask. Would it be
possible for me to join?

regards,
-f


PS. If you like the napkin work, you also might be
interested in a related project I did a while back.
Go to:

    http://www.pgc.com/papers-list.html

and click on Electronic Design Notebook, about 5th
in the list.


From sedunn@leland.stanford.edu Thu Apr  4 16:36:02 1996
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        weinstne@leland.stanford.edu, xinwei@leland.stanford.edu
From: sedunn@leland.stanford.edu (Susan E. Dunn)
Subject: Workshop Evaluations
Status: RO

TO:  Workshop Participants

FROM: Keith Baker, Director, Stanford Humanities Center

RE: 1995-96 Workshops

As part of our evaluation of the first year of the workshop program
sponsored by the Stanford Humanities Center, we are asking all participants
in the workshops to complete this questionnaire. You may respond directly
by e-mail (N.B. make sure that the reply is addressed to kbaker@leland and
not to everybody else on your distribution list) or, if you prefer, you may
print a copy of the questionnaire and return it, completed, to Keith Baker,
Stanford Humanities Center, Mariposa House, Stanford University, Stanford,
CA 94305-8630 (or by ID MAil, MC: 8630)

PLEASE RESPOND AS QUICKY AS POSSIBLE.  ALL RESPONSES WILL BE KEPT
CONFIDENTIAL.  WE REALLY NEED TO HEAR FROM YOU!

1.  Which workshop did you participate in? (If more than one, please
complete a separate questionnaire for each)


        Empires and Cultures ....
        Interactive Media .....
        Letter of the Law .....
        Neo-Liberalism and Political Economy.....
        Opera .....
        Philosophical Reading Group.....

2.  What is your academic status?

        Stanford Faculty .....
        Stanford Graduate Student (pre-dissertation stage) .....
        Stanford Graduate (dissertation stage) .....
        Other (please specify) .....

3.  How many meetings of this workshop have you
        attended this year? .....

4.  Have you made a formal presentation to this workshop? .....

5.  Has participation in this workshop helped you advance
        your research agenda?   Yes, very much .....
                                Yes, somewhat .....
                                No, not particularly .....
        Please elaborate:





6. How would you characterize/evaluate the interaction between
        and among graduate students and faculty members (e.g.,
        in comparison with a graduate seminar)?





7. Taking the workshop as a whole, what aspect(s) have you
        found most positive or valuable?




8. Taking the workshop as a whole, what aspect(s) have you
        found most problematic?




------------------------------------------------------------------------------
  Susan E. Dunn
  Associate Director                      "Make the world your salon"
  Stanford Humanities Center                     - Mina Loy

  Mariposa House                          Tel: 415-725-0896
  Stanford University                     Fax: 415-723-1895
  Stanford, CA  94305-8630                E-Mail: sedunn@leland.stanford.edu
----------------------------------------------------------------------------



From dwm@leland.stanford.edu Fri Apr 12 17:10:23 1996
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To: Sha Xin Wei <xinwei@leland.stanford.edu>
From: Diane Wood Middlebrook <dwm@leland.stanford.edu>
Subject: Re: first Spring session  5:00 today
Status: RO

At 01:26 PM 4/11/96 -0700, you wrote:
>Dera img folk,
>
>Just a note that we'll gather at the Humanities Annex 
>today at 5:00.

Dear Xin Wei,
        Sorry to have missed the first img meeting of the quarter, and
probably the second, but I do want to participate.  Please e-mail the list
of readings/discussion topics.  Thanks, and looking forward to seeing you.
Diane


From owner-sati@lists.Stanford.EDU Fri Apr 12 16:08:09 1996
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Date: Fri, 12 Apr 1996 15:42:01 -0700
To: sati@lists.Stanford.EDU
From: Terry Winograd <Winograd@CS.Stanford.EDU>
Subject: Apostolos: Sensual Science: From Dance Performance to Space
 Telerobotics
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		EE380 Computer Systems Colloquium

		      Spring Quarter 1995-1996

			  Lecture #3

Date:		Wednesday, Apr 17,1996

Time:		4:15-5:30 pm

Location:	Hewlett-Packard Auditorium (B01)
		Gates Computer Science Building

SITN:		Wednesday, Channel E4, 7:00-8:15 pm

Speaker:	Margo K. Apostolos
		USC School of Theatre

Title:		Sensual Science: From Dance Performance
		to Space Telerobotics

				Abstract

Sensual Science is presented as a way of looking at the world which
employs creative thinking and artistic expression.  Scientific
discovery and artistic creation progress in various ways and
integration of the two processes may result in exciting new
discoveries.  Robot Choreography will serve as an exemplary case of a
blend in an artistic--scientific integration.

Robot Choreography, that is, Programming robots to move with graceful
motions, was developed to explore an aesthetic dimension of robot
design and motion control.  As a dancer and choreographer, my ideas
emerged from artistic technology.  The lecture will provide an overview
of how the elements of dance have been combined for human/machine
performances.

Robot Choreography, like computer music and programmable sculpture,
utilizes technology for aesthetic goals to provide a new vehicle for
combining art, science, and engineering. In training robot dancers via
software or teleoperator masters, or in playing robots as
kinesthetic--visual instruments, the choreographer achieves new freedom
of expression.

				Biography

Margo K. Apostolos earned her Ph.D. at Stanford University in 1985 and
completed post doctoral work at Stanford in robotics before joining USC
i  1986.  At Stanford, her graduate work was in the area of user
acceptance of robots; her dissertation was "Exploring User Acceptance
of a Robotic Arm: A Multidisciplinary Case Study".  This work included
her development of Robot Choreography which involves the programming of
robots to dance.

Dr. Apostolos earned a M.A. in Dance from Northwestern University in
Evanston, Illinois and a B.S from Southern Illinois University in
Carbondale, Illinois.  She has taught in Chicago, San Francisco, and at
Stanford University, Southern Illinois University, and California
Polytechnic State University in San Luis Obisbo.  Apostolos served as a
Visiting Progessor in the Department of Psychology at Princeton
University, while on sabbatical in 1992-1993.

At Princeton she conducted research in Robot Choreography with the
School of Engineering an d the Cognitive Science Laboratory   She also
participated in a seminar series with the School of Social Science at
then Institute for Advanced Study in Princeton.  While at Princeton,
Apostolos lectured at the University of Pennsylvania and participated
in virtual reality seminars at Rutgers University.

Apostolos was a recipient of the prestigious NASA/ASEE Summer Faculty
Fellowship and worked for NASA at the Jet Propulsion Laboratory/Caltech
in Pasadena, California. At JPL, Apostolos worked as a research
scientist in the area of Space Telerobotics.

Currently, Apostolos is a Co-Investigator at the Annenberg Center for
Communications where she conducts research on facial expressions and
human-computer interactions.

** THIS TALK WILL NOT BE AVAILABLE OVER THE SITN NETWORK OR IN THE
** LIBRARY ON TAPE.  AN APPROPRIATE TALK WILL BE SUBSTITUTED FOR THESE
** DELIVERY MEDIA AND THE ABSTRACT AVAILABLE HERE AT A LATER DATE.
**
** Due to copyright restrictions, this talk will not be broadcast via SITN
** nor taped for library or Computer Forum use.  A suitable tape from the
** archives will replace it in those distribution channels.  If you want
** to hear this talk, the you must attend in person.

************************************************************************
* EE380 is the Computer Systems Laboratory Colloquium.  The Colloquium *
* meets most Wednesdays throughout the normal academic year.           *
*                                                                      *
* For information on the class send e-mail with a subject line         *
* mentioning "info" in the subject line to ee380@shasta.stanford.edu.  *
*                                                                      *
* WWW Page:  http://www-leland.stanford.edu/class/ee380                *
************************************************************************



From keeling@leland.Stanford.EDU Thu Apr 11 18:07:51 1996
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199604120107.SAA18002@elaine14.Stanford.EDU>
Subject: reference
To: xinwei@leland.Stanford.EDU
Date: Thu, 11 Apr 1996 18:07:44 -0700 (PDT)
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Status: RO

Xin Wei,

Here's the Espen Aarseth reference:  "Nonlinarity and Literary Theory," 
_Hyper/Text/Theory_, George Landow, ed.

In general he defines:

" (1)  the simple nonlinear text, whose textons are totally static, open and 
explorable by the user; (2) the discontinuous nonlinear text, or hypertext, 
which may be traversed by "jumps" (explicit links) between textions; 
(3) the determinate 'cybertext,' in which the behaviour of textons is 
predictable but conditional and with the element of role-playing; and 
(4) the indeterminate cybertext in which textons are dynamic and 
unpredictable" (63)  of course, as he  admits, some fall between models.

Textons meaning links, or chunks, or unit of meaning.  Like I said, this
may be too "texty" for us, but food for thought--maybe just a snack.

--john

From xinwei@leland.Stanford.EDU Mon Apr 15 17:45:38 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199604160045.RAA01801@elaine29.Stanford.EDU>
Subject: literacy, logographs and diglossia
To: bobhorn@well.com
Date: Mon, 15 Apr 1996 17:45:18 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Bob,

Did I ever give you a copy of Tom Hare's chapter on reading Egyptian
hieroglyphs?  Anyway, There'll be a Colloquium on "Literacy,
Logographs and Diglossia" this Friday, at Bechtel International House,
Stanford 10:00-4:00.

Sponsored by Lit, Classics and Asian Languages, starring 

John Baines, Oxford
Jim Fox, Anthropology SU
Tom Hare, Asian Lang/Comp Lit, SU
Antonio Loprieno, UCLA
Haun Saussy, Asian Lang/Comp Lit, SU
Chaofen Sun, Asian Lang, SU

that you might find interesting.


There's also an article in the current N Y Review of Books
on calligraphy which makes a good intro to the problem of 
occidental naivete about te art of "shu" -- brush-writing.

Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue Apr 16 19:31:33 1996
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Date: Tue, 16 Apr 96 19:31:50 -0700
To: img-mail@lists.Stanford.EDU
Subject: VR
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Dear img-folk,

1.  What makes a simulation interactive?

2.  A critical look at the Moving Worlds proposal for
the next generation Virtual Reality Modeling Language,
VRML 2.0.

(2) seemed to tickle more fancies at our first spring session
(last Thursday).   A close study of the social,
metaphoric, and design commitments underpinning some emerging
structure and scripting languages seems to be a good way to tie
together what we've visited to date.

This Thursday, I'll bring in some selections from the following
canonical works:

1.	Walter Benjamin, "The work of art in the age of mechanical
 reproduction," in _Illumination, 217-51.
2.	Baudrillard Simulacra and Simulation.

We can start a critique of VR and cyber architecture by reading the

3.	Moving Worlds Specification:  
<http://webspace.sgi.com/moving-worlds/spec/spec.main.html


Please, any comments?  Objections?  Alternatives?   See you
this Thursday, at 5:00, in the manities Annex.

Xin Wei

From owner-img-mail@lists.Stanford.EDU Wed Apr 17 10:20:55 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 17 Apr 96 10:22:42 -0700
To: img-mail@lists.Stanford.EDU
Subject: Gender, Law & Cyberspace, MIT
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[img-folk, for reference... Xin Wei]

Begin forwarded message:

To: ni@media.mit.edu
Subject: of possible interest...
Date: Sun, 14 Apr 96 16:52:52 -0400
From: asb@media.mit.edu


------- Forwarded Message

Subject: Gender, Law & Cyberspace Conference

**Announcement**
**Virtue & Virtuality:  Gender, Law & Cyberspace**

On the weekend of April 20-21, a two-day symposium on gender, law and
cyberspace will be held at MIT.

With the exponential growth of the Internet, the media has focused
particular attention over the last year on a range of constitutional,
moral, and political dilemmas raised by growing and proliferating
practices of virtual sex. A controversial and contested study of
pornography on the net became the cover story in a national newsmagazine;
Congress passed the Communications Decency Act, a bill which could
greatly limit the electronic availability of sexually explicit materials;
newspapers ran stories about teenagers seduced by adults in on-line chat
rooms. At the same time, increasing numbers of people are using the new
information technologies to participate in virtual communities or to
challenge traditional notions of self, identity and society. This
conference offers the chance to go beyond the headlines, and to reflect
on the complex interface that is emerging between cyberspace, the legal
system, and contemporary issues of gender, sexuality and identity.
Participants include legal academics, cultural studies and communications
scholars, and members of the computer science community.

All panels are free and open to the public, and all events will
be held in Bartos Theater, located in the MIT Media Lab
Building at 20 Ames Street in Cambridge (one block from the
Kendall Square subway stop).  This conference is sponsored by
the MIT Program in Women's Studies, the Office of the Dean of
Humanities and Social Science and the Office of the Dean of
Engineering at MIT.  For additional information, please see the
conference web page at:
<http://web.mit.edu/womens-studies/www/sex.html or send email to
womens-studies-www@mit.edu or jmnookin@bug.village.virginia.edu.

SCHEDULE OF EVENTS:

Saturday, April 20, 10-12:30pm:
CYBERLAW:

Amy Bruckman, Media Lab, MIT
"Democracy" in Cyberspace: Lessons from a Failed Political Experiment

L. Jean Camp, Engineering and Public Policy, Carnegie Mellon University
Bedrooms, Bar Rooms, and Boardrooms in Cyberspace

Ethan Katsh, Professor of Legal Studies, UMass Amherst
On-Line Dispute Resolution

Jennifer Mnookin, Science, Technology and Society, MIT
Bodies, Rest and Motion:  Law and Identity in Virtual Spaces


Saturday, April 20, 2:30-5pm:
CYBERSPEECH AND CYBERSEX

Larry Lessig, Professor of Law, University of Chicago
Zoning Porn and People in Cyberspace

Eben Moglen, Professor of Law, Columbia University
Beyond the Bounds of Decency: Children, Sex, Violence, and the Law

Howard Schweber, Political Science, Cornell University
And Then the Railroad Came: Law, Pornography and Regulation in Cyberspace

Ellen Spertus, Computer Science, MIT
Social and Technical Means for Fighting Online Harassment

CONFERENCE RECEPTION:  5:00 p.m.


Sunday, April 21, 10-Noon:
CYBERBODIES

Julian Dibbell, journalist
My Dinner With Catherine McKinnon (And Other Hazards of Theorizing
Virtual Rape)

Jeffrey Fisher, Medieval Studies, Ohio Wesleyan University
Feminist Cybermaterialism: Gender and the Body in Cyberspace

Leslie Shade, Communications, McGill University
The Digital Woman


Sunday, April 21, 1:30-3pm:
CYBERTALK

A Panel Discussion with:
Anne Branscomb, Program on Information Resources Policy, Harvard
Evelyn Fox Keller, Professor of STS, MIT
Sherry Turkle, Professor of STS, MIT

- --
Jennifer L. Mnookin
jmnookin@bug.village.virginia.edu


------- End of Forwarded Message


From xinwei@truffaut.stanford.edu Thu Apr 18 12:16:28 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 18 Apr 96 12:18:18 -0700
To: xinwei@leland.Stanford.EDU
Subject: Meiyan@aol.com 448-5550  Mei-Yan Lu
Status: O



Begin forwarded message:

Date: Thu, 18 Apr 1996 02:02:09 -0400
From: Meiyan@aol.com
To: xinwei@truffaut.Stanford.EDU
Subject: Thursday seminar

Dear Xinwei:
My name is Mei-Yan Lu. I am a visiting scholar working with Decker  
Walker. I
met you last quarter. Decker told me about your Thursday seminar.  
Would you
please keep me posted on your schedule. I have a Leland account.  
But at this
point, it's best to use the AOL account which is meiyan@aol.com to  
leave me a
message. Regarding to this Thursday, would you please tell me about your
topic, time and place to meet? I can also be reached at home which  
is (408)
448-5550. I am looking forward to hearing from you soon.
Sincerely,
Mei-Yan Lu

From village-owner@lindgren.res-hall.nwu.edu Thu Apr 18 01:06:39 1996
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Date: Wed, 17 Apr 1996 23:57:27 -0800 (AKDT)
From: "Matthew M. Muntean" <pfennig@calvino.alaska.net>
To: VCP <village@lindgren.res-hall.nwu.edu>
Subject: Mein zwei pfennigs!
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I don't think it is feasable to require (at this time anyways) all Zones, 
alll Terra Vista zones to be perfectly linked, so that one can walk 
seamlessly through all of them.

This is what I believe: Segment's A and B will probably fracture 
(escpecially B) into many sorts of linking types (meaning, one has all 
square landscapes a la George or floating red platforms a la my spot things).

I think that if a person wants to start a zone dealing with Ray 
Bradbury's Martian Chronicles, and creates a TVP compatible zone that 
does so, they shouldn't have to link their site in to available free 
space and register it with some central computer system. Everyone who 
wants to continue the theme of the zone would voluntarily comply to the 
limits of the zone, but this would be *local* to the themed area.

If a person in the Martian Chronicals world wanted to go to an Artic 
Wilderness world populated by Rattai Igloos, that person would board the 
nearest 'Transit Zone' portal, which would be arbatrarily linked to some 
sort of transportation .wrl with links to various places, probably in 
this case mostly sci-fi, with portals to other more general places. From 
there, to Artic Land.

 "Go past the red cliffs, take the portal to the north of the city (main 
portal), you'll go to sci-fi land. Portal through the Transport portal, from 
there catch a earth simm portal to Alaska. From there portal to the artic."

Hmm. That seemed kindof complicated.

The thing I'm trying to say with far too many words is that Zones should 
only require identical, seamless links with other Zones that have the 
same *theme*. These would be managed probably by the governer who created 
the first zone.

Links between themes should be a standardized design of portal. Later, in 
VRML 2.0, busses or other moving things. (??) But for right now whatever 
we come up with (I haven't gotten around to looking at those glyphs yet)

I just am a little uneasy about creating a world that has to expand from 
the inside outward. I don't think there should be a main registry. Themed 
zone's could do it if they wanted. But not to link everyone.

*)---


Which means: 1) Portals need to be standardized for interTheme transport.
	     2) IntraTheme transportation (seamless links between zones) 
needs to be standardized. No real problem here. Someone just has to (in 
themed areas) make sure that everyone fits into place in the cubic 
gridwork of the theme.

(zone's being dominions, say Anchorage, where the mayor holds power, 
themes being The Real World VRMled - a representation of the earth in a 
seamless .wrl format)

		People who break up the grid work probably should get 
links cut off from them, and a nice blank grid linked to in their place. 
This would be the duty of the governor of the Zone where the disturbance 
is located. Most people who would be the types to break up the scenery 
could just be told to go to the Segment B side, or create their own theme 
or Zone elsewhere.

		3) A recognized heirarchy of definitions. In my examples, 
Theme, Zone, segment, etc. with various levels of leaders governing them.

		4) An indexing system would be nice. Pointworld is spiffy 
keen in my book, although it isn't exclusively VRML. It would be nice it 
there was something like it that was.



Argh. That was too long. But that's my idea of what things should be 
like. Anyone have any ideas on the matter? Adam? Am I off base, or have 
these topics already been discussed and undertaken?

I know the Hub idea is up and running.

Heirchy of definition is kindof there; I'm not sure if someone posted a 
list of TVP definitions.

Command .. we have ombudsmans for standards decision making; someone said 
every owner of a Zone was a God; if zones themed together, they would 
probably end up being demi-gods.

Standardized portals .. Somebody was working on something awhile ago. 
I've got a couple portals up (rather crude) on the front lawn of my .wrl 
in George town (3 north).

That's enough. G'night, all! Comments welcome!

O -Matthew Muntean	 VRML testbed http://www.alaska.net/~pfennig/sl.wrl
|  -pfennig@alaska.net   (only LOD-compliant browsers (Webspace))   
|
O-Oo.			 HTML homepage! http://www.alaska.net/~pfennig	




From owner-img-mail@lists.Stanford.EDU Thu Apr 18 23:30:38 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 18 Apr 96 23:32:17 -0700
To: img-mail@lists.Stanford.EDU
Subject: readings for next few weeks
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Dear img folk,

So the general approach, if I may crudely summarize
it, is to take some social
scenarios (tutoring, loitering, playing music together,
cleaning house, etc.), examine the features and functions of
such habitus, turn to the examples of VR representations
before us (eg. VRML 2.0), and see what can or cannot be
done or represented with the technology.

We will also pay attention to the political, epistemic
and stylistic commitments entailed by the design of these
VR languages and software systems.

Here's a list of readings and topics for the next month or so
that we've assembled:

* Apr 25 - Simulation, virtuality
- VRML Key Concepts
- Walter Benjamin, Art in the age of mechanical reproduction
- Baudrillard, chap. 1 in Simulacra and Simulation

* May 2 - Metaphors in virtual reality and design
- R. Coyne, chap. 7, Metaphors and machines:metaphor, being, and  
computer systems design, in Designing Information Technology in the  
Postmodern Age.
- VRML 2.0 specification, continued

* May 9 - Critique of object-oriented design
- C. Alexander, selections from A Pattern Language
- VRML 2.0 and other 3D specifications

* May 16 - Building worlds
- Habitat
- SimCity, SimEarth
- MERL, the Village, etc.
- Mike Davis, chap. 1 of City of Quartz


* May 23 - Alternatives...

The full set of topics is in:

http://www-leland.stanford.edu/~xinwei/pub/img/topics.html

Please volunteer suggestions!

- Xin Wei

From village-owner@lindgren.res-hall.nwu.edu Fri Apr 19 02:46:04 1996
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Date: Fri, 19 Apr 1996 04:13:48 -0500
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To: village@lindgren.res-hall.nwu.edu (Terra Vista)
From: krattai@escape.ca (Kevin Rattai)
Subject: A new era in opportunities...
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Well, once again I had an opportunity to review some of the earlier stuff.
And some of what has been written has been quite profound.  As we develop
the webwork, so are we developing a new environment which will have a social
and economical impact on all our lives.  We are creating opportunities to
enhance the way we socialize, the way we play, and the way we work.
Economic opportunities have already arisen, why not employment opportunities?

Let me present the Land Builders and Maintenance workforce.  These hard
working individuals set upon to create the environment where we interact.
Part of their job is to make sure that, as they develop the 3dscape, they
ensure that there is a connectedness that occurs.  Each developed
environment is painstakingly and lovingly mapped and linked to existing
environments (segments and zones).  They ensure that, should a piece of the
landscape go missing, there is something to replace it.  That is their job,
they enjoy it, and they do it well.  Hoorah for the Land Builders!

This is real.  Too real.  I've lost focus.  Remember the excitement of the
original idea?  Remember all the little thoughts flying through our brains?
I wonder if we have chosen to settle in to the standard, real world way of
doing things.  I think I might have.  Remember Johnny Mneumonic, Snow Crash,
Neuromancer?  What are we creating here?

Please.  Push yourself back from the monitor, close your eyes, and imagine
the possibilities.  We have no limits.  We have no constraints.  Before you
jump onto the keyboard to reply, humor me and consider what we are doing.

I thank Michael St. Hippolyte for bringing this back for me, truly.  In our
journey into the unknown, did we think that employment might not be
necessary?  What other jobs might be created as a spinoff of this endeavor?
I don't mean real world jobs.  Forget those.  What kind of work might we do
within or via the virtual communities?  Searchers - people who look for
information within the dataspaces that will spring up?  Databuilders - the
people who create the datastructures within 3space which offer more
functional information?  Architects - people who...  well, you know.  Rick
had alot of insight that we may have missed.  Bench builders, tree builders,
mountain builders.  Re-useable object builders.  Let's share this place.

Coexist.  Exist.  This is our community.  We need only develop general
guidelines, the rest will happen on its own.  Don't force it, should we err
in our excitement.  Let it flow, let it go.  Take some time, smell the
roses, and consider one more time, what we are doing here.  What do we want
to create, for we do create.

If you read down to the bottom of this, you are one of the rare ones who
considers this project well worth it.  Thank you for imagining.  If you have
imagined, please pass the word along to any that may not.  This is our project.

Kevin
---Terra Vista @ http://www.messiah.edu/hpages/student/sr930922/tv.htm
---Beausejour @ http://www.escape.ca/~krattai/bjour.htm
~~~
Kevin Rattai                Uvea I. S.     URL:  http://www.escape.ca/~krattai
ph:+1(204)771-9772     Box 1136
fax:+1(204)265-3206    Winnipeg, MB, CA  R3C 2Y4
Could a nanomachine build a nano?  Is Artificial Intelligent??
Isn't Reality Virtual???  Who's running this place anyway????


From owner-img-mail@lists.Stanford.EDU Fri Apr 19 19:21:54 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 19 Apr 96 19:23:17 -0700
To: img-mail@lists.Stanford.EDU
Subject: VRML URL's
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Dear img-folk,

Here is the VRML 2.0 cites:
VRML 2.0 - http://webspace.sgi.com/moving-worlds/

The old VRML 1.0 reference is:
VRML 1.0 - http://rosebud.sdsc.edu/vrml/

Xin Wei

From owner-img-mail@lists.Stanford.EDU Fri Apr 19 18:25:17 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199604200125.SAA18888@elaine16.Stanford.EDU>
Subject: eavesdropping on VR designers
To: img-mail@lists.Stanford.EDU
Date: Fri, 19 Apr 1996 18:25:01 -0700 (PDT)
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Dear img folk,

NetScape announced software called Atlas that renders VRML 2.0.
There's also Live3D (maybe same?) for Mac (in beta), and Windows,
WindowsNT.

Please post URL's to interesting VRML sites as you come across them My
Mac is sick, so I can't pluck any worlds, yet.  Charles is trying to
get that promised machine from SGI.

For ethnographic reasons, I've been saving email discussions among the
VRML designers about social and architectural design policies.  I'll
link it to our Website's Readings page, but here's a sample, to whet
your appetite.

- Xin Wei

<H3> ============================================ </H3>
Date: Thu, 11 Apr 1996 09:53:09 -0500
From: "Sam T. Denton" <denton@maryville.com>
To: jeremy@worlds.net, owner-moving-worlds@cthulhu
Subject: Re: Viewpoints and Navigation
Cc: moving-worlds@sgi
X-Mozilla-Status: 0011

fouts@gameover.atlanta.sgi.com (Christopher Fouts) sez:
> I do think the
> up vector should be local to the viewpoint.  And I don't think the
> (vaguely hinted at in the spec) gravity magnitude should be scaled by
> the local viewpoint transform.  Once browser writers have played around
> with the idea of gravity and its effect on navigation a bit more, I
> expect we'll have a mechanism added to VRML for altering the strength
> of gravity.

(I'm sitting at home supposedly doing my taxes, so I can't grep my full
text copy of the spec for "gravity" just now.  In other words, I won't
be suprised by a reply of RTF-Web-Page.  ;-)
 1632 lines more (you've seen 26%) 
Message 4/7  From owner-www-vrml-digest@wired.com                        Page 14

be suprised by a reply of RTF-Web-Page.  ;-)

How is gravity going to work?  As an example, suppose I've modeled the
Babylon 5 habitat.  "Gravity" should be directed away from the axis of
rotation, and the force should be proportional to the distance from the
axis.  Suppose I've modeled a Martian moon (for Doom VRML?).  Gravity
(no quotes this time) pulls me to the center as I circumnavigate the
object.

I realize the benefits of (and fully support) a model of gravity that
is pre-Newtonian, because while on the surface of a large planet, a
constant force vector is what humans expect and will cover 99-44/100ths
of the worlds that people build, as well as being simple to implement
and not demanding of compute cycles.  On the other hand, I expect that
in cyberspace there will be a larger percentage of places where gravity
will have to work differently than the average human will ever experience
in their life.  And there will likely even be places that only Escher
would feel at home within.

I would guess that the "standard" for gravity would have to support
author-supplied transforms that receive current position and output
a down vector (direction _and_ magnatude).  Of course, there should
also be standard EXTERNPROTOs for each of the three cases I've mentioned
above (constant, relative to point, relative to line) with the first
of these being the default.

- --
I don't have a publicly accessible homepage.
Until I do, allow me to suggest the following:
        http://www.usml.edu/~mljohn/sam.html

<H3> ============================================ </H3>
> Here are a few guidelines when building your home to add to the 
> Virtual Community project.
> 
> 1) The standard plot size a user is allocated is 20*x*20 meters.
> If you require a larger plot size then this can be arranged. Bare in 
> mind that your home or building must stay realistic. The height of 
> the user is 1.6m so don't build a door that is smaller than this, 
> also having said that, dont build a door that is 4meters hight unless 
> it is part of your design for the door to be huge.
> 
> Remember that 20*20 is a large area in real life - try to be 
> realistic.

Ok, 20*20 is NOT a large area, Please build your home to a 40*40 area 
limit.

Remember that we are still in the testing stages and the 20*20 limit 
was so I could see how things were going!
But I guess you are all right, 20*20 is not so big.

May I also add that -   1 VRML Unit = 1 Meter

So please stick with this or we won't know if we are comming or 
going.
Building and segments/zones can allways be scaled later - please 
stick to this for now!
 1687 lines more (you've seen 11%) 
Message 1/6  From owner-www-vrml-digest@wired.com                                                           Page 6

stick to this for now!


> 2) Try to add some scenary information around your building, build a 
> wall or a few trees etc, you don't have to use all the plot area just 
> for your building

You have a whole 40*40 meter area, build a path to your front door, 
whatever - you will get a better idea of what to build when I issue 
the URL of the first segment (next day or so).

> 3) Build a mailing box or build a letter box into your door. This will be 
> used for mail messages. Code is simple thanks to Jeremy Cunningham :-
> 
> WWWAnchor { name "mailto:you@your.email.address"
> description "Click here to send me a mail message"
> #add your mailbox code here eg. Cube { }#
> }
> 
> 4) Each home or building must have an LOD with the simplest level 
> being a CUBE. The cube should represent that of the overall shape, 
> colour and size of the building. Tip: To get a basic idea of what you 
> should use, build your home and then walk backwards away from it in 
> your VRML browser until it is quite small. Now blur your eyes and 
> build a cube with that colour and shape.

The LOD range as stated above must be used. Your simplest level must 
be a cube that represents the shape of your home. So if your home is 
10m high and stuch to the ground - then the cube must also be 10m 
high and also stuck to the ground.


> 5) Aside from the cube - try to implement LOD so that as the user 
> gets closer, more detail is added to the current model.
> 
> 6) Depending on the building size, the LOD should have a
> range of [ 50 ]
> If the user is over 50meter away from the building then the simplest 
> level (a cube) is displayed. You can/should add varying levels 
> between the simplest and complex model.
> 
> Note: this LOD range value may change.
> 
> 7) At the moment, you can assume that your home/building will be 
> placed on green grass.
> 
> 8) Find out the overall height of your building so that I can add 
> this to the bboxSize of the WWWInline node.
> 
> 9) Try not to use texture maps, if you do, dont use too many - we may 
> be setting up a common texture library - try to hold off until this 
> is confirmed.
> 
> 10) Plese use the following prefixes to your description field when 
> adding links....
> 
> Gif or Jpeg etc. add "Picture: your description"
> HTML page add "HTML: your description"
> Sounds add "Sound: description"
> Movies add "Movie: description"
> Email add "Email: description"
> etc..
> 
> where the description can be anything you like eg.
>    "HTML: Click here to go to my Homepage"
> 
> Note you dont need to add a prefix if linking to another vrml .wrl 
> file.
> 
> 11) Keep your file size down, it should be no more than 3k for a 
> 20*20 plot size.
> This is just for now until we can get idea of how it is going.

Read the above again <this is just for now until we get an idea of 
the performance>

Remember that once you own a plot, you can build *and improve your 
building* in your own time, at your own pace. For now just do 
somthing simple! You can always !knock it down! and build something 
else.

> 12) You may be able to use some common VRML libaray objects on your 
> plot as WWWInlines, for example a mail box.
> This also needs sorting out, so ignore this for now.
> 
> 13) Only model the shell of your building, not the insides. You can 
> add a link to your door that takes you inside the home.
> If you do this you must also add a link that takes you back out.

Yes, you can create a tardis effect, ie. the inside is bigger that 
the outside.

> The way I have implemented things - the users view will be placed 
> back outside your home when exiting from the insides.

This will involve having an extra small file on your server which 
defines the view point, the more exits you have from your building 
the more files you will have.
Eg. If you have one exit, you will have one file. Have two exits and 
you will have two files.

The file is v. v. v. small, about 5 lines of code! All it does is 
define the entrance view point and call the segment you came from.
I will provide the code once you have created your home and have it 
in place.


> Please mail me and the list if you have any more questions.
> 
> Happy VRML'ing.
> 
> thanks,
> /george
> 
> 
George Philippakos
Department of Computation 3rd Year
UMIST, England

g.philippakos@stud.umist.ac.uk
http://www.co.umist.ac.uk/~georgep

<H3> ============================================ </H3>
From: "Kitainik, Leonid" <KITAINIK@nt.paragraph.com>
Date: Thu, 18 Apr 96 10:16:00 P
Subject: PARAGRAPH INTERNATIONAL CONTRIBUTES VIRTUAL HOME SPACE BUILDER  SOFTWAR
E TO  KIDCAST FOR PEACE

FOR IMMEDIATE RELEASE

PARAGRAPH INTERNATIONAL CONTRIBUTES VIRTUAL HOME SPACE BUILDER SOFTWARE
TO  KIDCAST FOR PEACE

CAMPBELL, CA --April, 18 1996 --  ParaGraph International, developer of 
Virtual Home Space Builder (VHSB), the first VRML Internet authoring tool 
for consumers and the easiest 3D multimedia authoring software available, is 
proud to participate in this year's KidCast for Peace project.  Among the 
events during EarthDay weekend, April 19-22,  will be the launching of
"EarthStation," a 3D VRML Internet repository of poems, movies, images, 
short stories and animations created by children of all ages, describing 
their solutions for a better world.  To help children contribute in the 
construction of EarthStation, ParaGraph is providing a "mini" version of 
VHSB free to participants, templates to get started, and is publishing 
children's submissions on its Web site.  Information is available at: 
http://www.paragraph.com/vhsb/

KidCast for Peace, produced by V.A.R.I.O.U.S. and Creativity Cafe, is a 
virtual reality community forum and live interactive event (in San 
Francisco), starting Friday April 19th, 1996.  Children using the latest 
multimedia storytelling technology, will share their insight on 
environmental and social issues offering suggestions for making this a 
better, safer and healthier world.  They will adorn the EarthStation with 
their creativity, and build websites (and their future) with their vision, 
hopes and dreams.  The EarthStation will continue to circle cyberspace, 
collecting children's ideas and images and offering solutions for a better
world long after the kickoff event has ended on midnight April 22,1996.

 "Children everywhere always dream to build a better world," said Stepan 
Pachikov, CEO of ParaGraph International, "and we hope that participating in 
this project will help them achieve this goal."

 "I am delighted that ParaGraph International has offered Virtual Home Space 
Builder to get children involved," said Peter H. Rosen, founder of 
Creativity Cafe.  "Their 3-D software is easy to use... making it simple for 
children to get past the intricacies of creating a Virtual Reality Space. 
 It lets children tell us what's on their minds and makes them feel like 
they have really created
something special."

Children can build their own part of the EarthStation by using VHSB, 
available in retail stores worldwide for $49.95, or a "mini" version of 
 VHSB which is provided free to participants and is limited by the size of 
3D Spaces that can be created.  Topics include:  People Care, Planet Care, 
Species Rights, Family, Recycling, Peace, Energy, Communications, Cosmology,
and Metaphysics.  Anybody can view these 3D Spaces using a VRML browser over 
the Internet.

Children, parents, and teachers seeking more information about how to 
participate in constructing the 3D EarthStation can first link their Web 
browser to: http://www.paragraph.com/3dspaces/kidcast/. There, they will 
find instructions on how to download VHSB and how to contribute their own 3D 
Spaces.  For questions regarding VHSB, please send an e-mail to John
Poluektov at [john@paragraph.com] or phone (408) 364 7740. For information 
regarding the KidCast for Peace project, link your web browser to 
http://www.creativity.net/CCafe/kidcast2.html or send e-mail to 
CCafe@creativity.net


Company Information

ParaGraph International's product line bridges a number of technologies, 
including 3D and VR applications, pen software and compression technologies.

Founded in 1989, ParaGraph International's corporate mission is to be the 
leading provider of Internet VR authoring tools by combining proprietary 
technologies in 3D rendering, behavior languages, compression and 
recognition that customers use to build exciting Internet spaces - rooms, 
buildings, cities, landscapes, worlds and universes - for people to visit 
and communicate with each other.

For more information on ParaGraph International and its products, contact 
the company at 1688 Dell Avenue, Campbell, CA 95008, (408) 364-7700; 
Fax(408) 374-5466. Web sites: http://www.paragraph.com and 
http://vrml.paragraph.com.
http://vrml.paragraph.com.

 Virtual Home Space Builder, Virtual Home Space Viewer and Home Space are 
trademarks of ParaGraph International. All other trademarks and registered 
trademarks previously cited are hereby acknowledged as trademarks of their 
respective owners.
________________________________________________________

John Poluektov
ParaGraph International
Phone (408) 364 7740
Fax (408) 374-5466
1688 Dell Ave, Campbell CA 95008 USA
http://www.paragraph.com/
________________________________________________________


From bobhorn@well.com Tue Apr 23 11:42:22 1996
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: bobhorn@well.com (Robert E. Horn)
Subject: Egyptian
Status: RO

Xin Wei

Many thanks for the article on Egyptian.  It was right on target for me and
cleared up many misunderstanding that I had about the language.

I'd like to talk to Tom Hare.  Do you have his email?

I might be a little late to our session on Thursday, but I plan to attend.

Bob



From owner-img-mail@lists.Stanford.EDU Tue Apr 23 17:29:05 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 23 Apr 96 17:29:19 -0700
To: img-mail@lists.Stanford.EDU
Subject: readings for Thursday
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O

Dear img-folk,

Just a reminder, for this Thursday, we'll look at

1.	W. Benjamin's Art in the Age of Mechanical Reproduction
2.	J. Baudrillard's Simulations, chapter 1

and

3.	VRML 2.0, Key Concepts.

NetScape Atlas -- their experimental browser --
and Paper, Inc's  Live3D are not stable enough for the
faint of heart, so I won't commend you all to
VRML-land, yet.

VRML2.0's the object that we shall put under our analytical knives.
Benjamin's for nolstagia, and to warm up those analytical-muscles
that have been frozen in Baudrillard's rictus.

I'll have paper copies by my door all day tomorrow (Wednesday).

- Xin Wei

From owner-class-tech@lists.Stanford.EDU Wed Apr 24 10:24:29 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu> (by way of
 lbrooks@leland.stanford.edu (Lois Brooks))
Subject: new rhetorical spaces
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fyi...

Hi Lois,

Perhaps you could send this on to the Writing & Critical Thinking,
Foreign Language, and related instructors/ITS?

Xin Wei


Begin forwarded message:

To: ni@media.mit.edu, el@media.mit.edu
Subject: "new rhetorical spaces"
Date: Wed, 24 Apr 96 11:03:57 -0400
From: asb@media.mit.edu
X-Mts: smtp


A friend asked me to pass this along.
-- Amy

------- Forwarded Message

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

Announcing The Epiphany Institute:
"Mapping New Rhetorical Spaces and Building Bridges from Current to New
Technologies"
June 9 - 14, 1996
at Virginia Commonwealth University
Richmond, VA

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

INSTITUTE GOAL:  To develop a plan with specific strategies for change at
the participants' institutions in an atmosphere of collaboration
and shared
knowledge-building.  Guided by national leaders of the computers and
learning movement, participants will discover ways new technologies
pervade
culture and impact teaching and learning.

At the end of this Institute participants will have:

*  Gained an overview of the impact of and theoretical implications of
technologies on culture and pedagogies;
*  Modified and richly annotated a traditional syllabus, brought
with them
from one of their institution's courses, to create an information
technology-rich syllabus.
*  Drafted a plan for coordinated faculty development and change on a
departmental level; and
*  Acquired a wide array of computer skills and resource information.

***** DAILY SCHEDULE ******

Sunday -- June 9

3:00 - 4:00  Leaders' Meeting for Epiphany Team
4:00 - 6:00  Registration; Special session for "Newbies"
6:00 - 10:00  Whole group: Welcome gathering and dinner;
Introductions and
orientation; Distribution of materials.

Monday -- June 10

8 - 8:30  Registration; Continental breakfast; Newbie help as needed
8:30 - 9:30 Small group formation with facilitators: "Mind-Stretching"
9:30 - 11:00  Whole group:  New Writing Environments: The Web; ENFI;
Hypertext; MOOs, etc.
11:00 - 12:30 Web; ENFI; Hypertext, continued.
12:30 - 2:00 Lunch.  (We'll encourage daily "working lunches" with small
groups. Epiphany Team leaders will meet during lunchtime.)
2:00 - 3:00  Groups -- desiving a workplan for the week.
3:00 - 4:00  Group work
4:00 - 5:00  Whole group: reports back from small groups
5:00 - 6:00 Lab or group time
6:00 - 10:00  Open labs; dinner on your own; readings/assignments.

Tuesday -- June 11

8 - 8:30  Continental breakfast
8:30 - 9:30  Whole group:The Making of Knowledge in the Age of Electronic
Text; and Stories; Inkshedding.
9:30 - 11:00  Concurrent sessions 1 (Demos, Presentations, Workshops)
11:00 - 12:30 Small group meeting with facilitators
12:30 - 2:00 Lunch.
2:00 - 3:00  Concurrent sessions 2  (Demos, Presentations, Workshops)
3:00 - 4:00  Concurrent sessions 3  (Demos, Presentations, Workshops)
4:00 - 5:00  Whole group: Discussion of readings & progress reports
5:00 - 6:00  Lab or group time
6:00 - 10:00  Open labs; dinner on your own; readings/assignments.

Wednesday -- June 12

8 - 8:30  Continental breakfast
8:30 - 9:30  Whole group: Discussion of readings connected to
course redesign
9:30 - 11:00  Concurrent sessions 4  (Demos, Presentations, Workshops)
11:00 - 12:30  Concurrent sessions 5  (Demos, Presentations, Workshops)
12:30 - 2:00 Lunch.
2:00 - 3:00  5-Minute presentations on redesign of syllabi (in
computer labs)
3:00 - 4:00  00  5-Minute presentations on redesign of syllabi cont. (in
computer labs)
4:00 - 5:00  Whole group:  Campus and departmental structure and support
for technological change
5:00 - 6:00 Lab or group time
6:00 - 10:00  Open labs; dinner on your own; readings/assignments.

Thursday -- June 13

8 - 8:30 Continental breakfast
8:30 - 9:30 Whole group:
9:30 - 11:00  Concurrent sessions 6  (Demos, Presentations, Workshops)
11:00 - 12:30 Concurrent sessions 7  (Demos, Presentations, Workshops)
12:30 - 2:00  Lunch
2:00 - 6:00  Open labs or R & R (Tours of Richmond, or whatever)
6:00 - 10:00 Banquet.  Featured speaker: Randy Bass, Georgetown
University

Friday -- June 14

8 - 8:30 Continental breakfast
8:30 - 9:30 Whole group: Summing Up the Themes and Setting an
Agenda for Change
9:30 - 11:30  Preparation time for afternoon presentations
11:30 - 2:00 Lunch.
2:00 - 3:00  Group presenations on syllabus redesign
3:00 - 4:00  Presentations by groups continued
4:00 - 5:00  Whole group: New Directions; Final Thoughts; Evaluation

WHO SHOULD ATTEND?  Team members could include any or all of the
following:

Department leaders  *  Collaborative learning specialists  *  Composition
theorists  *  Literary studies and writing teachers interested in
pedagogical, rhetorical and cultural changes resulting from
technologies  *
Writing-Intensive/Writing Across the Curriculum leaders  *  Writing
center
directors and coordinators  *  Others interested in computers and making
changes to infuse classroom practice with new technologies

TOPICS TO BE COVERED INCLUDE:

An overview of literature and resources in field of composition and
computers including both theory and practice.
Translation of composition theory and practice in an electronic
environment
including collaboration theory.
Synchronous and asynchronous computer-mediated communication (CMC)
Local area networks (LANs)
Wide area networks (WANS)
Hypertext as writing and presentation medium
Email
Networked classrooms and groupware
The World Wide Web as a site for teaching, research and publication
HTML programming
MOOs (Multi-User Dimensions, Object-Oriented) and the Composition in
Cyberspace program
Presentation software
Portfolio and Webfolio assessment
Strategies for creating a technology-rich curriculum
Lo-Tech ways to emulate high tech applications
Additionally, we will address specific needs of individual institutions.

THE EPIPHANY PROJECT

Epiphany is a two-year project, started in summer of 1995, funded by the
Annenberg/CPB Project, Gallaudet University, and George Mason University,
but it is also sponsored by the Alliance for Computers and Writing and
affiliated with the American  Association for Higher Education,
meaning it
will continue after the two-year period of the grant. Also
participating in
the development and implementation of the Epiphany Project are SRI
International, Virginia Commonwealth University and the University of
Richmond.


The Epiphany Project mission statement: To introduce structures and
strategies for pedagogical change in the age of electronic text and to
develop a package of methods and materials to support teachers in taking
advantage of those changes.

Epiphany resources will include:

*  Workshop designs
*  Plans for teacher support
*  Case studies
*  An electronic syllabus archive and an electronic syllabus builder
*  A World Wide Web home page
*  Guidelines for campus coordination
*  Descriptions of the rhetorical shifts in our culture
*  A video for workshops
and
*  A Field Guide to 21st Century Writing, the Epiphany Project resource
workbook.

INSTITUTE LEADERS:

Trent Batson, Gallaudet University
Elizabeth Cooper, Virginia Commonwealth University
Ron Corio, Virginia Commonwealth University
Joe Essid, University of Richmond
Dona Hickey, University of Richmond
Michael Keller, Virginia Commonwealth University
Donna Reiss, Tidewater Community College
Greg Ritter, Virginia Commonwealth University
Sydney Sowers, Virginia Commonwealth University
Judy Williamson, George Mason University
Anne Woodlief, Virginia Commonwealth University

INSTITUTE FEE: The cost to attend the Epiphany Institute is $500.
Attendance for the full program is expected.  Institutions are encouraged
to send teams of individuals.  Registration includes: conference
materials;
computer lab access and training sessions for 5 days; a Welcome Dinner on
Sunday evening (June 9); a banquet Thursday evening (June 13) with a
speaker, and continental breakfasts Monday through Friday.

INSTITUTE PARTICIPANTS WILL BE PROVIDED WITH:

A workbook of exercises to help in thinking through a plan for
departmental
change that addresses information technology and faculty development; A
copy of the Epiphany guide book, A Field Guide to 21st Century Writing:
Ample resource material for organizational and corporate
connections; Demo
versions of software for classroom use; Copies of readings.

INSTITUTE PARTICIPANTS NEED TO BRING:  A syllabus from a writing class
where technology was not used along with copies of the catalog
description
and related curricular material for the course.

ACCOMMODATIONS -- Participants are responsible for making their own
lodging
arrangements.  Lodgings below are within walking distance of VCU
facilities.  You can choose between a VCU residence hall and
hotels.  More
information is below.  Return the dorm reservation form (below) with your
registration.  (NOTE: Dorm reservation deadline is May 1.)

REGISTER NOW.  Enrollment limited -- we will try to give priority
to teams
of individuals who are interested in becoming Epiphany sites, but also
anticipate being able to accept others who want training.

Registration confirmation:  When we confirm your registration, we
will send
information about parking (for which there will be an additional fee),
Institute readings to be done in advance, and other details.  We
will also
send two forms to help us plan to meet your needs--these need to be
mailed
upon receipt of your registration confirmation.

REGISTRATION FORM

Please print this application for the Epiphany Institute and send it by
U.S. mail to: Michael Keller, VCU English Dept, P.O. Box 842005,
Richmond,
VA  23284-2005.  Include a check made out to for $500 for each
participant
from your institution.

Register early -- limited to 40 participants.  Registration deadline: 20
May 96. (If you wish to stay in a dorm and have linen service,
however, the
registration deadline is May 1.  See below.)

You will receive confirmation of your registration, and other information
by U.S. mail.

IMPORTANT -- Application packet:  This form along with two others will be
part of your application packet.  Please return, upon receipt, the two
forms that will be mailed to you with your registration confirmation --
These are the Mankato Internet Skills Rubric and a survey about your
teaching practices and computer experience, and they are essential for
planning purposes to help leaders best meet needs of participants.

(Please Print)

Name_____________________________________________________________

Title _____________________________________________________________

Institution________________________________________________________

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Phone _______________________ day _______________________ evening

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Your URL if you have one ____________________________________________

Is your campus an Epiphany site, or did your campus apply to be an
Epiphany
site?  (Please indicate which.)
___________________________________________

List other members from your campus who will be attending this Institute
with you:

____________________________________________

____________________________________________

____________________________________________

____________________________________________

____________________________________________


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

***** RESIDENCE HALL RESERVATION FORM -- DEADLINE MAY 1 ******

Name:           ___________________________________________     Sex
  M  /
F  (circle one)

Institution:    ___________________________________________

Phone:          ___________________________________________

E-mail:         ___________________________________________

Arrival         ___________________________________________
(date/time)

Departure       ___________________________________________
(date/time)

Gladding Residence Center -- All rooms are located in four bedroom suites
with a shared bathroom between two bedrooms.  One-time delivery of  linen
is provided by an outside contractor for $5.00 per person (needs to be
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The Gladding Residence Center is equipped with laundry facilities, pay
phones (in the lobby area) and a vending area but does not provide items
such as ice, clock/radios, pots and pans, or dishes. $12.50 per night per
person (sharing a room).  $25.00 per night for a single.


Single Room     $25.00 x  ____________ nights ____________

Shared Double   $12.50 x  ____________ nights ____________      Roomate's
name________________________

One time linen delivery                          $5.00
Request Blanket                         Y / N               ------
(Reserve by May 1st)

Total housing                                   $___________

Make checks to VCU.  Mail check and form to Michael Keller, VCU English
Dept., P.O. Box 842005, Richmond, VA  23284-2005.

******  Off Campus Housing Information  *******

Participants who are staying off campus are responsible for making their
own lodging arrangements.  Lodgings below are within walking distance of
VCU facilities.

You should mention VCU affiliation when registering in order to get
special
rates.

Holiday Inn (Historic District) -- single/double $45 (VCU rate)
301 W. Franklin St., Richmond
(804) 644 9871

Linden Row Inn -- single/double $66 (VCU rate)
First and Franklin St., Richmond
(804) 783-7000

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

INFORMATION ABOUT THE EPIPHANY PROJECT CONTACT:
Judy Williamson about the Epiphany Project or Institute content
<JWillia9@gmu.edu> Phone 703-845-1453 (voice and fax)

INFORMATION ABOUT REGISTRATION CONTACT:
Michael Keller <mkeller@hibbs.vcu.edu>
or
Elizabeth Cooper <ecooper@felix.vcu.edu>
Phone 804-828-1331 (voice), 804-828-2171 (fax).

To find the Epiphany Project on the World Wide Web, point your browser to
           <http://mason2.gmu.edu/~jwillia9/epiphany.html
(site under construction, but lots more good stuff will be added!)


Judy Williamson
George Mason University
Epiphany Project Administrator
<http://mason2.gmu.edu/~jwillia9/epiphany.html

Email: JWillia9@gmu.edu      <http://mason2.gmu.edu/~jwillia9/
Voice & FAX: 703-845-1453

Mail: 3542 S. George Mason Dr., Alexandria, VA 22302
++++++++++++++++++++++++++++++++++++++++++++++++++
Check out the CWTA (Computers & Writing Teaching Assistants) Home Page
        <http://scf.nmsu.edu/~cwambeam/sig.html




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From owner-asd@lists.Stanford.EDU Wed Apr 24 10:09:44 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 24 Apr 96 10:10:00 -0700
To: asd@lists.Stanford.EDU
Subject: Searle Thu 4:15
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amici,

Searle is speaking this Thursday (tomorrow)

 4:15 - SSP Distinguished Lecture Series
	Annenberg Auditorium
	Consciousness and Cognitive Science
	John Searle, UC Berkeley Philosophy

- xw

From owner-img-mail@lists.Stanford.EDU Wed Apr 24 10:04:31 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 24 Apr 96 10:04:41 -0700
To: img-mail@lists.Stanford.EDU
Subject: VRML info on WWW
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Dear img folk,

For some background and fantasy...
You might want to historicize your look at VRML by going first to the
main site for original VRML - http://vrml.wired.com/

before moving on to
VRML 2.0 - http://webspace.sgi.com/moving-worlds/

- Xin Wei


PS	Searle is speaking this week.

 4:15 - SSP Distinguished Lecture Series
	Annenberg Auditorium
	Consciousness and Cognitive Science
	John Searle, UC Berkeley Philosophy

From village-owner@lindgren.res-hall.nwu.edu Wed Apr 24 03:53:59 1996
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Message-ID: <01BB318B.18203640@onr.slip.netcom.com>
From: Owen Rowley <owen@tcc.iz.net>
To: "'Ryan Villamil'" <rvillami@attila.stevens-tech.edu>,
        "village@lindgren.res-hall.nwu.edu"
	 <village@lindgren.res-hall.nwu.edu>
Subject: RE: Metaphysics
Date: Wed, 24 Apr 1996 03:06:54 -0700
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---------
From: 	Ryan Villamil[SMTP:rvillami@attila.stevens-tech.edu]
Subject: 	Metaphysics

>I have been reading a book by Micheal Heim called "The Metaphysics of
>Virtual Reality".

Mr Heim provides a darn *good rede* in this book -IMNSHO.

I picked the book up when it was still  abit wet from the presses,
which was some time ago. is it updated now BTW?

I  noticed the picture of Mr heim right away, and immediately recalled
his face from the last Chicago SIGGRAPH .

I was demonstrating  CDK technology for Autodesk, and the engineering team 
had written a nifty application that essentially *built a house* and 
furnished it on the fly.
( not quite all that actually - but demoware is demoware :-)

When you demo cyber-stuff, and use spiffy technology like head mounted 
displays
and position  traking gloves, you get used to attracting crowds like flys 
on -uh you know
:-)

anyway at one point I became aware of an individual who was paying intense
attention to my demonstartions of the app, but was staying off to a side - 
leaning against a large McCormak place pillar.

I made eye contact, and he acknowledged me with the *gem*
"This can't be VR - It does something"

I used his words for several years after in the various rants and media 
circuses
that would sometimes arise due to this odd employment thing I was involved 
in.

( aside) this same app was featured in the premier *know-Zone* show that I 
got to do with the lovely and talented star of that show - Soledad.
perhaps you've seen it on Discovery channel it runs quite often!

>The book focuses on the underlying meaning that a visualized cyberspace
>would contribute to humanity. There are many insights discussed that may 
be
>very useful in our endeavor.

I think the vast bulk of our discovery will only come after we have settled 
and develop needs in search of solution.

insight will come in that process -IMNSHO

>Such as the discussion on the use of platonic forms.  All visualizations
>would need to supply an implicit logical meaning.


I'm a big fan of the platonic forms, and agree.
I also think it will be usefull to think in the sense of the
four elements, maybe it is cyberspace that we developed those
categorys for in the first place.

I think too, that we have yet to really integrate our use of sound
beyond the tap-tap-is-this-thing-working stage.
So much of what we percieve is given its truly interactive flavor via the
element of sound

That application I was showing in Chicago used voice input commands.
You see its rather difficult to use a keyboard when you have a head mounted 
display on your face and a tetheerd cyberglove on your hands.

I t became a real problem to talk to the human viewers about the 
application if
the words I used had been configured into the set of voice commands. this 
app had over thirty voice commands, too many to develop and learn a new 
command set.
and the tactic of context switching by way of voice command ala Star trek
was not as easy as it seems on TV.

what to do what to do.
well necesity is the mother of invention, and I wound up reconfiguring the 
voice command system ( Bugboard by IN3 BTW) to accept the pig-latin 
versions of the
words in the script.
Voila-
no more problem!

can you grasp why ?
( yes this is a quiz)

:-)

LUX ./. owen



From owner-img-mail@lists.Stanford.EDU Fri Apr 26 08:39:44 1996
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To: img-mail@lists.Stanford.EDU
Subject: The Public Interest in Copyright
Date: Fri, 26 Apr 1996 08:39:28 -0700
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
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------- Forwarded Message

Date: Mon, 22 Apr 1996 13:45:24 -0700
From: pedwards@pcd.Stanford.EDU (Paul N. Edwards)
Subject: The Public Interest in Copyright

Forwarding this message to people who might be interested/concerned about
this issue.

- -- Paul N. Edwards

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
This message was forwarded through the Red Rock Eater News Service (RRE).
Send any replies to the original author, listed in the From: field below.
You are welcome to send the message along to others but please do not use
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=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

THE PUBLIC INTEREST IN COPYRIGHT:
PAST, PRESENT, FUTURE

Date:   Saturday, May 4, 1996
9:00 a.m. - 5:00 p.m.
The Clark Kerr Campus, University of California, Berkeley


Join publishers, scholars, educators and librarians, legal practitioners,
historians, and creators of copyrightable works to help develop a vision of the
public interest in copyright in a digital age.   Conference participants will
analyze copyright in historical, present and future contexts to determine how
the public interest can become an integral part of the copyright debate.  One
of the major thrusts will be to emphasize the value of a utilitarian balance of
private and public goods as the more productive area for discussion and
resolution of copyright issues.


SPONSORED BY:

University Sponsors
The Librarians Association of the University of California, Berkeley
The Doreen B. Townsend Center for the Humanities
The University Library
Boalt Hall School of Law
The School of Information Management Systems, University of California, Berkeley
University of California Berkeley Extension

Corporate & Law Firm Sponsors
Apple Computer
Sun Microsystems
Townsend Townsend & Crew

The Public Interest in Copyright Law:  Past, Present and Future

PANEL I.  Authorship and the Modes of Production

Mark Rose:  Professor of English, UC Santa Barbara
Peter Choy:  Counsel, Sun Microsystems and Chair of ACIS
Jonathan Tasini (or designate), President, National Writers Union

Moderator:  Geoff Nunberg, Xerox Parc

PANEL II
Publication and the Modes of Consumption

Clifford Lynch:  Director of Library Automation, UC Systemwide
Paul Evan Peters: Chair, Coalition for Networked Information
Hal Varian:  Dean, SIMS
(Other panelists to be announced)

Moderator: To be announced

PANEL III

The Public Interest and Modes of Communication

Pam Samuelson:  Professor of Law, University of Pittsburgh
Carla Hesse:  Professor of History, UCB
Monroe Price:  Professor of Law, Yeshiva University, Benjamin Cardozo Law School

Moderator: Robert Post, Professor of Law, Boalt Hall Law School

TO REGISTER CALL(510) 642-4111
FOR MORE PROGRAM INFORMATION VISIT OUR WEBSITE AT:
http://www.law.berkeley.edu/library/copyright.html

OR CONTACT:
Kathleen Vanden Heuvel      Michael Levy
Boalt Hall Law Library      Boalt Hall Law Library
510 643 9147                510 643 4025
kvandenh@boalt.berkeley.edu levym@boalt.berkeley.edu

Cost:  Preregistration: $50.00; $65.00 at the Door.  Lunch is included.
UC Berkeley Faculty, Staff, Students:  $15.00.  Preregistration recommended.

- ------------------------------------------------------------------
Paul N. Edwards
Acting Asst. Prof., Program in Science, Technology and Society
     http://www-leland.Stanford.edu/group/STS/edwards.html
Director, Information Technology & Society Project
     http://www.stanford.edu/group/itsp/

Bldg. 370 Rm. 111                                            (415) 723-6817 (o)
Stanford University                                         (415) 725-5389 (fax)
Stanford, CA  94305-2120                               pedwards@pcd.stanford.edu



------- End of Forwarded Message


From owner-img-mail@lists.Stanford.EDU Fri Apr 26 08:39:44 1996
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To: img-mail@lists.Stanford.EDU
Subject: The Public Interest in Copyright
Date: Fri, 26 Apr 1996 08:39:28 -0700
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
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------- Forwarded Message

Date: Mon, 22 Apr 1996 13:45:24 -0700
From: pedwards@pcd.Stanford.EDU (Paul N. Edwards)
Subject: The Public Interest in Copyright

Forwarding this message to people who might be interested/concerned about
this issue.

- -- Paul N. Edwards

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
This message was forwarded through the Red Rock Eater News Service (RRE).
Send any replies to the original author, listed in the From: field below.
You are welcome to send the message along to others but please do not use
the "redirect" command.  For information on RRE, including instructions
for (un)subscribing, send an empty message to  rre-help@weber.ucsd.edu
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

THE PUBLIC INTEREST IN COPYRIGHT:
PAST, PRESENT, FUTURE

Date:   Saturday, May 4, 1996
9:00 a.m. - 5:00 p.m.
The Clark Kerr Campus, University of California, Berkeley


Join publishers, scholars, educators and librarians, legal practitioners,
historians, and creators of copyrightable works to help develop a vision of the
public interest in copyright in a digital age.   Conference participants will
analyze copyright in historical, present and future contexts to determine how
the public interest can become an integral part of the copyright debate.  One
of the major thrusts will be to emphasize the value of a utilitarian balance of
private and public goods as the more productive area for discussion and
resolution of copyright issues.


SPONSORED BY:

University Sponsors
The Librarians Association of the University of California, Berkeley
The Doreen B. Townsend Center for the Humanities
The University Library
Boalt Hall School of Law
The School of Information Management Systems, University of California, Berkeley
University of California Berkeley Extension

Corporate & Law Firm Sponsors
Apple Computer
Sun Microsystems
Townsend Townsend & Crew

The Public Interest in Copyright Law:  Past, Present and Future

PANEL I.  Authorship and the Modes of Production

Mark Rose:  Professor of English, UC Santa Barbara
Peter Choy:  Counsel, Sun Microsystems and Chair of ACIS
Jonathan Tasini (or designate), President, National Writers Union

Moderator:  Geoff Nunberg, Xerox Parc

PANEL II
Publication and the Modes of Consumption

Clifford Lynch:  Director of Library Automation, UC Systemwide
Paul Evan Peters: Chair, Coalition for Networked Information
Hal Varian:  Dean, SIMS
(Other panelists to be announced)

Moderator: To be announced

PANEL III

The Public Interest and Modes of Communication

Pam Samuelson:  Professor of Law, University of Pittsburgh
Carla Hesse:  Professor of History, UCB
Monroe Price:  Professor of Law, Yeshiva University, Benjamin Cardozo Law School

Moderator: Robert Post, Professor of Law, Boalt Hall Law School

TO REGISTER CALL(510) 642-4111
FOR MORE PROGRAM INFORMATION VISIT OUR WEBSITE AT:
http://www.law.berkeley.edu/library/copyright.html

OR CONTACT:
Kathleen Vanden Heuvel      Michael Levy
Boalt Hall Law Library      Boalt Hall Law Library
510 643 9147                510 643 4025
kvandenh@boalt.berkeley.edu levym@boalt.berkeley.edu

Cost:  Preregistration: $50.00; $65.00 at the Door.  Lunch is included.
UC Berkeley Faculty, Staff, Students:  $15.00.  Preregistration recommended.

- ------------------------------------------------------------------
Paul N. Edwards
Acting Asst. Prof., Program in Science, Technology and Society
     http://www-leland.Stanford.edu/group/STS/edwards.html
Director, Information Technology & Society Project
     http://www.stanford.edu/group/itsp/

Bldg. 370 Rm. 111                                            (415) 723-6817 (o)
Stanford University                                         (415) 725-5389 (fax)
Stanford, CA  94305-2120                               pedwards@pcd.stanford.edu



------- End of Forwarded Message


From village-owner@lindgren.res-hall.nwu.edu Thu Apr 25 20:28:55 1996
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Date: Thu, 25 Apr 96 16:21 EST
From: Adam Gruen <0006449096@mcimail.com>
To: Terra Vista <village@lindgren.res-hall.nwu.edu>
Cc: "John W. Barrus" <barrus@merl.com>
Subject: [1D] Barrus et al., "Locales & Beacons..."
Message-Id: <21960425212112/0006449096DC3EM@MCIMAIL.COM>
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I've had a chance to read this paper and I think
it is enormously interesting.  Because of my limited level
of tactical knowledge of VRML 1.0 and 2.0, I am uncertain
how many of the concepts can be ported to an open-standards,
VRML-based environment.  Terra vista members with a
few minutes to spare should web over to
http://www.merl.com/TR/TR95-16/Welcome.html
and read this paper in adobe or postscript format.

Below are some short quotes from the paper which
I believe to be significant, with some of my commentary.
The reproduction of portions of this paper is for
research purposes only intended for the nonprofit
educational use of the terra vista community.  Copying
in part is by permission of Mitsubishi Electric Research
Laboratories of Cambridge, Massachusetts.  The attributions
refer to the adobe formatting for
John W. Barrus, Richard C. Waters, David B. Anderson,
"Locales and Beacons: Efficient and Precise Support for
Large Multi-User Virtual Environments," TR-95-16 (November 1995)

The crux of the matter to me seems to be this:
will the software platform Spline (Scalable Platform for Interactive
Environments) be made available to the internetworking community
as an open standard?

Anyway, some interesting bits:

I) Nice modularity......

p.5.  "Because locales are related only locally on a
neighbor to neighbor basis with no global coordinate
system, locales only require local rather than global
consistency.  If a designer is creating a locale that
is adjacent to another locale, then he must make sure
that the locales are consistent with each other -- i.e.
match up well at their contact points.  However,
designers of locales that are distant from each other
need not be constrained by each other's activities in
any way."

p.16.  "As well as providing benefits when a virtual
environment is running, locales have significant
advantages when a virtual environment is being designed.
In particular, locales facilitate the good design
practice of building things hierarchically using
encapsulated chunks.  For example, one might design
each room in a virtual building in a separate locale.
Everything about the layout and look of a room can then
be designed in isolation relative to a separate coordinate
system for the room.
        ...When using locales, a designer has total freedom
in the choice of transforms relating a locale to its neighbors.
In general, one might choose to create these transforms
in simple ways corresponding to simple Euclidian space."

p.17.  "Another important way to use locales is to
arrange them so that they are nested one in another....

((Ah yes.  From sponge to onion, as they say in the
vCity biz.  --AG--))

...Locales do not include any explicit fields indicating
nesting, however, it is entirely possible to design a locale
so that it is in fact contained in one of its neighbors.
        ...it can be seen that locales provide designers
with plenty of rope to hang themselves.  They can be very
beneficial but can only realize this potential if they
are carefully designed into a virtual world."

((Which brings us back to the $64 dollar question of
what *social* mechanism to use to get locale-designers
to satisfactorily co-exist in a near-shared volume. --AG--))

II) Some Uses for a Distributed Virtual World

p.7.  "Group Entertainment environments -- Environments
where people can play together, conversing, exploring
and if they want, competing.  For example, playing
multi-person games, participating in simulated historical
dramas, or creating virtual environments for each other's
entertainment.
      Large scale simulation environments -- Environments
where large numbers of simulations interact in real time
to create a simulation of a complex artifact with which
many people interact.  For example, one could create a
virtual prototype of an entire ship or an electrical
generating plant."

((D'Oh!  Read my novel, John, and marvel at the ubiquity
of simultaneous conceptual invention.  Sounds like with
all those historical simulations, you're gonna need some
historians....--AG--))

III.  Internet R Us

p.11.  "...the fallability of multicast communication and
the inevitable incrementability of the communications
needed to keep many users up to date with each other
means that the world model is often in a somewhat incomplete
or even inconsistent state.   However, since a separate
rendering model is being maintained, Spline can ensure that
a complete and consistent rendering model is always available
as the basis for continuing to create visual output at a steady
frame rate.
        ...the world model contains large amounts of information
(e.g. about sound) that has nothing to do with visual rendering.
It is valuable that the organization of this information does
not have to be constrained by the organization of the visual
rendering model."

p.12.  "In summary, the central feature of Spline is that it
combines a comprehensive suite of real time capabilities
needed to support multi-user interactive environments into
a single-system -- i.e., visual rendering (at 10-30 frames
per second), audio rendering (of live speech and recorded
sounds), and inter-user communication based on a distributed
world model that is scalable to large numbers of users (with total
latencies of only 50-150 milliseconds).

((They go on to 'splain that Spline renders only on SGI machines
right now, but can be ported to PCs using plug-in boards. -- AG--))

IV.  Bringing home the Beacons

((A whole section  on beacons.  As the authors point out in the summary,
the main disadvantage to using locales is that a user must know
where they are.  Beacons solve this problem & can be used in
a variety of interesting ways.  --AG--))

Good work!

Adam Gruen


From owner-img-mail@lists.Stanford.EDU Thu May  2 09:57:39 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
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To: img-mail@lists.Stanford.EDU
Subject: Naimark, noon Wed May 8, CDR
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        310X Invited Speaker Series: Material Criticality

**Wed May 8 12noon**
**Center for Design Research**
**Bldg 560**

SPEAKER:  Michael Naimark, Interval Research

        Art ("and" or "versus") Technology: Some Personal Observations

ABSTRACT:
Over the past twenty years I've had the fortune of working inside a  
variety
of both art institutions and research labs. In many ways they are  
similar,
and in many ways they are different. Though the potential for  
symbiosis may
seem great, it is interconnected with the cultural and economic  
climates of
the moment.
Examples of work produced in this context will be shown and  
discussed, from
MIT (1976-80), Atari Research (1982-84), Apple Multimedia Lab (1988-90),
San Francisco Art Institute (1989-1990), Banff Centre for the Arts
(1991-1993), and Interval Research (1992-    ).

*****

BIOGRAPHY:
Michael Naimark spent twelve years as an independent media artist before
joining Interval Research Corporation in 1992. He was instrumental in
making the first interactive laserdiscs in the late 1970s at MIT and has
worked extensively with projection and immersive virtual environments. He
has consulted on new media for various institutions and his artwork has
been exhibited internationally.

Naimark has held faculty appointments at the San Francisco Art Institute,
San Francisco State University, California Institute of the Arts, M.I.T.,
the University of Michigan, and is on the Editorial Boards of  
Presence and
Leonardo Electronic Almanac. He created a B.S. in Cybernetic  
Systems as an
independent major from the University of Michigan in 1974 and received an
M.S. in Visual Studies and Environmental Art from M.I.T. in 1979.

*****

From owner-img-mail@lists.Stanford.EDU Fri May  3 19:42:03 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri,  3 May 96 19:42:40 -0700
To: img-mail@lists.Stanford.EDU
Subject: Alexander, Coyne, vrml sites
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Dear img folk,

	I'll try to put up some skeletal notes this weekend for the  
past two sessions.

	From here, we can begin to take a look at some  
architectural metaphors that have been adopted more or less  
consciously in VR, and in "object-oriented" software systems.

	Next week, Bob Horn will say a few words about Christopher  
Alexander's Pattern Language.  It's worth skimming, for flavor.

Christopher Alexander, Sara Ishikawa, Murray Silverstein, with Max  
Jacobson, Ingrid Fiksdahl-King, Shlomo Angel, A Pattern Language  
Oxford 1977. (vol. 2 of 3, cf. The timeless way of building and The  
Oregon experiment)

	For a transition between simulacra and architecural  
metaphors, you're welcome to read Coyne's chapter 5, "The  
Phenomenology of Virtual Reality."   I'll bring paper copies of  
chapter 7, "Metaphors and Machines: Metaphor Being, and Systems  
Design" next time.   For those of you who can absorb meaning from  
the WWW, the full text of those two chapters are linked to our  
Readings page:

http://www-leland.stanford.edu/~xinwei/pub/img/readings.html.

They'll be full of scanning errors, because we can't pay John  
enough to edit OCR hash :)

	And finally, if you can install Netscape's beta 3, with the  
 Live3D plug-in, then try out these two locations:

http://www.netscape.com/comprod/products/navigator/live3d/

(you may drag those Netscape cubes)

http://www.netscape.com/comprod/products/navigator/live3d/cool_worlds.html

Xin Wei


From xinwei@truffaut.stanford.edu Mon May  6 12:17:11 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon,  6 May 96 12:17:17 -0700
To: keeling@leland.Stanford.EDU
Subject: Alexander, Bob Horn, help
Cc: xinwei@leland.Stanford.EDU
Status: O

Hi John,

And could you please help Bob Horn?  This Thursday he'll introduce us to

1.1) Alexander, Christopher. A PATTERN LANGUAGE (New York : Oxford  
University
       Press, 1977)
       LOCATION: Green Library Stacks HT166.A6147
                 Art HT166.A6147

He asked ...

>From: bobhorn@well.com (Robert E. Horn)
>
>If you can, please reproduce pages xix thru xxxiv from the  
beginning of A
> Pattern Language for the group.  It gives the list of patterns.
>
> Thanks
> Bob

It would be fantastic if you could help me get those pages duplicated,
or at least grab that book from somewhere.   My img time-bank is
overdrawn.

thanks?
Xin Wei

From village-owner@lindgren.res-hall.nwu.edu Mon May  6 21:22:06 1996
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Date: Mon, 6 May 1996 23:01:55 -0500
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To: Jake Richter <jake@strokeofcolor.com>
From: krattai@escape.ca (Kevin Rattai)
Subject: Re: ANNC: Seeking VRML worlds for a book
Cc: village@lindgren.res-hall.nwu.edu (Terra Vista)
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On www-vrml, you wrote, and I cc to Terra Vista:
>Hi everyone, 

Hello :)

>I'm in the process of writing a book about VRML and Netscape, and am looking
>for good VRML worlds which can be included on the CD-ROM that comes with the
>book, and I figured that the readers of this list might be interested in
>submitting entries. If your VRML world or environment is used, you will get

May we familiarize you with Terra Vista?  I believe you will find much of
what you are looking for, here.

>These VRML worlds/environments need to meet the following requirements:
>
>1) The VRML files, and all accompanying textures and text, must either be
>public domain, or the author (assumedly you) has to be willing to give
>permission to have them distributed with the book in exchange for the
>considerations listed above, as well agree to let them be mildly modified
>(URL references in particular) to accomodate being on CD-ROM.

We would need a concensus on this, though generally, we are a public domain
environment.

>2) They need to be VRML 1.0 compatible, optionally (and preferably) using
>Live3D's VRML extensions.

100% 1.0c compatible.  Some authors in Terra Vista have used l3d extensions
within their work.

>3) They may be dynamically created via either JavaScript or PERL, if that's
>a requirement the world, but in that case the JavaScript or PERL code must
>also be provided.

We have world that are dynamically created with PERL.  (Take a bow Besjon :)

>4) They should be pretty much standalone. This means they should not depend
>on inlined VRML files from sources other than yourself, and they should
>limit their links to other sites to ones that will be around for some time
>(i.e. not a college student's account, for example).

oohhh...  Well, we were doing good up to this, perhaps you would at least
like to check us out :)

Please feel free to enter our world.  You may check out our home pages and
newsletter (and tech pages and...)  The Terra Vista html home page is in my
URL and the wrls can be reached from them.  (Scott, what's the URL of the
page with the already created wrls?)  I believe Matthew Muntean has all our
worlds located from:
http://www.alaska.net/~pfennig/flux/fluxpt.wrl

Look forward to your reply,

Kevin
---Terra Vista @ http://www.messiah.edu/hpages/student/sr930922/tv.htm
---Beausejour @ http://www.escape.ca/~krattai/bjour.htm
---Uvea I. S. @ http://www.escape.ca/~krattai
~~~
My opinions are mine, they do not represent AT&T
"How do you spell fast-track?"


From village-owner@lindgren.res-hall.nwu.edu Mon May  6 21:22:06 1996
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To: Jake Richter <jake@strokeofcolor.com>
From: krattai@escape.ca (Kevin Rattai)
Subject: Re: ANNC: Seeking VRML worlds for a book
Cc: village@lindgren.res-hall.nwu.edu (Terra Vista)
Sender: owner-village@lindgren.res-hall.nwu.edu
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Status: RO

On www-vrml, you wrote, and I cc to Terra Vista:
>Hi everyone, 

Hello :)

>I'm in the process of writing a book about VRML and Netscape, and am looking
>for good VRML worlds which can be included on the CD-ROM that comes with the
>book, and I figured that the readers of this list might be interested in
>submitting entries. If your VRML world or environment is used, you will get

May we familiarize you with Terra Vista?  I believe you will find much of
what you are looking for, here.

>These VRML worlds/environments need to meet the following requirements:
>
>1) The VRML files, and all accompanying textures and text, must either be
>public domain, or the author (assumedly you) has to be willing to give
>permission to have them distributed with the book in exchange for the
>considerations listed above, as well agree to let them be mildly modified
>(URL references in particular) to accomodate being on CD-ROM.

We would need a concensus on this, though generally, we are a public domain
environment.

>2) They need to be VRML 1.0 compatible, optionally (and preferably) using
>Live3D's VRML extensions.

100% 1.0c compatible.  Some authors in Terra Vista have used l3d extensions
within their work.

>3) They may be dynamically created via either JavaScript or PERL, if that's
>a requirement the world, but in that case the JavaScript or PERL code must
>also be provided.

We have world that are dynamically created with PERL.  (Take a bow Besjon :)

>4) They should be pretty much standalone. This means they should not depend
>on inlined VRML files from sources other than yourself, and they should
>limit their links to other sites to ones that will be around for some time
>(i.e. not a college student's account, for example).

oohhh...  Well, we were doing good up to this, perhaps you would at least
like to check us out :)

Please feel free to enter our world.  You may check out our home pages and
newsletter (and tech pages and...)  The Terra Vista html home page is in my
URL and the wrls can be reached from them.  (Scott, what's the URL of the
page with the already created wrls?)  I believe Matthew Muntean has all our
worlds located from:
http://www.alaska.net/~pfennig/flux/fluxpt.wrl

Look forward to your reply,

Kevin
---Terra Vista @ http://www.messiah.edu/hpages/student/sr930922/tv.htm
---Beausejour @ http://www.escape.ca/~krattai/bjour.htm
---Uvea I. S. @ http://www.escape.ca/~krattai
~~~
My opinions are mine, they do not represent AT&T
"How do you spell fast-track?"


From owner-img-mail@lists.Stanford.EDU Tue May  7 15:17:37 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue,  7 May 96 15:16:43 -0700
To: img-mail@lists.Stanford.EDU
Subject: is design possible !
Cc: asd@lists.Stanford.EDU, kernsc@leland.stanford.edu
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Amici,

This is one of the most elegant websites I've seen:

http://www.uni-wuppertal.de/FB5/code/welcome.html

- Xin Wei

From trogu@netcom.com Tue May  7 11:12:31 1996
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Date: Tue, 7 May 1996 11:11:39 -0700
To: xinwei@leland.Stanford.EDU
From: trogu@netcom.com (Pino Trogu)
Subject: Mihai Nadin
Status: RO

Hi Xin-Wei,

this is Mihai's email signature:

__________________________________________________________________
Prof. Dr. Dr. Mihai Nadin                            University of Wuppertal
(nadin@code.uni-wuppertal.de)         Computational Design
http://www.uni-wuppertal.de/FB5/     Hofaue 35-39
Tel/Fax: +49. 0202.439.3032               42103 Wuppertal, Germany
___________________________________________________________________

at the wuppertal site you can go directly to the entry point for
Computational Design (his department):

http://www.uni-wuppertal.de/FB5/code/welcome.html

or direclty to his own personal location:

http://www.uni-wuppertal.de/FB5/code/persons/mind.html

Ciao,




Pino

_______________________________
GrafCo
246 First Street, Suite 400
San Francisco, California 94105

Tel.     (415) 543-8335
Fax    (415) 543-8132

email: trogu@netcom.com
_______________________________



From owner-img-mail@lists.Stanford.EDU Tue May  7 16:25:22 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199605072325.QAA25230@elaine27.Stanford.EDU>
Subject: Sherry Turkle, May 20
To: img-mail@lists.Stanford.EDU, siliconbase@lists.Stanford.EDU
Date: Tue, 7 May 1996 16:25:09 -0700 (PDT)
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Sherry Turkle, MIT Professor of STS, will speak about

"Identity in the Age of the Internet"

Monday, May 20
4:15 - 6:05
Gates B01

Here's the blurb: http://www-ctl/lectures/awt.html
and some references: http://www.mit.edu:8001/people/sturkle/
http://www.mit.edu:8001/people/sturkle/Identity.html 

- Xin Wei


From owner-sati@lists.Stanford.EDU Tue May  7 10:56:12 1996
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Date: Tue, 7 May 1996 10:50:46 -0700
To: sati@lists.Stanford.EDU
From: naimark@INTERVAL.COM (Michael Naimark)
Subject: Re: Talk announcement: Michael Naimark, Interval Research
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Folks,

This is a dry-run of a 40 minute presentation to be given next monday at
the International Symposium on Art and Science* in Kyoto. It's intended to
be positively critical, and maybe funny. Your feedback will be appreciated.

-M

*http://www.mic.atr.co.jp/~christa/Aindex.html

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

At 6:18 AM 5/1/96, Issac Roth wrote:
>[from njj@cdr.stanford.edu]
>
>        310X Invited Speaker Series: Material Criticality
>
>**Wed May 8 12noon**
>**Center for Design Research**
>**Bldg 560**
>
>SPEAKER:  Michael Naimark, Interval Research
>
>        Art ("and" or "versus") Technology: Some Personal Observations
>
>ABSTRACT:
>Over the past twenty years I've had the fortune of working inside a variety
>of both art institutions and research labs. In many ways they are similar,
>and in many ways they are different. Though the potential for symbiosis may
>seem great, it is interconnected with the cultural and economic climates of
>the moment.
>Examples of work produced in this context will be shown and discussed, from
>MIT (1976-80), Atari Research (1982-84), Apple Multimedia Lab (1988-90),
>San Francisco Art Institute (1989-1990), Banff Centre for the Arts
>(1991-1993), and Interval Research (1992-    ).
>
>*****
>
>BIOGRAPHY:
>Michael Naimark spent twelve years as an independent media artist before
>joining Interval Research Corporation in 1992. He was instrumental in
>making the first interactive laserdiscs in the late 1970s at MIT and has
>worked extensively with projection and immersive virtual environments. He
>has consulted on new media for various institutions and his artwork has
>been exhibited internationally.
>
>Naimark has held faculty appointments at the San Francisco Art Institute,
>San Francisco State University, California Institute of the Arts, M.I.T.,
>the University of Michigan, and is on the Editorial Boards of Presence and
>Leonardo Electronic Almanac. He created a B.S. in Cybernetic Systems as an
>independent major from the University of Michigan in 1974 and received an
>M.S. in Visual Studies and Environmental Art from M.I.T. in 1979.
>
>*****



From owner-sati@lists.Stanford.EDU Wed May  1 06:20:47 1996
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From: Issac Roth <issac@CS.Stanford.EDU>
To: sati@lists.Stanford.EDU
Subject: Talk announcement: Michael Naimark, Interval Research
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[from njj@cdr.stanford.edu]

        310X Invited Speaker Series: Material Criticality

**Wed May 8 12noon**
**Center for Design Research**
**Bldg 560**

SPEAKER:  Michael Naimark, Interval Research

        Art ("and" or "versus") Technology: Some Personal Observations

ABSTRACT:
Over the past twenty years I've had the fortune of working inside a variety
of both art institutions and research labs. In many ways they are similar,
and in many ways they are different. Though the potential for symbiosis may
seem great, it is interconnected with the cultural and economic climates of
the moment.
Examples of work produced in this context will be shown and discussed, from
MIT (1976-80), Atari Research (1982-84), Apple Multimedia Lab (1988-90),
San Francisco Art Institute (1989-1990), Banff Centre for the Arts
(1991-1993), and Interval Research (1992-    ).

*****

BIOGRAPHY:
Michael Naimark spent twelve years as an independent media artist before
joining Interval Research Corporation in 1992. He was instrumental in
making the first interactive laserdiscs in the late 1970s at MIT and has
worked extensively with projection and immersive virtual environments. He
has consulted on new media for various institutions and his artwork has
been exhibited internationally.

Naimark has held faculty appointments at the San Francisco Art Institute,
San Francisco State University, California Institute of the Arts, M.I.T.,
the University of Michigan, and is on the Editorial Boards of Presence and
Leonardo Electronic Almanac. He created a B.S. in Cybernetic Systems as an
independent major from the University of Michigan in 1974 and received an
M.S. in Visual Studies and Environmental Art from M.I.T. in 1979.

*****





From owner-sati-theory@lists.Stanford.EDU Thu May  9 00:32:57 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199605090732.AAA13329@elaine43.Stanford.EDU>
Subject: Lecture: Money,Information & Media
To: img-mail@lists.Stanford.EDU, sati-theory@lists.Stanford.EDU,
        siliconbase@lists.Stanford.EDU
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Niklas Damiris will speak  on

Money, Information & Media: The Limits of Postmodernism

Monday, May 15
4:30 PM
Wilbur Module, Room B5
Dept. of French and Italian

From owner-img-mail@lists.Stanford.EDU Thu May  9 12:20:01 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199605091919.MAA10904@elaine27.Stanford.EDU>
Subject: Lecture: Money,Information & Media (correction)
To: img-mail@lists.Stanford.EDU, sati-theory@lists.Stanford.EDU,
        siliconbase@lists.Stanford.EDU
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Forwarded message:
> From owner-sati-theory@lists.Stanford.EDU Thu May  9 00:32:57 1996
> From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
> Message-Id: <199605090732.AAA13329@elaine43.Stanford.EDU>
> Subject: Lecture: Money,Information & Media
> To: img-mail@lists.Stanford.EDU, sati-theory@lists.Stanford.EDU,
>         siliconbase@lists.Stanford.EDU
> Date: Thu, 9 May 1996 00:32:47 -0700 (PDT)
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> 
> Niklas Damiris will speak  on
> 
> Money, Information & Media: The Limits of Postmodernism
> 
> Monday, May 15
> 4:30 PM
> Wilbur Module, Room B5
> Dept. of French and Italian
> 


From owner-sati-theory@lists.Stanford.EDU Thu May  9 12:19:30 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
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        siliconbase@lists.Stanford.EDU
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[Sorry, I had the wrong day of the week.
Niklas is speaking next WEDNESDAY. - xw]

Niklas Damiris will speak  on

Money, Information & Media: The Limits of Postmodernism

Wednesday, May 15
4:30 PM
Wilbur Module, Room B5
Dept. of French and Italian

From xinwei@leland.Stanford.EDU Thu May  9 13:33:46 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199605092033.NAA05237@elaine27.Stanford.EDU>
Subject: greetings
To: nadin@code.uni-wuppertal.de
Date: Thu, 9 May 1996 13:33:26 -0700 (PDT)
Cc: trogu@netcom.com, xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Dear Mihai Nadin,

Pino Trogu recommended that I contact you.  I am engaged with
colleagues here at Stanford in an inter-disciplinary study of media
and interaction, from several perspectives -- philosophy, performance
art, mathematics, literary theory, psychology, architecture and
music...  You and your center's fund of design experience could
provide invaluable insights to this study. It would be a great
pleasure, I'm sure, if we could somehow begin at least a scholarly
conversation.

Our Interactive Media Group's seminar site is:
http://www-leland.stanford.edu/~xinwei/pub/img/img.html 

Do "visit" if you can.  I look forward to hearing from you.

regards,
Sha Xin Wei
http://www-leland.stanford.edu/~xinwei/ 
___________________________________________________________________
Sha Xin Wei                      E-mail: xinwei@leland.stanford.edu
SULAIR Human-Computer Systems Architect       Phone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University / Stanford, CA  94305-3090 / USA
___________________________________________________________________

From owner-img-mail@lists.Stanford.EDU Thu May  9 20:36:49 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  9 May 96 20:35:58 -0700
To: img-mail@lists.Stanford.EDU
Subject: notes from last few sessions
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Dear img folk,

I posted hasty notes from April 24 (Benjamin, VRML) and May 2  
(Baudrillard, VR) on our website.  They're linked to
http://www-leland.stanford.edu/~xinwei/pub/img/discussion.html

This week Bob Horn gave a nice walking tour of Alexander's A  
Pattern Language, which segues into Richard Coyne's chapter 7, on  
metaphor and design.   Next week, we'll take up Coyne's and turn it  
back on VR (vs other computer media).   Note that Coyne chap's 5 & 7  
are both on the website.

http://www-leland.stanford.edu/~xinwei/pub/img/media/Coyne/Coyne7.html
The last question for the term may be summed up in one word:  
"alternatives?"  We could finish the spring by inverting VRML, and  
looking at what is sometimes called embedded or ubiquitous  
computing.
It may be more refreshing than looking at SimCity, A-life etc, and  
fits just as well with a discussion of architecture & design.

Xin Wei

PS.  Email me if you can't pick up those hasty notes from the web.


From owner-img-mail@lists.Stanford.EDU Tue May 14 23:50:52 1996
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Date: Tue, 14 May 96 23:48:51 -0700
To: img-mail@lists.Stanford.EDU
Subject: Thursday 5/16 - metaphor and design
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Dear img folk,

This Thursday, we'll jog into metaphor before heading back to  
design and architecture.

Reading: Coyne, Chapter 7,
Metaphors and Machines: Metaphor, Being, and Systems Design,
from, Designing Information Technology in the Postmodern Age,

Optional: _Chapter 5 - Representation and Reality: The  
Phenomenology of Virtual Reality_

See you....

Thursday, May 16, 5:00-6:30 pm
Humanities Center Annex

Xin Wei

From owner-asd@lists.Stanford.EDU Mon May 20 10:53:23 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 20 May 96 10:50:11 -0700
To: nickie@leland.stanford.edu
Subject: GRASSLinks: Public Access GIS
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Hi,

Here's a reference to GRASSLinks 2.0,  UC Berkeley's public access  
geographic info., mostly environmental data from state/federal  
sources.

http://www.regis.berkeley.edu/grasslinks/index.html

Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue May 28 15:51:23 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199605282251.PAA04452@elaine31.Stanford.EDU>
Subject: Lightning Performance, Mark Goldstein
To: img-mail@lists.Stanford.EDU
Date: Tue, 28 May 1996 15:51:09 -0700 (PDT)
Cc: sati@lists.Stanford.EDU, asd@lists.Stanford.EDU
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Dear img folk,

For our spring finale, percussionist and electronic music researcher
Mark Goldstein will bring in his Lightning, an electronic musical
instrument that maps space-time into sounds via gestures.  We'll
hold the lecture-performance in the

Sweet Hall Presentation room 026  (NOTE CHANGED LOCATION)
Thursday May 30, 5:00-6:30

We'll have a chance to play with the Lightning, and use it as a
springboard into a discussion of alternative models for
media/media-space.

Tell your friends about this one....

regards,
Xin Wei

Seminar site: http://www-leland.stanford.edu/~xinwei/pub/img/img.html

From owner-img-mail@lists.Stanford.EDU Fri May 31 14:08:45 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 31 May 96 14:10:31 -0700
To: img-mail@lists.Stanford.EDU
Subject: arrivederci
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Dear img folk,

Thanks to Mark Goldstein for a delightful performance and talk.
He provided a stimulating finish to this Spring term.  We'll
suspend the Interactive Media Seminar's official meetings
until the fall, unless someone else is inspired to carry on.

However, for those of you who are around during the summer,
we hope to have at least one or two get togethers for fun, and
to plan for next year's themes.   Please send me your ideas
and preferences about content, process, participants, venue....

I'll be away the month of June.

Thanks and best regards to all,
Xin Wei


From owner-sati@lists.Stanford.EDU Fri Jun 21 13:03:30 1996
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To: users@lists.Stanford.EDU, sati@lists.Stanford.EDU
From: patte@CCRMA.stanford.edu (Patte Wood)
Subject: Ciber@RT '96 announcement (fwd)
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>Date: Fri, 21 Jun 1996 07:35:50 -0400 (EDT)
>From: Mary Simoni <msimoni@umich.edu>
>X-Sender: msimoni@ren.us.itd.umich.edu
>To: icma@umich.edu
>Subject: Ciber@RT '96 announcement (fwd)
>Mime-Version: 1.0
>
>From: Katharine Norman <K.A.Norman@sheffield.ac.uk>
>
>>>First Internacional Conference on Virtual Reality
>>>
>>>CALL FOR CONTRIBUTIONS
>>>
>>>November 4-7, 1996
>>>Valencia, Spain.
>>>
>>>Ciber@RT '96 is an annual international conference that has risen from
>>>the need of creating a space open for discussion and reflexion about
>>>the non-stopping evolution of New Technologies and its relation to the
>>>Art & Communication world. The present edition is fully dedicated to
>>>Virtual Reality, its social and artistic implications, its practical
>>>applications and the development of new interaction proposals, as well
>>>as the emerging phenomena of Virtual Communities.
>>>
>>>Conference Format:
>>>
>>>Ciber@RT '96 will start on Monday November 4th, and it will be developed
>>>during the three following days (November 5,6 and 7). Four masterly
>>>presentations and an undetermined number of communications will be
>>>presented. Electroacustic music concerts, performances and virtual art
>>>exhibitions will extend the programme to create a wide interdisciplinary
>>>spectrum for theoretic and creative brainstorming, debate and discussion.
>>>Every presentation will include simultaneous translation to English
>>>and Spanish. Communication sessions will be run in sequence, avoiding
>>>parallelism.
>>>The Conference will be a part of Ciber@RT, 'Second International Show on
>>>New Technologies: Art & Communication', where infographic works from
>>>schools and universities from all over the world, as well as special
>>>presentations, will be held.
>>>
>>>CALL FOR COMMUNICATIONS
>>>
>>>The participants interested in presenting communications should send
>>>a summary to the Conference address, containing:
>>>
>>>   -   Title of proposed communication
>>>   -   Author(s) personal data (name, address, e-mail...)
>>>   -   Institution (if any) and position
>>>   -   Addressed area (see list below)
>>>   -   Abstract of communication (500 words maximum)
>>>   -   Brief curriculum vitae of author(s)
>>>   -   Technical equipment requirements for presentation
>>>
>>>This summary, including all documentation, can be delivered by
>>>ordinary or electronic mail (in the first case, a PC or Mac formatted
>>>diskette with the text and a hardcopy should be enclosed) before the
>>>reception deadline.
>>>The text of the communications and the speech can be in English or
>>>Spanish.
>>>No previously published communication will be accepted. All accepted
>>>communications will be edited and published by the Universidad
>>>Politecnica de Valencia after the Conference.
>>>
>>>
>>>DEADLINES
>>>
>>>Summary of communications reception:    July 25, 1996.
>>>Acceptance notification:                September 10, 1996.
>>>Advanced registration:                  October 15, 1996.
>>>
>>>Selected authors will be informed of the deadline for the final version
>>>submission.
>>>
>>>REGISTRATION AND FEES
>>>
>>>Advanced registration fee for participants in the Conference will be
>>>20,000 pta., and 15,000 pta. for students. This fee will give the right
>>>to attend all activities of Ciber@RT'96.
>>>Selected communicators will be exempt from the registration fee.
>>>Participants will receive a Certificate expedited by the Universidad
>>>Politecnica de Valencia.
>>>The number of participants in the Conference is limited, so that early
>>>registration is encouraged.
>>>Registration after the advanced  deadline wil have an increased fee.
>>>
>>>MASTERLY PRESENTATIONS
>>>
>>>JARON LANIER (USA)
>>>
>>>Visionary programmer, postminimalist music and cyberculture philosopher,
>>>he is one of the few persons in the planet that can be proud of having
>>>started a new industry. He developed in 1980 a new symbolic programing
>>>language, and in a few years he became a famous 'cyberenterpriser',
>>>owner of one of the world's strongest companies in the field (VPL).
>>>He sold its cyberglove to the NASA, and he begun to use the term
>>>'Virtual Reality' in 1982, being one of the first persons to design
>>>virtual equipment. Nowadays he is associated to the University of
>>>Columbia N.Y (USA) leading several Robotics and Telepresence projects
>>>in the field of medical applications.
>>>
>>>PHILIPPE QUEAU (France): "Virtual Presences"
>>>
>>>Telecommunication Engineer and Research Director at the INA (The French
>>>Institute de l'Audiovisuel), he is one of the best international
>>>specialist in the study of synthetic images. He is also the responsible
>>>person for the IMAGINA Festival programme at Montecarlo, one of the most
>>>important festivals in the european field of New Images.
>>>Brilliant theoretician, he has written books as "Eloge de la Simulation -
>>>De la Vie des Langages a la Synthese des Images" (1986), "Metaxu: Theorie
>>>de l'Art Intermediaire" (1989) y "Le Virtuel: Vertus et Vertigues"
>>>(1993).
>>>
>>>MONIKA FLEISCHMANN (Germany): "Me and you: New Dialogues in the
>>>Cyber-Age"
>>>
>>>Artistic director of the Department of Visualization and Design of Media
>>>Systems (VMSD), and responsible of the area of computer art of the
>>>GMD(Sankt Augustin, Germany), one of the most important European research
>>>centres in the field of computer sciences and information technologies.
>>>She was co-founder in 1988 of the Institute of Interdisciplinary Research
>>>on Art and New Technological Media ART+COM. Presently, Monika shares her
>>>work as main responsible of the CYBERSTAR Festival, oriented towards the
>>>search of interactive proposal for TV, with the realization of Virtual
>>>Reality projects and interactive installations that question the
>>>sensorial perception of the spectator.
>>>
>>>ZUSH (Spain):  "The Augmented Reality"
>>>
>>>Highly reputed Comtemporary Artist, part of his art work has been
>>>developed as a collaboration with the Massachussets Institute of
>>>Technology (MIT). He is presently creating images for the Web, producing
>>>a CD-ROM based on his work, and he is also involved in an interactive
>>>project of the Instituto del Audiovisual of the Universidad Pompeu Fabra
>>>named 'Arte para Curarte'.
>>>
>>>SUGGESTED AREAS FOR COMMUNICATIONS
>>>
>>>   1.- VIRTUAL REALITY AND SOCIAL IMAGERY
>>>
>>>New markets and new ways of social control generated by synthetic
>>>realities.
>>>Which types of virtual hallucinations and visual drugs are generated by
>>>virtual reality?.
>>>Virtual environments and mass-media.
>>>Economical and social impact of digitalization and virtualization of
>>>information.
>>>Which role does cyberspace plays in colective consciousness?.
>>>Might it be a new dogma?.
>>>Do virtual techniques help us to better understand and apprehend the
>>>world?.
>>>Virtuality and cultural modeling.
>>>
>>>   2.- VIRTUALITY VS. REALITY
>>>
>>>Essence of virtual worlds.
>>>The virtual concept and our sense of reality. New representation systems.
>>>Are virtual realities metaphoric realities?.
>>>In the experience of virtual worlds, which roles do the image and the
>>>model play?.
>>>Fanciful spaces and symbolic world: the nature of virtual environments.
>>>Which are the psychological impacts of virtual worlds?.
>>>The potential nature of virtuality.
>>>
>>>   3.- VIRTUAL COMMUNITIES
>>>
>>>What is a virtual community?.
>>>Televirtuality and telepresence.
>>>Symbolic representation of human identity in the cyberspace: clones,
>>>avatars, aliases, ghosts, daemons...
>>>Which are our responsabilities in the virtual communities?.
>>>Mask games in cyberspace: private vs. public personality.
>>>Cybersex: which is the role of the body in the virtual worlds?.
>>>Has cyberspace its own life?. Does it scape from human control?.
>>>New algorithmic techniques for network control.
>>>Virtual labyrinths and vertigos.
>>>Hyperimages and hypertext.
>>>Autonomy and tyranny of the cyberspace.
>>>
>>>   4.-  PRACTICAL APPLICATIONS OF VR
>>>
>>>Practical applications of interaction technologies.
>>>New application horizons of these technologies in the field of art and
>>>communication.
>>>Experience obtained in existing work environments from the technical
>>>point of view.
>>>Which is the present state of simulation techniques and what do they
>>>consist of?.
>>>Do they offer a real and practical advantage beyond the mere exhibition
>>>of technology?.
>>>Are the real time image synthesis techniques capable of becoming tools
>>>that allow new ways of world representation?.
>>>Do they produce a deep influence on our way of working, inquiring or
>>>amusing?.
>>>
>>>   5.-  INTERACTION TECHNOLOGIES
>>>
>>>Up to which point a simulation of natural stimuli has been achieved?.
>>>What is the reason for the present limits?. Devices?. Our ignorance about
>>>psychological mechanisms of interaction?. The computer systems that
>>>should interpret and produce the stimuli?.
>>>What does the digital adaptation of audiovisual and telecommunication
>>>technologies involve?.
>>>Which are the interaction and real-time synthesis technology advances
>>>that allow us to feel immersed in a virtual environment?.
>>>What are the navigation techniques?.
>>>
>>>   6.-  ART AND VIRTUAL REALITY
>>>
>>>Have the new horizons of virtuality produced a radical revolution in the
>>>conception of art?. Has the object idolatry finished?.
>>>Does virtuality generate new art languages with specific properties?.
>>>Which challenges does virtual art bear?.
>>>Interactivity and the artist-public relation.
>>>What is the role of the galleries and the critics when the creative offer
>>>can become almost infinite?. The new distribution streams.
>>>The museum in the age of virtual reality.
>>>Does virtual art have a potential nature?. What do we call life of an
>>>artwork?.
>>>Is the virtual artist an 'intermediate' artist?.
>>>Esthetics and policy in virtual art.
>>>
>>>
>>>SELECTION OF COMMUNICATIONS
>>>
>>>The evaluation and selection of the communications will be carried
>>>out by a selection committee and a scientific advisoring committee,
>>>composed of the following experts:
>>>
>>>   Scientific Advisoring Committee:
>>>
>>>Xavier Berenguer        (Universidad Pompeu Fabra)
>>>Josep Blat              (Universidad de las Islas Baleares)
>>>Pere Brunet             (Universitat Politecnica de Catalunya)
>>>Javier Echeverria       (Universidad del Pais Vasco)
>>>Santos Zunzunegui       (Universidad del Pais Vasco)
>>>
>>>   Selection Committee:
>>>
>>>Salvador Bayarri        (Universitat de Valencia)
>>>Josep Gavaldat          (Universitat de Valencia)
>>>Jose M. Iturralde       (Universidad Politecnica de Valencia)
>>>Angela Molina           (Director Ciber@RT'96)
>>>Emilio Rosello          (Universidad Politecnica de Valencia)
>>>Jenaro Talens           (Universitat de Valencia)
>>>
>>>CIBER@RT '96 PRODUCTION & ORGANIZATION
>>>
>>>Angela Molina:          Director / Chair
>>>Fernando Carrion:       Coordinator
>>>Cesar Fernandez:        Coordinator
>>>Jimmy Entraigues:       Media Manager
>>>Aurea Ortiz:            Technical Advisor
>>>
>>>CONFERENCE VENUE
>>>
>>>Ciber@RT '96 will be held in the Conference Room of the Faculty of
>>>Fine Arts (Facultat de Belles Arts) of the Universidad Politecnica
>>>de Valencia.
>>>
>>>SPONSORS
>>>
>>>Universidad Politecnica de Valencia (UPV)
>>>Vicerrectorado de Cultura (UPV)
>>>Facultat de Belles Arts (UPV)
>>>
>>>SUPPORTERS
>>>
>>>Generalitat Valenciana - Direccion General para la Modernizacion de las
>>>Administraciones Publicas
>>>Institut Valencia de la Joventut (IVAJ) - Cinema Jove Valencia
>>>Universitat de Valencia - EG (UV)
>>>K-Tuin (Apple Valencia)
>>>Iberdrola
>>>Telefonica
>>>Fundacio Bancaixa
>>>CyberDrac
>>>
>>>-------------------------------------------------------------
>>>
>>>REGISTRATION FORM
>>>
>>>First name(s):_______________________________________
>>>Surname:_____________________________________________
>>>Passport number:_____________________________________
>>>Job title:___________________________________________
>>>Official education:__________________________________
>>>University:__________________________________________
>>>Department:__________________________________________
>>>Address:_____________________________________________
>>>Post Zip Code:_______________________________________
>>>City / Country:______________________________________
>>>Phone No.:___________________________
>>>Fax No.:_____________________________
>>>E-mail:______________________________
>>>Date:________________________________
>>>
>>>PAYMENT
>>>
>>>Payment for registration is required in pesetas and will be made by bank
>>>transfer, indicating your name and "Ciber@RT '96 Registration Fee", to
>>>the Universidad Politecnica de Valencia. Once arranged the payment,
>>>please send us a copy of the bank transfer by ordinary mail or fax to the
>>>Centro de Formacion de Postgrado.
>>>
>>>Bank: CAJA DE AHORROS DEL MEDITERRANEO
>>>Account No: 2090-2832-640002-10
>>>
>>>Cancellations:
>>>
>>>In the event of cancellation, and provided that written notice
>>>is received 20 days prior to the event, a refund of 50% of the
>>>registration fee will be made. No refund will be made otherwise.
>>>
>>>INFORMATION AND REGISTRATION
>>>
>>>Ciber@RT '96
>>>
>>>Universidad Politecnica de Valencia
>>>Centro de Formacion de Postgrado
>>>Camino de Vera s/n
>>>46071 Valencia. SPAIN
>>>Phone:  +34 6 387 77 51
>>>Fax:    +34 6 387 77 59
>>>E-mail: ciberart@cfp.upv.es
>>>WWW:    http://faeton.eleinf.uv.es/ciberart96.html
>>>
>>>.............................................................
>>
>



From xinwei@truffaut.stanford.edu Fri Jul  5 11:37:28 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri,  5 Jul 96 11:32:12 -0700
To: xinwei@leland.Stanford.EDU
Subject: foner@media.mit.edu:  First Steps Towards Storytelling in Virtual
	Reality [Seminar, June 13]
Status: RO


Begin forwarded message:

From: Leonard N. Foner <foner@media.mit.edu>
Date: Wed, 5 Jun 1996 15:01:30 -0400
To: 305@media.mit.edu, ni@media.mit.edu
Subject: First Steps Towards Storytelling in Virtual Reality  
[Seminar, June 13]
Cc: foner@media.mit.edu

[This was sent to seminar@lcs.mit.edu as well as several other lists.]

- - - Begin forwarded message - - -

Date: 5 Jun 1996 09:35:46 -0500
From: "Palay" <palay@goldilocks.lcs.mit.edu>

SUBJECT:   Seminar 6/13/96
DATE:      Thursday, June 13, 1996
TIME:      1:30pm Refreshments
           1:45pm Talk
LOCATION:  MIT Laboratory for Computer Science
           545 Technology Square, NE43-518


            First Steps Towards Storytelling in Virtual Reality*

                               Randy Pausch
                          University of Virginia

Walt Disney Imagineering has developed a high-fidelity virtual  
reality (VR)
attraction where guests fly a magic carpet through a virtual world  
based on the
animated film "Aladdin." Unlike most existing work on VR, which has  
focused on
hardware and systems software, we assumed high fidelity and focused  
on using VR as a
new medium to tell stories. We fielded our system at EPCOT Center  
for a period of
fourteen months and conducted controlled experiments, observing the  
reactions of
over 45,000 guests.  Riders filled out an exit survey after the  
experience, and with
select groups we used a number of other data-gathering techniques,  
including
interviews and mechanically logging where guests looked and flew.

Our major finding is that in a high fidelity VR experience, men and  
women of all
ages suspend disbelief and accept the illusion that they are in a  
different place.
We have found that in VR, as in all media, content matters. Novices  
are unimpressed
with the technology for its own sake; they care about what there is  
to do in the
virtual world.  We can improve the experience by telling a  
pre-immersion "background
story" and by giving the guest a concrete goal to perform in the virtual
environment. Our eventual goal is to develop the lexicon for this  
new storytelling
medium: the set of communication techniques shared between  
directors and the
audience. We conclude with a discussion of our second version of  
the Aladdin
project, which contains a large number of synthetic characters and  
a narrative story
line.

ADDED BONUS:
The talk will also include a short live demo of the Alice 3D  
graphics authoring
environment being developed at the University of Virginia.

BIOGRAPHY:
Randy Pausch is an Associate Professor of Computer Science at the  
University of
Virginia.  He received a B.S. in Computer Science from Brown  
University in 1982 and
a Ph.D. in Computer Science from Carnegie Mellon in 1988.  He is a  
National Science
Foundation Presidential Young Investigator and a Lilly Foundation  
Teaching Fellow.
In 1995, he spent a Sabbatical with the Walt Disney Imagineering  
Virtual Reality
Studio.

*Work done in conjunction with Jon Snoddy, Robert Taylor, Scott  
Watson, and Eric
Haseltine, Walt Disney Imagineering.

HOSTS: Spoken Language Systems Group and Synthetic Imagery Group

- - - End forwarded message - - -

From owner-asd@lists.Stanford.EDU Tue Aug  6 15:18:18 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue,  6 Aug 96 15:20:51 -0700
To: asd@lists.Stanford.EDU
Subject: "Print to Steel"
Cc: tlenoir@leland.stanford.edu, damiris@leland.stanford.edu,
        mackey@hpl.hp.com
Sender: owner-asd@lists.Stanford.EDU
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Status: O

Hi,  I just learned that the bicycle race track at the Olympics
was designed in Mathematica ;)

http://shark.pond.com/track/
http://www.wri.com/users/velodrome.html

- Xin Wei

From xinwei@leland.stanford.edu Wed Aug  7 08:46:21 1996
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Date: Wed, 07 Aug 1996 08:46:18 -0700
From: Sha Xin Wei <xinwei@leland.stanford.edu>
Reply-To: xinwei@leland.stanford.edu
Organization: SU
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To: sedunn@leland.stanford.edu
CC: xinwei@truffaut.Stanford.EDU
Subject: IMG seminar docs
Content-Type: multipart/mixed; boundary="------------6000178E4114"
Status: O

This is a multi-part message in MIME format.

--------------6000178E4114
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Dear Suzie,

Here are three Microsoft RTF attachments:

Faculty Seminar Proposal
Readings -- selected references from WWW archive
Agenda -- selected topics from WWW archive

regards, Xin Wei

___________________________________________________________________
Sha Xin Wei                      E-mail: xinwei@leland.stanford.edu
SULAIR Human-Computer Systems Architect       Phone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
___________________________________________________________________

--------------6000178E4114
Content-Type: application/rtf; x-mac-type="54455854"; x-mac-creator="4D535744"; name="FacSem96.3.rtf"
Content-Transfer-Encoding: base64
Content-Description: Microsoft Word Document
Content-Disposition: inline; filename="FacSem96.3.rtf"

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--------------6000178E4114--


From xinwei@leland.stanford.edu Tue Aug 13 16:04:13 1996
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Message-ID: <321109EC.2754@leland.stanford.edu>
Date: Tue, 13 Aug 1996 16:04:13 -0700
From: Sha Xin Wei <xinwei@leland.stanford.edu>
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Organization: SU
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Subject: budget 96-97; IMG end of year report 95-96
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Status: RO

Hi Larry,

I can't think of any meaningful details for
IMG's Proposed Budget, 1996-97, beyond:

We plan to meet weekly through the academic year.

Homoraria, materials	$1000/ quarter  x 3 quarters	$3000
Seminar Assistant: $1000/quarter  x 3 quarters	$3000
								_____

Total						$ 6000

How about this (below) for an End of Year Report?

take care,
Xin Wei

 
Faculty Seminar on Interactive Media: Theory and Technologies of
Representation
Report to the Humanities Center for 1995-96


In Fall and Winter 1995, we visited several examples of new interactive
media from the domains of performance and literature.   For example,
Glorianna Davenport and Michael Murtaugh from the MIT Media Lab spoke
about novel ways to construct evolving interactive documentary video.   
Larry Friedlander surveyed interactive theater projects, including his
collaborations with the Media Lab, works by Brenda Laurel, and others.  
Diane Middlebrook presented as a case study, her  multimedia biography
of jazz musician B. Tipton.   Charles Kerns summarized five years of
research at the Apple Media Lab on digital video as social forms. 

In the latter part of the year, we explored, in preliminary fashion, a
several conceptual frameworks.  For example, John Keeling discussed
hypertext and narrative structures in relation to contemporary
poetics.   Sha Xin Wei presented some ideas on multi-modal
representation, and the structures and materialities of performable
writing.   Barbara Tversky presented a broad survey of research on
pictorial representations and diagrammatic communication.  Bob Horn
previewed typologies of signs from his book on Visual Language.  Daniel
Potter introduced us to a study of the essay film and mnemonics in the
presence of electronic, networked media.

Conceptually, if not chronologically, we started by closely examining
individual "artifacts" or "events" -- a multimedia theater performance,
a CD ROM, a World Wide Web page, and so forth.   Of course, this
bracketed out issues of interpretive context, audience, politics of
design etc. But it seemed to be one way to understand the eyestrain and
the (necessary?) myopia that writers endure.  This then yielded to a
survey of some particular examples of art and performance, which
inspired questions with a larger scope. These could be characterized as
questions about the interpretation and manipulation of media. In this
context, we visited problems of information, semantics, translation,
metaphor, systems of reference or navigation, and models (embodied or
otherwise) of media structure or action.  

But in the last part of the year, we passed from the study of individual
symbolic artifacts to consider larger symbolic systems. Especially since
digital media is now distributed through networks, and since designers
of large-scale software systems now appeal to metaphors from urban
design, it seemed crucial to expand our critical study of media to
include larger social systems.   For example, we started with a critique
of the epistemic and social commitments that underlay the design of the
emerging Virtual Reality Markup Language (VRML 2.0), which purported to
provide a framework for the description and enaction of behavior in
spacetime simulacra that could be delivered through the World Wide
Web.   We read some critics (eg. Benjamin, Lyotard) in light of these
notions of media and authoring.  And we traced the development of the
appeal by computer scientists in the 1980's to canonical theorists such
as architect Christopher Alexander in an attempt to design coherence in
increasingly complex object-oriented computational media.    

We celebrated the end of the year with a lecture/performance by composer
Mark Goldstein who pointed us toward future investigations of temporal
media and a-linguistic representations of gesture and music.

Of course, architecture and urban design are just one way to segue from
"individualist" and dualist theories of interactive
media/performance/art to systemic or historicist critiques of the
technologies of interactive media.   Next year, we intend to select two
or three different conceptual approaches to interactive media for more
intensive study.

The seminar's dynamics changed during the course of the year as we
alternated between semi-formal presentation by a single speaker to open
discussions of a set of readings.  We had a loose structure in which all
participants were theoretically free to jump in and have their say.  
But some graduate students complained that the air-time was hoarded in
an unproductive fashion on occasion.   Next year, we will adopt a few
simple facilitation techniques suggested by some participants to make
sure that the quieter voices are heard.   We also conducted a small part
of the discussion in electronic form, which gave us the opportunity to
pursue a few threads of analysis that were left unexplored during the
seminar session.



Sha Xin Wei
Larry Friedlander
Co-coordinators

From owner-img-mail@lists.Stanford.EDU Fri Aug 16 17:19:53 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 16 Aug 96 17:22:03 -0700
To: img-mail@lists.Stanford.EDU
Subject: End of Year Report
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Status: RO

Dear IMG folk,

Here's a concise summary of the seminar's activities last year:

http://www-leland.stanford.edu/~xinwei/pub/img/general/YearReport95-96.rtf

Next year, I would like to propose a few changes, in form and  
theme.    Since the Philosophy Reading Group will meet on Thursdays,  
I propose that the IMG meet on Wednesdays, say at 4:00 or 5:00.

I'll post my ideas about the themes later.    (They're mostly for  
Winter and Spring

Xin Wei

From owner-sati@lists.Stanford.EDU Fri Aug 30 12:02:12 1996
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From: TrudyMyrrh@AOL.COM
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Date: Fri, 30 Aug 1996 14:49:37 -0400
Message-ID: <960830144937_273333491@emout15.mail.aol.com>
To: art-tech@nocturne.sbay.org, ArtsTech@thecity.sfsu.edu, boyer@tmn.com,
        pgb2@ra.msstate.edu, cnewmark@well.com, sati@lists.Stanford.EDU,
        lakin@pgc.com, davinci@uclink.berkeley.edu, ekent@well.com
Subject: Visual Music Forum Sept. 11
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The Visual Music Ylem Forum:
Natural and Invented Visual Embodiments of Music
Wednesday, September 11, 7:30 PM

Featuring the work of four leading visual music artists, Ron Pellegrino, Greg
Jalbert, Michael Wanger and Stephen Malinowski. 
Free and open to the public. 

Visual music is a focused multimedia form with applications in performance,
entertainment, art and education. The Forum's presenters cover the gamut,
from pure research to Emmy-nominated productions. They will show their latest
work in multimedia forms born of the marriage of technology and the rich
tradition of global performance art. Lasers, computers, synthesizers and
video merge with dance, voice, dynamic visual art, and acoustic and
electronic music to create unparalleled sensory experiences.

Program:
Ron Pellegrino <http://www.microweb.com/ronpell>, producer of this event, has
been a pioneer and leading exponent of multimedia and music with affordable
emerging technology since 1967, when preparing the earliest book on the Moog
Synthesizer. Pellegrino's work in visual music brought him to San Francisco
in 1972 to work at the National Center for Experiments in Television, at that
time connected with KQED. Attracted by the early 70s already-in-full-swing
South of Market multimedia art and emerging technology performance scene,
Pellegrino made the San Francisco Bay Area his base and produced and
performed in scores of multimedia events at Bay Area science and art museums,
galleries, and universities. During the 70s he took The Real* Electric
Symphony - his Bay Area group of musicians, dancers and light artists - on
performance tours in North America, Europe and South America with US State
Department sponsorship. Internationally, he has presented over 400 public
multimedia events mostly based on visual music, and is author of the 1983
book, The Electronic Arts of Sound and Light. Pellegrino will show examples
of his work with music-driven laser animation and music-based performance
videography.

Greg Jalbert <http://www.imaja.com> is the founder of Imaja, a commercial
software company. Jalbert will demonstrate his creations, including the Bliss
Paint real-time software animation system, Listen music-ear training software
and Chronos multimedia timeline toolkit. He has performed Bliss Paint
real-time animation projections with key Bay Area music groups, including the
Grateful Dead, D'Cuckoo, Second Sight, Zero and Tribal Funk, as well as on
the ATT music stage at the 1996 Atlanta Olympics.

Michael Wanger <http://www.well.com/~vidkid> produces film and video. His
musical programs have appeared on PBS, he's been nominated twice for Emmy
awards and won three CINE Golden Eagles. Wanger combines classical music with
nature and wildlife footage. He'll be showing and discussing some of his
award-winning work available on videodisk.

Stephen Malinowski <http://www.well.com/user/smalin/mam.html> is an inventor
of music visualization systems that are precise and literal rather than
interpretive. He will be showing his Music Animation Machine, an animated
graphical score for listeners which uses the pitch structure of the music
itself to make the patterns you see. The precise correlation enriches and
heightens the experience of listening. It can provide a remarkable awakening
to the inner structure of music, especially to those who can't read music.

More information on Ron Pellegrino's Web site
<http://www.microweb.com/ronpell.home.html>: Visual Music, Quest for Audio
Excellence, Compositional Thinking, and Electronic Arts Productions.

From owner-img-mail@lists.Stanford.EDU Fri Aug 30 16:20:30 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199608302320.QAA04577@solaria06.Stanford.EDU>
Subject: Visual Music Forum 9/11 7:30, SF Exploratorium
To: img-mail@lists.Stanford.EDU
Date: Fri, 30 Aug 1996 16:20:08 -0700 (PDT)
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Forwarded message:
> From owner-sati@lists.Stanford.EDU Fri Aug 30 12:02:12 1996
> From: TrudyMyrrh@AOL.COM
> Date: Fri, 30 Aug 1996 14:49:37 -0400
> To: art-tech@nocturne.sbay.org, ArtsTech@thecity.sfsu.edu, boyer@tmn.com,
>         pgb2@ra.msstate.edu, cnewmark@well.com, sati@lists.Stanford.EDU,
>         lakin@pgc.com, davinci@uclink.berkeley.edu, ekent@well.com
> Subject: Visual Music Forum Sept. 11
> 
> The Visual Music Ylem Forum:
> Natural and Invented Visual Embodiments of Music
> Wednesday, September 11, 7:30 PM
> 
> Featuring the work of four leading visual music artists, Ron Pellegrino, Greg
> Jalbert, Michael Wanger and Stephen Malinowski. 
> Free and open to the public. 
> 
> Visual music is a focused multimedia form with applications in performance,
> entertainment, art and education. The Forum's presenters cover the gamut,
> from pure research to Emmy-nominated productions. They will show their latest
> work in multimedia forms born of the marriage of technology and the rich
> tradition of global performance art. Lasers, computers, synthesizers and
> video merge with dance, voice, dynamic visual art, and acoustic and
> electronic music to create unparalleled sensory experiences.
> 
> Program:
> Ron Pellegrino <http://www.microweb.com/ronpell>, producer of this event, has
> been a pioneer and leading exponent of multimedia and music with affordable
> emerging technology since 1967, when preparing the earliest book on the Moog
> Synthesizer. Pellegrino's work in visual music brought him to San Francisco
> in 1972 to work at the National Center for Experiments in Television, at that
> time connected with KQED. Attracted by the early 70s already-in-full-swing
> South of Market multimedia art and emerging technology performance scene,
> Pellegrino made the San Francisco Bay Area his base and produced and
> performed in scores of multimedia events at Bay Area science and art museums,
> galleries, and universities. During the 70s he took The Real* Electric
> Symphony - his Bay Area group of musicians, dancers and light artists - on
> performance tours in North America, Europe and South America with US State
> Department sponsorship. Internationally, he has presented over 400 public
> multimedia events mostly based on visual music, and is author of the 1983
> book, The Electronic Arts of Sound and Light. Pellegrino will show examples
> of his work with music-driven laser animation and music-based performance
> videography.
> 
> Greg Jalbert <http://www.imaja.com> is the founder of Imaja, a commercial
> software company. Jalbert will demonstrate his creations, including the Bliss
> Paint real-time software animation system, Listen music-ear training software
> and Chronos multimedia timeline toolkit. He has performed Bliss Paint
> real-time animation projections with key Bay Area music groups, including the
> Grateful Dead, D'Cuckoo, Second Sight, Zero and Tribal Funk, as well as on
> the ATT music stage at the 1996 Atlanta Olympics.
> 
> Michael Wanger <http://www.well.com/~vidkid> produces film and video. His
> musical programs have appeared on PBS, he's been nominated twice for Emmy
> awards and won three CINE Golden Eagles. Wanger combines classical music with
> nature and wildlife footage. He'll be showing and discussing some of his
> award-winning work available on videodisk.
> 
> Stephen Malinowski <http://www.well.com/user/smalin/mam.html> is an inventor
> of music visualization systems that are precise and literal rather than
> interpretive. He will be showing his Music Animation Machine, an animated
> graphical score for listeners which uses the pitch structure of the music
> itself to make the patterns you see. The precise correlation enriches and
> heightens the experience of listening. It can provide a remarkable awakening
> to the inner structure of music, especially to those who can't read music.
> 
> More information on Ron Pellegrino's Web site
> <http://www.microweb.com/ronpell.home.html>: Visual Music, Quest for Audio
> Excellence, Compositional Thinking, and Electronic Arts Productions.
> 


From sedunn@leland.stanford.edu Tue Sep  3 13:12:45 1996
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Date: Tue, 3 Sep 1996 13:12:21 -0700
To: benein@leland.stanford.edu, egginton@leland.stanford.edu,
        harrison@leland.stanford.edu, hbreit@leland.stanford.edu,
        hslinden@leland.stanford.edu, imorris@leland.stanford.edu,
        josslm@leland.stanford.edu, larryF@leland.stanford.edu,
        mrehm@leland.stanford.edu, Paul.Robinson@Forsythe.Stanford.EDU,
        rroberts@leland.stanford.edu, sepp@leland.stanford.edu,
        tompkins@leland.stanford.edu, xinwei@leland.stanford.edu
From: "Susan E. Dunn" <sedunn@leland.stanford.edu>
Subject: publicity for workshops
Cc: dambrau@leland.stanford.edu
Status: RO

<fontfamily><param>Geneva</param>Dear 1996-1997 SHC Research Workshop
Organizers:


As we near the start of the 1996-1997 academic year I'm sending you
(see below) my email lists of Humanities Chairs, Program and Center
Directors, and administrators for you to advertise your workshop to
humanities faculty and graduate students.


As soon as you know the place and time of your meetings, please pass
them on to me. We will announce the workshops in the Stanford Report at
the start of the year.  Also, we will keep things updated on the web
page for Research Workshops:

	http://shc.stanford.edu/shc/workshops.96-97.html

If you have a web page, you can link it to ours or you can talk to me
about having a page here at the center.


Also, you should provide us with your participant's mailing address
(email preferably) and the name and email of your workshop
administrator if it is someone other than yourself.  The financial
transfers and payments are taken care of by your home department's
administrator.  If they have any questions, please have them contact
Sue Dambrau (dambrau@leland, or 723-3054)


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


Note: These mailing lists are continually being updated, but if there
are any errors, omissions or changes, I would appreciate it if you
would let me know. Thanks!


<color><param>FFFF,0000,0000</param>HUMANITIES DEPT, PROGRAM, & CENTER
ADMINISTRATORS:</color>

hf.exb@forsythe, ea.emb@forsythe, hf.cla@forsythe, hf.glp@forsythe,
hf.rsk@forsythe, joyce@csli, hf.civ@forsythe, hf.mst@forsythe,
hf.hmn@forsythe, hf.emw@forsythe, hf.cbj@forsythe, ab.cde@forsythe,
hf.mxm@forsythe, au.alb@forsythe, hf.wei@forsythe, hf.jwm@forsythe,
hf.mxm@forsythe, hf.mxd@forsythe, wein@csli, hf.prw@forsythe,
hf.elc@forsythe, hf.emm@forsythe, hf.sam@forsythe, hf.cmc@forsythe,
hf.sac@forsythe, hf.klr@forsythe, et.jlf@forsythe, hf.dbl@forsythe,
hf.spw@forsythe, hf.gap@forsythe, hf.nbb@forsythe, wein@csli,
et.mgm@forsythe, hf.nss@forsythe, hf.oxh@forsythe, hf.nss@forsythe,
hf.cri@forsythe, hf.msk@forsythe, hf.spw@forsythe, tompkins@leland


<color><param>FFFF,0000,0000</param>HUMANITIES DEPT, PROGRAM & CENTER
CHAIRS & DIRECTORS:</color>

hf.hap@Forsythe, harry.elam@forsythe, yyb@leland, tallent@leland,
john@csli, seaver@leland, cashion@leland, rmhester@leland,
paul.robinson@forsythe, hf.wpf@Forsythe, hf.ejr@Forsythe, brown@leland,
beinin@leland, hf.tks@Forsythe, eva@csli, fields@leland,
renatoi@leland, vinograd@leland, thare@leland, susan.stephens@forsythe,
schnapp@leland, bender@leland, charles.lyons@Forsythe, jayf@leland,
kollmann@leland, berman@leland, eclark@psych, cc@ccrma, dretske@csli,
yearley@leland, hb.gxf@forsythe, ridgeway@leland, mpratt@leland,
tlenoir@leland

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


If you have any questions, please feel free to contact me. And best
wishes for a productive year!


Suzie</fontfamily>

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

  Susan E. Dunn                    

  Associate Director                      "Make the world your salon"

  Stanford Humanities Center                     - Mina Loy


  Mariposa House                          Tel: 415-725-0896

  Stanford University                     Fax: 415-723-1895

  Stanford, CA  94305-8630                E-Mail:
sedunn@leland.stanford.edu

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


From sedunn@leland.stanford.edu Mon Sep  9 11:13:55 1996
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Date: Mon, 9 Sep 1996 11:13:50 -0700
To: larryf@leland.stanford.edu, xinwei@leland.stanford.edu
From: "Susan E. Dunn" <sedunn@leland.stanford.edu>
Subject: the official word
Status: RO

September 5, 1996

Professor Larry Friedlander
Coordinator
Interactive Media Workshop
Department of English
Stanford University
MC 2087


Dear Larry

I am pleased to inform you that the Stanford Humanities Center will provide
renewed support for the 1996-1997 academic year for your workshop on
"Interactive Media: Theories and Technologies of Representation."  The
Center will provide $6,000, as requested in your proposal budget.  However,
funds remaining in your workshop account from this year may not be added to
this amount.  In addition, the School of Humanities and Sciences will make
a research fund of $1,000 available to you as the faculty coordinator of
the workshop, to be used by you or your colleagues in this endeavor, as you
see fit.  When you begin workshop activities in the fall quarter, please
contact Sue Dambrau (sue.dambrau@forsythe, 3-3054), who will be
coordinating the financial aspects of the workshop program.

In offering this support, the selection committee would like to stress once
again two important aspects of the program that are essential to its
success and that we would like all workshop coordinators to keep in mind as
they organize their workshops next year:  to foster the development of
latent research agendas in the humanities at Stanford and to provide
ongoing contexts or graduate research.  Workshops are therefore expected to
incorporate the presentation and discussion of work-in-progress by the
participants as an important part of their activities.  In addition, they
should include graduate students as well as faculty members as active
participants.

As you know, workshops are also expected to meet on a regular basis (at
least four times per quarter). As soon as you have organized your schedule
of meetings, please let us know so that we can put them on our events
calendar.  Also, please keep us updated as events are scheduled throughout
the year.  In addition to Sue Dambrau, you should include our Associate
Director, Susan Dunn (sedunn@leland) on your mailing list so that she can
bring the activities of your workshop to the attention of interested
fellows at the Center.   The Center plans to announce the list of workshops
it is supporting in the first autumn quarter issue of the Campus Report.
Please let Sue Dambrau know what information to include regarding the
person to be contacted by those interested in your workshop's activities
(name, telephone number, email and/or www address) and the proposed meeting
time and place.  You may also link your web page to the Humanities Center
research workshops web page:
http://shc.stanford.edu/shc/workshops.96-97.html.

Workshops are also required to be open to all interested faculty and
graduate students within reasonable limits of size.  Although numbers will
naturally vary, we ask you not to restrict active participation below
twenty-five members.  As soon as you are up and running, we would
appreciate it if you would send Sue Dambrau a mailing list of participants;
if possible, we would prefer an email list sent via email.

We have a few notes and reminders regarding the financial administration of
the workshops.  First, if you are going to have someone other than yourself
handle the administrative details of the workshop, please have that person
get in touch with Sue Dambrau as soon as you need further information on
matters such as transferring funds.  Also, please be aware that stipends
for workshop assistants must include benefits (currently at 29.7%). In
addition, workshop coordinators should note that the Mellon proposal
specifically excludes entertainment from the allowed expenses.  Therefore
we have placed a limit of $125 per guest lecturer (with a maximum per
workshop of $500) to cover an appropriate amount for any meals of workshop
participants with guest lecturers.   Please submit a revised budget if this
changes your planned use of funds.

You are welcome, as one of our funded workshops, to use the Humanities
Center Annex after 3:00pm as a meeting place if it is available.  This past
year many workshops used these facilities and we do ask that they be left
in proper condition afterwards.  As part of the Stanford Humanities
Center's support for the workshop, you will not be charged the customary
fee for use of the space; however, your workshop will be charged for any
cleaning or repairs that need to be made after you have used the room.

As you know, at the end of next year, you-as the faculty coordinator of the
workshop-are expected to write a formal report on the activities and
accomplishments of the past year.  At that time, existing workshops may
apply for renewal of funding (on a competitive basis with new workshop
proposals) for a successive year.  As we did this year, the Center will
also send a workshop evaluation questionnaire to all faculty and graduate
student participants.  We hope in this way to build a body of evidence to
support the continuation of the program beyond this initial experimental
period.

During the third year of the grant (1997-1998) we have additional funds
from the Mellon Foundation to bring in a few eminent scholars as
distinguished Fellows at the Center for a quarter or even a year.  These
Fellows would be expected to make a contribution to the ongoing work of the
Research Workshops.  You may want to be thinking about suggestions of
possible visitors whom we might invite to the Center as part of this
program. A more specific request will follow.

We ask you, in accepting workshop funds, to make a commitment to the goals
outlined above.  If you have any questions about any aspect of the program
as it may apply to your workshop in particular, please do not hesistate to
call me or Susan Dunn (5-0896 or sedunn@leland).

Congratulations and best wishes for another productive year!

Sincerely,





Keith Baker
Director

cc: Sha Xin Wei

--------------------------------------------------------------------------
  Susan E. Dunn
  Associate Director 		"Make the world your salon"
  Stanford Humanities Center          - Mina Loy

  Mariposa House                        Tel: 415-725-0896
  550 Salvatierra Way                   	Fax: 415-723-1895
  Stanford University            	email: sedunn@leland.stanford.edu
  Stanford, CA 94305-8630	www: http://shc.stanford.edu
---------------------------------------------------------------------------



From sedunn@leland.Stanford.EDU Wed Jul 10 09:57:01 1996
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Date: Wed, 10 Jul 1996 09:56:56 -0700 (PDT)
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Content-Type: text/plain; charset="us-ascii"
To: friedland.l@leland.Stanford.EDU, schnapp@leland.Stanford.EDU,
        mpratt@leland.Stanford.EDU
From: sedunn@leland.Stanford.EDU (Susan E. Dunn)
Subject: Workshop End of Year Reports
Cc: dominik@leland.Stanford.EDU, rezendes@leland.Stanford.EDU,
        xinwei@leland.Stanford.EDU, sue.dambrau@forsythe.stanford.edu,
        kbaker@leland.Stanford.EDU
Status: RO

To:     Larry Friedlander
        Jeffrey Schnapp
        Mary Louise Pratt

I writing to remind you that we need to have your end of year reports for
your workshops in order to make our end of year report to the Mellon
Foundation.  Please turn in your report as soon as possible or no later
than Monday July 15. If you have any questions, please feel free to contact
me.

Thanks,

Suzie

------------------------------------------------------------------------------
  Susan E. Dunn
  Associate Director                      "Make the world your salon"
  Stanford Humanities Center                     - Mina Loy

  Mariposa House                          Tel: 415-725-0896
  Stanford University                     Fax: 415-723-1895
  Stanford, CA  94305-8630                E-Mail: sedunn@leland.stanford.edu
----------------------------------------------------------------------------



From xinwei@truffaut.stanford.edu Mon Sep 16 18:14:56 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 16 Sep 96 18:14:45 -0700
To: xinwei@leland.Stanford.EDU
Subject: Welcome to wleland, cgi@www-leland
Status: O



Begin forwarded message:

Date: Mon, 16 Sep 1996 17:15:17 -0700 (PDT)
To: xinwei@truffaut.Stanford.EDU
From: Majordomo@lists.Stanford.EDU
Subject: Welcome to wleland
Reply-To: Majordomo@lists.Stanford.EDU

--

Welcome to the wleland mailing list!

If you ever want to remove yourself from this mailing list,
you can send mail to "Majordomo@lists.Stanford.EDU" with the following command
in the body of your email message:

    unsubscribe wleland

Here's the general information for the list you've
subscribed to, in case you don't already have it:

[Last updated on: Mon Jul  1 11:45:15 1996]
This list is for general discussions about the web needs of the Stanford
community with the goal of further developing the Stanford Users' server
(<http://www-leland.stanford.edu/) to meet those needs.

In order to make this happen we need collaborators, beta testers, and
knowledgeable and interested web users and developers who will be willing
to invest some of their own time and expertise, with the goal of forming
a group of users who'll be interested in both developing and maintaining web 
services for the entire campus community.

Jeff Lewis, lewis@netserver.stanford.edu
Conrad Damon, damon@netserver.stanford.edu
Infrastructure Delivery, Distributed Computing Group

X-Authentication-Warning: netserver.Stanford.EDU: Host  
localhost.Stanford.EDU [127.0.0.1] didn't use HELO protocol
X-Mailer: exmh version 1.6.1 5/23/95
To: xinwei@truffaut.Stanford.EDU
Subject: Re: cgi @ www-leland
X-Url: <http://www-tour.stanford.edu:1081/
Cc: lewis@netserver.Stanford.EDU
Date: Mon, 16 Sep 1996 17:18:19 -0700
From: Jeff Lewis <lewis@netserver.Stanford.EDU>


> > development server that I can trade to some experienced
> www-leland users
> > for help in developing general web services and utilities for
> www-leland.
>
> ok, count me (us) in.  fyi, our MediaWeaver CGI's compile under SunOS & 
> Solaris 2.5.  It'd be a good exercise to run them on an Alpha, I suppose.

I went ahead and subscribed you to the mailing list I set up for talking
about www-leland development issues, wleland@lists, and I'm in the process
of setting up a Sparc 2 for people to start doing development on.  I'll
add you to that list as well and send a note out to the list when I get
it up and running.  Its hostname is www-dev.

Jeff

From tlenoir@leland.stanford.edu Fri Sep 20 10:26:45 1996
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Message-ID: <3242E4A2.6A2E@leland.stanford.edu>
Date: Fri, 20 Sep 1996 10:38:27 -0800
From: Timothy Lenoir <tlenoir@leland.stanford.edu>
Reply-To: tlenoir@leland.stanford.edu
Organization: Program In History & Philosophy of Science
X-Mailer: Mozilla 3.0Gold (Macintosh; U; PPC)
MIME-Version: 1.0
To: Sha Xin Wei <xinwei@leland.stanford.edu>
Subject: Stuff for the Virtuality Seminar
Content-Type: multipart/mixed; boundary="------------2F1C5205513C"
Status: RO

This is a multi-part message in MIME format.

--------------2F1C5205513C
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi Xin Wei

I am going to be sending you bookmarks for a bunch of texts I have found
and a couple of websites that frame the concepts I have in mind for the
Virtuality seminar. We might also think of this in context of the IMG
seminar, and our discssion today (?). I attached a bunch of stuff to a
letter a while ago, and it crashed, so I will be sending these along one
at at time and then collected in a single bookmark bib.

In additon to these materials I want to use stuff from Rotman, Peirce,
some stuff on textuality and audience, something on film medium (Metz?),
Marshall McLuhan, Understandind Media (natch), Brenda Laurel Computers
as Theater. There are some good things on Sherry Turkel's webpages too,
which we can explore further. The missing ingredient is anything of the
etereal technical stuff that revs your jets, so we will have to figure
out how to approach that stuff. I would like to include examples, such
as virtual surgery, molecular modelling (new stuff with VR, and perhaps
other simulations.

Hope this stimulates discussion.

T

--------------2F1C5205513C
Content-Type: text/html; charset=iso-8859-1; name="bib.html"
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline; filename="bib.html"
Content-Base: "http://www.unik.no/~markus/bib.html"

<BASE HREF=3D"http://www.unik.no/~markus/bib.html">

<html>
<TITLE>Online VR-bibliography =

</TITLE>
<IMG SRC=3D"pics/bib.gif" ALT=3D"[VR-Online]">
<br>

<H2>1. The Stone-Papers</H2>
<BODY><P>If you like to be taken on a journey not only through the
net, but also like to know your culture better, embark on a trip to
Allucquere Rosanne Stone=B4s small, yet brilliantly written =

<A
HREF=3D"ftp://actlab.rtf.utexas.edu/art_and_tech/stone_papers"><I>ftp arc=
hive</I></A> and find out
how to go on a Magical Mystery Tour, even Anno 1995.</P></BODY> =

<H2>2. The Well</H2>
<BODY><P>The Whole Earth  'Lectronic Link is the legendary mother of
all BBSs. Though many on line communities have made BBS-hopping quite
familiar these days, the aura remains. A quality selection of some of
the  =

<A HREF=3D"gopher://gopher.well.sf.ca.us/1"><U>finest materials</U></A>
on Cyberspace and Virtual communities. Namely <A HREF=3D"gopher://gopher.=
well.sf.ca.us/11/Community"
><I><U>Howard Rheingold</U></I></A> with "Virtual Communities",   =

<A HREF=3D"gopher://gopher.well.sf.ca.us/11/Publications/authors/Sterling=
">
<I><U>Bruce Sterling, </U></I></A>and David  Ronfeldt with opinions on

<A HREF=3D"gopher://gopher.well.sf.ca.us/00/whole_systems/cyberocracy"><I=
>
<U> Cyberocracy </U></I></A> and  <A HREF=3D"gopher://gopher.well.sf.ca.u=
s/00/Military/cyberwar"
><I><U>"Cyberwar & Netwar: Warfare between Networks"</U></I></A>.</P></BO=
DY>
<H2>3. PARC at XEROX</H2>
<BODY><P>If you are into MUDs and MOOs, Xerox`s PARC probably is the
right place for you to stay a while. A whole world of interesting papers
at their  =

<A HREF=3D"ftp://parcftp.xerox.com"><I><U>ftp-archive.</U></I></A>Working=

a little slowly lately. But once you get in, you are likely not to leave
before to soon. Try it.!</P></BODY> =

<H2>4.  WiReD</H2> =

<BODY><P>For those who don=B4t wish to go through a registration
procedure, there is a mirror site with older back issues of <A HREF=3D"ht=
tp://www.ncb.gov.sg/wired/WoWWW.html"
><I><U>WiReD-Magazine in Singapore.</U></I></A> =

You never can tell til you try : WiReD-Magazines service has - in fact - =
dramatically
improved. I found out only after overcoming my reservations of =

<A HREF=3D"http://www.wired.com/"><U><I>registering real-name with the ed=
itors.</I></U></A></P>
<h2>5. HIT Lab</h2>
<body><p>Getting slightly more technical, you might want to take a look a=
t the HIT Lab, =

especially in what concerns their development of a VR-display, using <a H=
REF=3D
"http://www.hitl.washington.edu/projects/vrd/sid-vrd.html#exist"><i>retin=
al projection.</I></A>
<h2>6. Meckler on the Web</h2>
<p>Yet another =

<a HREF=3D"http://www.mecklerweb.com/mags/vr/vrhome.htm"><i>magazine
</i></a> on the web, this time more technologically and
bussines- (as compared to Zeitgeist and culturally, as in WiReDs case)
oriented. No time has gone so far into finding out whether this
is more than an appetizer-site, though its first appearance is quite
promising, not as promising as WiReD though.</P>
<h2> 7. Cybernetics </h2>
<p>Let alone the fact whether it is a lucky word creation or not, it
might be convenient to ask the question of what <a HREF=3D"http://pespmc1=
=2Evub.ac.be/CYBSYSTH.html"><i>cybernetics</I></a> is =

all about.<a NAME=3D"emoney">
<h2>8. Encryption and Network Money</h2>
<p>Everyone uses the buzzwords, cyberspace and VR are being reported
everywhere around the globe, in almost any kind of medium. The problem
does - however - seem to be: Is there a commercial application for
all this? Carl Loeffler, in "The Virtual Reality Casebook", seems
to suggest <A
HREF=3D"http://www.unik.no/~markus/celcb.html"><i>"eventually
yes"</I></A>. The question is, however more complicated for VR than
for other usual products being introduced to a marketplace. This is
because VR cannot only be a product on the realworld market, but
because of its quality as an almost all (reality) embracing tool has =

the capacity to become a market itself, reflecting onto the realworld
economy or becoming an n-dimensional economy of its own. The question
then is: on which currency will this new economy run? =

<a HREF=3D"http://www.digicash.com/publish/publish.html"><i>Gather some =

perspectives by one of electronic cash's inventors, David
Chaum.</I></A> For a quite comprehensive overview, see the =

<a HREF=3D"http://ganges.cs.tcd.ie/mepeirce/Project/oninternet.html"><i>c=
ompilation on electronic payment systems,</I></A> by Trinity College
(Dublin). =

<h2>9. The Brussels G7 Mini-Summit on Information Society</h2>
<p>Finally, the Governments are gearing up to create the Global
Information Infrastructure (GII). With the GII first having been proposed=
 in 1994
by Vice President Al Gore in Buenos Aires, the Summit in
Brussels seems to be an important milestone towards its
implementation. Though there is no saying for how long, for the time
being you can find a comprehensive documentation about the meeting =

<a HREF=3D"http://www.ibm.com/Sponsor/g7live/G7live.html"><i>on the
Net.</I></a>
<h2>10. The Tofflers</h2>
<p> Whilst I don't exactly wish to discredit this selection as being
random in its approach, future-gazing Toffler-style has won a new
importance in connection with Newt Gingrich's writing the forword
to their latest book "Creating a New Civilization". Whilst this
text is not available on-line, you might want to take a look at an
older interview with Alvin Toffler from the
 <a HREF=3D"http://phenom.physics.wisc.edu/~shalizi/NewScientistArticles/=
alvin-toffler/"><i>New Scientist.</I></A>
<h2>11. Carl E. Loeffler</h2>
<p>Hard to find on the Net, but - so I guess - nobody escapes Lycos,
the searching system at Carnegie-Mellon. See: =

<a HREF=3D"http://www.nta.no/telektronikk/4.93.dir/Loeffler_C_E.html"><i>=
Distributed Virtual Reality:
applications for education, entertainment and industry</I></A> from
1993.
<h2>12. Web Stars in VR (NASA)</h2>
<p>It seems to be a good site. Since I have just picked it - and it
seems to be quite comprehensive - =

<a HREF=3D"http://guinan.gsfc.nasa.gov/W3/VR.html"><i>find out more
yourself.</I></A>
<h2>13. The MIT media-lab</h2>
<p><a HREF=3D"http://www.media.mit.edu/MediaLab/Welcome.html"><i>Find out=
</I></A> more about what's going on at the Lab with the support of
20+ of the world's mega-corporations.
<h2>14. Bibliography of VR</h2>
Very good! Compiled at the HitLab and =

<a HREF=3D"http://www.mcs.anl.gov/home/kokinis/VirtualEnvironments/irvrne=
w.html"><i>available online.</I></A> =

<h2>15. Morten Soby on Virtual Reality</h2>
<a HREF=3D"http://www.ifi.uio.no/~sigar/vroslo/possessedno.html">
<I>Possessed by Virtual Reality</I></A> by Morten S=F8by, Research =

Fellow Institute for Educational Research, University of Oslo.
<h2>16. Virtual Communities Sources List by Howard Rheingold</h2>
<p>A good collection on the social aspects of VR and
Telecommunication, available at the
 <a HREF=3D"http://www.well.com/www/hlr/vircom/index.html"><i>WELL</I></A=
>
Website.
<h2>17. Niemann Foundation at Harvard University. =

"Toward a New Journalist's Agenda" (conference proceeds)</h2>
<p>Assembled in these proceedings from the conference are some very
interesting thoughts on the future of media and communications in the
networked world. Find a <a HREF=3D"http://www.unik.no/~markus/niemann.htm=
l">
<i>file with an abstract of
the most interesting contributions</I></A> (as from this bibliography's
author's viewpoint).
<h2>18. CTHEORY</h2>
<p><a HREF=3D"http://english-server.hss.cmu.edu/ctheory/ctheory.html"><i>=
CTHEORY</I></a> is an international, electronic review of books on theory=
, technology
and culture. Sponsored by the Canadian Journal of Politicaland Social The=
ory,
reviews are posted periodically of key books incontemporary discourse as =
well as
theorisations of major "event-scenes"in the mediascape.
<h2>19. Bruce Sterling's Short History of the Internet</h2>
<p>Quite elementary reading about the coming about of the Internet.
Before going into the real comprehensive materials, it is probably
a good idea to start <a =

HREF=3D"http://www.lysator.liu.se:7500/etexts/the_internet.html><i>with
this article.</I></A>
<h2>20. December-CMC Information Sources</h2>
<p>Probably one of the most complete list of links on the Net.
Internet-training, RFCs, pointers, search-engines. Prepare for a very
big file, and plan to take time, if you =

<a HREF=3D"http://www.unik.no/~markus/december.html"><i>take a look</I></=
A>.
<p> =

<h2>21. Roberto Bisso on "Cyberespace et d=E9mocratie"</h2>
<p>This =

<a
HREF=3D"http://www.ina.fr/CP/MondeDiplo/Articles/07/489.fr.html"><i>
article</I></A> is taken from Le Monde diplomatique in July 1994. It
shows some of the applications of modern networked computing in the
domain of NGO-cooperation.<p>
<h2>22. Hypertext - anticipated</H2>
Just as most will be amazed by the fact that the notion of
cybernetics the way we understand this term today reaces back
to Norbert Wiener's book, some might be surprised to actually find
out that the notion of hyper-documents has been crafted as early =

as 1945 by Vannevar Bush, then Director of  the Office of Scientific =

Research and Development. No doubt, Hypermedia play an important =

role of forming a virtual community's future media-landscape.
An <a HREF=3D"http://www.csi.uottawa.ca/~dduchier/misc/vbush/as-we-may-th=
ink.html"><i>online version of his Article "As We May
Think"</I></A> is available. <p>
<h2>23. Computer Mediated Communication Magazine (CMC)</h2>
A must for researchers in the field of CMC. In its level, certainly
this electronic publication is tantamount to any printed matter.
It can be strongly recommended to <a HREF=3D"http://sunsite.unc.edu/cmc/m=
ag/current/toc.html"><i>take a look at the
current issue.</I></A><P>
<h2>24. LETSystems</H2>
Local Exchange Trade Systems <A HREF=3D"http://www.u-net.com/gmlets/">
<i>(LETS)</I></A> might also be considered an
interesting topic for virtual communities wishing to
create independent payment mechanisms.<p>
<h2>25. OTA-Report on VR-Technologies in Combat Simulations</h2>
Although probably not 100 per cent related to Virtual Communities,
OTA's <A HREF=3D"http://otabbs.ota.gov:80/T153"><i>report</I></A> from
1994 offers several advantages, the major one being to offer a =

good primer on VR-related technologies for those not overly acquainted.
Also, some <a name=3D"more">shortcomings and challenges are assessed and =
addressed.<p>
<h2>26. Social Sciences Data Archives</h2>
This is a <a HREF=3D"http://www.uib.no/nsd/diverse/utenland.htm"><i>click=
able imagemap</I></A>, pointing to resources and repositories
for social science data, may of which can - unfortunately - not be
accessed online.<p>
<h2>27. Max-Planck-Institut f=FCr Gesellschaftsforschung</h2>
This <a HREF=3D"http://www.mpi-fg-koeln.mpg.de/index.html"><i>German =

institute</I></A> has, amongst others, an extensive section on research t=
opics in
the field of social effects of the application of communication
technologies. Abstracts of the papers and ordering information are
available in English.<p>
<h2>28. Marshall McLuhan</h2>
Here is a good <a HREF=3D"http://hoshi.cic.sfu.ca/~guay/Paradigm/McLuhan.=
html">
<i>primer</I></A> on Marshall McLuhans theories in a very
sensible layout, table oriented.<p>
<h2>29. "Voice of the Shuttle" - Webpage for Humanities Research</h2>
Not in a narrow sense of the word pertinent to virtual communities,
but nonetheless a near-complete <a HREF=3D"http://humanitas.ucsb.edu/shut=
tle/science.html"><i>list of pointers</I></A> that should not =

miss in your toolbox.<p>
<h2>30. Sensus</h2>
Online-voting is becoming more and more of a concern for making =

electronic forms of democracy possible. One practical implementation
can be seen at Washington State University: <a
HREF=3D"http://dworkin.wustl.edu/~lorracks/sensus/ssp/ssp.html">
<i>Sensus.</I></A><p>
<h2>31. Hijacking the Law</h2>
The Internet Law Task Force, now the Internet Law and Policy Forum is
a good idea - in principle: The Net needs to evolve as a space with a
customary law of its own. Considered that only corporate sponsors
will have a real say in it however is tantamount to hijacking the
the topic for commercial interests. <a HREF=3D"http://www.d
iscovery.org/orgnzsum.html"><i>Be aware.</I></A><p>
</body>
<HR>
<address>This page was last updated on June  12, 1996 by
markus@unik.no</ADDRESS><br> =

If you are planning to extend your own
Web-activities in Germany or Europe, please also see =

<a HREF=3D"http://hydra.unik.no/~markus/jobb.html"><i>this
announcement.</I></A>
<p>
<p>
<a HREF=3D"http://www.unik.no/~markus">[Back to homepage]</A> =

<a HREF=3D"http://www.unik.no/~markus/gram.html">[Back to clickable
map]</A>


--------------2F1C5205513C--


From tlenoir@leland.stanford.edu Fri Sep 20 10:34:40 1996
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Message-ID: <3242E681.35B7@leland.stanford.edu>
Date: Fri, 20 Sep 1996 10:46:27 -0800
From: Timothy Lenoir <tlenoir@leland.stanford.edu>
Reply-To: tlenoir@leland.stanford.edu
Organization: Program In History & Philosophy of Science
X-Mailer: Mozilla 3.0Gold (Macintosh; U; PPC)
MIME-Version: 1.0
To: Sha Xin Wei <xinwei@leland.stanford.edu>
Subject: Virtuality Seminar Possibilities
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Here are some further possibilities:

http://www.rochester.edu/College/FS/Publications/AVCulture/

http://www.rochester.edu/College/FS/Publications/AVCulture/4AVCquest2.html

--------------29463BF67024
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Content-Base: "http://www.rochester.edu/College/FS/Pu
	blications/AVCulture/"

<BASE HREF="http://www.rochester.edu/College/FS/Publications/AVCulture/">

<HTML>
<HEAD>
    <TITLE>Audiovisual Culture</TITLE>
</HEAD>
<BODY BGCOLOR="#ffffff" LINK="#0000ff">
<H1></H1>
<H1><CENTER>Audiovisual Culture and<BR>
Interdisciplinary Knowledge</CENTER>
</H1>
<H4><CENTER><A HREF="http://www.rochester.edu/College/FS/Rodowick/DNRHome.html">D.N.
Rodowick</A><BR>
Program in Film Studies<BR>
The University of Rochester</CENTER>
</H4>
&copy; <A HREF="http://www.rochester.edu/College/FS/Publications/Copyright.html">copyright</A>
<H3>Welcome</H3>
This essay was first published in <CITE>New Literary History</CITE> 26 (1995):
11-121. The current version is enhanced with images and audio commentary.
In order to play the sound files, you will need a helper application like
<A HREF="http://wwwhost.ots.utexas.edu/mac/pub-mac-sound.html#soundapp-151">SoundApp</A>.
The layout of this document will look cooler if you zoom your browser's
window to its maximum size. <A HREF="mailto:rdwk@troi.cc.rochester.edu">Comments</A>
are very welcome! 
<H3>Table of Contents</H3>
<UL>
<LI><A HREF="2AVCDefine.html">Defining Audiovisual Culture</A> 
<LI><A HREF="2aAVCPostmodern.html">The Audiovisual and Postmodernism</A>
<LI>Three Questions 
  <UL>
  <LI><A HREF="3AVCquest1.html">How is the form of the commodity changing?</A>
  <LI><A HREF="4AVCquest2.html">How is the nature of representation and
communication changing?</A> 
  <LI><A HREF="5AVCquest3.html">What image of collective life is proposed
by the new communications technologies?</A> 
  </UL>
<LI><A HREF="6AVCConclusion.html">Conclusion</A> 
<LI><A HREF="7AVCSources.html">Bibliography, Sources, and Acknowledgments</A>
</UL>
<BLOCKQUOTE><A HREF="AudiovisualCultureText.html">Text only version</A>
of &quot;Audiovisual Culture and Interdiscplinary Knowledge&quot;</BLOCKQUOTE>
<P><CENTER><HR>Welcome | <A HREF="2AVCDefine.html">Defining</A> | <A HREF="2aAVCPostmodern.html">Postmodernism</A>
| <A HREF="3AVCquest1.html">Commodity</A> | <A HREF="4AVCquest2.html">Representation</A>
| <A HREF="5AVCquest3.html">Collectivity</A> | <A HREF="6AVCConclusion.html">Conclusion</A>
| <A HREF="7AVCSources.html">Sources</A><HR></CENTER>
</BODY>
</HTML>

--------------29463BF67024
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Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="4AVCquest2.html"
Content-Base: "http://www.rochester.edu/College/FS/Pu
	blications/AVCulture/4AVCquest2.htm
	l"

<BASE HREF="http://www.rochester.edu/College/FS/Publications/AVCulture/4AVCquest2.html">

<HTML>
<HEAD>
    <TITLE>Audiovisual Culture, Part 5</TITLE>
</HEAD>
<BODY BGCOLOR="#ffffff">
<H3>How is the nature of representation changing? </H3>
<P><CENTER><IMG SRC="gif/MEDICAL.GIF" ALIGN=bottom WIDTH="160" HEIGHT="120"
NATURALSIZEFLAG="0"></CENTER>
<P>AT&amp;T also welcomes us to a graphical, multimedia universe, thus introducing
my second question. How is the nature of representation and communication
changing with respect to the digital creation, manipulation, and distribution
of signs? How are the properties of semiotic objects changing? And how may
the act of reading change with these global shifts in the semiotic environment?
In short, how is the nature of discourse, or what counts as discursive being
transformed by audiovisual culture? <BR>
<P><CENTER><IMG SRC="gif/encode1.gif" WIDTH="168" HEIGHT="166" ALIGN=bottom
NATURALSIZEFLAG="3"><IMG SRC="gif/encode2.gif" WIDTH="168" HEIGHT="214"
ALIGN=bottom NATURALSIZEFLAG="2"><IMG SRC="gif/encode3.gif" WIDTH="168"
HEIGHT="166" ALIGN=bottom NATURALSIZEFLAG="0"></CENTER>
<P>The most important phenomenon here is the displacement of analog recording,
manipulation, and transmission by the digital. Equivalence in space is no
longer the measure of representation. Rather all representational forms
(image, writing, sound) are leveled to the algorithmic manipulation of binary
code. <B>All space becomes an abstract computational space</B>. <BR>
<BR>
As analog forms of representation disappear, <B>the criterion of resemblance
is displaced by similitude</B>. As I argue more fully in &quot;Reading the
Figural,&quot; the idea of resemblance belongs to the era of representation.
In resemblance, meaning derives from the authority of the original, an authenticating
model that orders and ranks all the copies that can be derived from it.
Alternatively, Foucault defines similitude as an ordering of signs where
designation or reference has lost its centrality. In audiovisual culture
the distinction between original and copy is losing relevance. <BR>
<P><CENTER><A HREF="wav/nyc.wav"><IMG SRC="gif/skyline.gif" ALIGN=middle
WIDTH="490" HEIGHT="354" NATURALSIZEFLAG="3"></A></CENTER>
<P>Resemblance is also linked to affirmation. For Foucault, spatial semblance
in representation yields meaning, implicitly or explicitly, in the form
of a linguistic statement. Similitude changes this structure of reference
and signification. It is no longer the image that illustrates and the sentence
which comments. Rather visuality and expression become transversal, producing
a variety of hybrid forms. <B>The distinction between linguistic and plastic
representations, and along with it, the distinction between spatial and
temporal arts, is also losing relevance</B>. The border between a plastic
space which organizes semblance, and linguistic expression that articulates
difference is disappearing. Expression is no longer reserved for linguistic
activity which organizes &quot;signs&quot; and therefore meaning across
difference; the field of the visible, as the silent representation of things,
has become increasingly heterogeneous and complex. Formerly, discourse was
considered a linguistic activity; now it is a multimedia activity. Forms
of expression and reading can no longer be considered as simply spatial
or temporal, or distinguished by simultaneity and succession. Rather, audiovisual
culture presents us with mixed, layered, and heterogeneous images unfolding
in time. <BR>
<P><CENTER><HR><A HREF="1AVCHome.html">Welcome</A> | <A HREF="2AVCDefine.html">Defining</A>
| <A HREF="2aAVCPostmodern.html">Postmodernism</A> | <A HREF="3AVCquest1.html">Commodity</A>
| Representation | <A HREF="5AVCquest3.html">Collectivity</A> | <A HREF="6AVCConclusion.html">Conclusion</A>
| <A HREF="7AVCSources.html">Sources</A><HR></CENTER>
</BODY>
</HTML>

--------------29463BF67024--


From tlenoir@leland.stanford.edu Fri Sep 20 10:55:52 1996
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Message-ID: <3242EB78.3227@leland.stanford.edu>
Date: Fri, 20 Sep 1996 11:07:36 -0800
From: Timothy Lenoir <tlenoir@leland.stanford.edu>
Reply-To: tlenoir@leland.stanford.edu
Organization: Program In History & Philosophy of Science
X-Mailer: Mozilla 3.0Gold (Macintosh; U; PPC)
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To: Sha Xin Wei <xinwei@leland.stanford.edu>
CC: tlenoir@leland.stanford.edu
Subject: Virtuality Possibilities
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In the attached url, go to these entries below

More:

http://www.rochester.edu/College/FS/Publications/HaywardSurpassing.html


http://www.rochester.edu/College/FS/Publications/BinkleyCulture.html


http://www.rochester.edu/College/FS/Publications/MitchellHow.html


http://www.rochester.edu/College/FS/Publications/HeimEssence.html


http://www.duke.edu/~tlove/simcity.txt


http://www.rochester.edu/College/FS/Publications/Stallabras.html

--------------198F227347F3
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Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="7aWorlds.html"
Content-Base: "http://www.cc.rochester.edu:80/College
	/FS/Seminars/DigiCult/7aWorlds.html"

<BASE HREF="http://www.cc.rochester.edu:80/College/FS/Seminars/DigiCult/7aWorlds.html">

<HTML>
<HEAD>
    <TITLE>Digital Culture: Virtual Worlds</TITLE>
</HEAD>
<BODY BGCOLOR="#ffffff">
<H2><IMG SRC="Johnny5.gif" WIDTH="213" HEIGHT="160" ALIGN=bottom NATURALSIZEFLAG=
"1"><IMG SRC="Johnny4a.gif" WIDTH="213" HEIGHT="160" ALIGN=bottom NATURALSIZEFLAG=
"1"></H2>
<H2><CENTER>III. Virtual Worlds</CENTER>
</H2>
<H3>Week 7. Simulation and similitude.</H3>
<UL>
<LI>Binkley, Timothy. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/BinkleyCulture.html">Refiguring
Culture</A>&quot; 
<LI>Mitchell, William J.. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/MitchellIntention.html">Intention
and Artifice</A>&quot; 
<LI>----------. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/MitchellHow.html">How
to Do Things with Pictures</A>&quot; 
</UL>
<BLOCKQUOTE>
<H4><A HREF="Recommended.html#anchor291886">Recommended</A> reading</H4>
</BLOCKQUOTE>
<BLOCKQUOTE>
<UL>
<LI>Binkley, Timothy. &quot;Camera Fantasia&quot; 
</UL>
</BLOCKQUOTE>
<H3>Week 8. The immersive interface.</H3>
<UL>
<LI>Walker, John. &quot;<A HREF="http://www.fourmilab.ch/autofile/www/chapter2_69.html#SECTION00690000000000000000">Through
the Looking Glass</A>&quot; [stop at &quot;Should Autodesk lead?&quot;]
<LI>Heim, Michael. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/HeimEssence.html">The
Essence of VR</A>&quot; (excerpts) 
<LI>Hayward, Philip. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/HaywardCyberspace.html">Situating
Cyberspace</A>&quot; 
<LI>Krueger, Myron W. &quot;Cybernetic Society&quot; 
</UL>
<BLOCKQUOTE>
<H4><A HREF="Recommended.html#anchor295557">Recommended</A> reading<BR>
<BR>
Resources</H4>
</BLOCKQUOTE>
<BLOCKQUOTE>
<UL>
<LI>Heim, Michael. Seminar on &quot;<A HREF="http://www.artcenter.edu/Classes/M313fall95/">InfoEcology</A>&quot;
</UL>
</BLOCKQUOTE>
<H3>Week 9. Playing with power: the universe according to Nintendo.</H3>
<UL>
<LI>Friedman, Ted. &quot;<A HREF="http://www.duke.edu/~tlove/simcity.txt">Making
Sense of Software</A>&quot; 
<LI>Fuller, Mary and Henry Jenkins. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/FullerNintendo.html">Nintendo
and New World Writing</A>&quot; 
<LI>Stallabras, Julian. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/Stallabras.html">Just
Gaming</A>&quot; 
</UL>
<BLOCKQUOTE>
<H4><A HREF="Recommended.html#anchor297116">Recommended</A> reading</H4>
</BLOCKQUOTE>
<H3>Week 10. Data surveillance and digital panopticism.</H3>
<UL>
<LI>Lyon, David. &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/Lyon.html">From
Big Brother to the Electronic Panopticon</A>&quot; 
<LI>Robins and Webster, &quot;<A HREF="http://www.rochester.edu/College/FS/Publications/RobinsCybernetic.html">Cybernetic
Capitalism</A>&quot; 
<LI>Wexelblat, Alan. <A HREF="http://wex.www.media.mit.edu/people/wex/panoptic-paper.html">&quot;How
is the NII Like a Prison?&quot;</A> 
</UL>
<BLOCKQUOTE>
<H4><A HREF="Recommended.html#anchor300005">Recommended</A> reading</H4>
</BLOCKQUOTE>
<BLOCKQUOTE>
<UL>
<LI>Gandy Jr., Oscar H. &quot;It's Discrimination, Stupid!&quot; in <CITE>Resisting
the Virtual Life</CITE> 
<LI>Gandy Jr., Oscar H. &quot;Operating the Panoptic Sort&quot; 
<LI>Poster, Mark. &quot;Foucault and Data Bases&quot; in <CITE>The Mode
of Information</CITE> 
</UL>
</BLOCKQUOTE>
<BLOCKQUOTE>
<H4>Resources</H4>
</BLOCKQUOTE>
<BLOCKQUOTE>
<UL>
<LI><A HREF="http://www-white.media.mit.edu/~steve/netcam.html">Steve Mann's
Webcam</A> 
<LI><A HREF="http://www.eff.org/">Electronic Frontier Foundation </A>
<LI><A HREF="http://epic.org/">Electronic Privacy Information Center</A>
<LI><A HREF="http://www.cdt.org/index.html">Center for Democracy and Technology</A>
<LI><A HREF="http://weber.u.washington.edu/~phantom/cpunk">Cypherpunk </A>
<LI><A HREF="http://asylum.sf.ca.us/pub/u/nelson/bin.cgi/splitout">The Cyphernomicon</A>
</UL>
</BLOCKQUOTE>
<P><CENTER><HR><A HREF="1Home.html">HOME</A> | <A HREF="4Overview.html">Overview
</A>| <A HREF="5aVirtual.html">Virtual</A> | <A HREF="6aHypermedia.html">Hypermedia</A>
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From xinwei@truffaut.stanford.edu Fri Sep 20 11:37:29 1996
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Subject: ideas for img from Tim, Ann, XW
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end

From tlenoir@leland.stanford.edu Fri Sep 20 11:09:43 1996
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Date: Fri, 20 Sep 1996 11:21:17 -0800
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Subject: More More Virtuality Possibilities
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Check outthe Elizabeth Reid piece in particular


http://www.ee.mu.oz.au/papers/emr/cult-form.html#Chap3

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	<H1>High Noon on the Electronic Frontier: </H1> =

	<H2>Conceptual Issues in Cyberspace</H2><BR>
	Forthcoming from MIT Press (June, 1996)
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	  Edited by <A HREF=3D"ludlow.html">Peter ludlow</A>
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	<P>
	<ADDRESS>Associate Professor <BR>
	  Department of Philosophy<BR>
	  SUNY Stony Brook<BR>
	  Stony Brook, NY 11794-3750</ADDRESS>
	<P>
	<HR>
	Following are drafts of most of the readings in <B>High Noon</B>.  Some =
folks have said that I'm nuts for making the core of my book available on=
 the Web (for free), but it seems to me that these folks suffer from a ce=
rtain confusion.  It's true that I've made the information itself availab=
le for free, and you are welcome to peruse it, download it, whatever.  On=
 the other hand, some of you might find it useful to have this informatio=
n in a book format -- nicely organized and printed,  most of the typos co=
rrected, a detailed index, etc.  In that case, you'll have to buy the boo=
k.  Like I say in the <A HREF=3D"preface.txt">Preface</A>, when you buy t=
he book, you are not paying for the information but paying to get the inf=
ormation in a particular format (a handy three-dimensional object which y=
ou can keep next to your desk).   If you want to order the book , contact=
 <A HREF =3D "http://mitpress.mit.edu/order-info.html">MIT Press</A>.  --=
PL
	<P>
	  =

	  <A HREF=3D"foreword.txt">Foreword</A> by Mike Godwin
	<P>
	  <A HREF=3D"preface.txt">Preface </A>
	<P>
	  =

	  <A HREF=3D"acknowledgements.txt">Acknowledgements </A>
	  =

	<P>
	<P>
	  =

	<HR>
	<A NAME=3D"Piracy">	=

	  <STRONG>1.   Piracy, property rights etc.  Does information "want to b=
e free?"  </STRONG>
	  =

	<P>
	  =

	<UL>
	  <LH>
	    1.0 <A HREF=3D"intro1.html">Introduction </A><BR>
	    =

	    1.1 John Perry Barlow:  =

	    <A HREF=3D"http://www-swiss.ai.mit.edu/6095/articles/barlow-economy-=
of-ideas.html">
	      "Wine Without Bottles (a.k.a. "The Economy of ideas)"</A> <BR>
	    =

	    1.2 Simson Garfinkel, Richard Stallman, & Mitch Kapor: "Why Software=
 Patents are =

	    Bad"<BR>
	    =

	    1.2 The League for Programming Freedom:  =

	    <A HREF=3D"http://www.lpf.org/Patents/against-software-patents.html"=
>
	      "Against Software Patents"</A><BR>
	    =

	    1.4 Paul Heckel:  =

	    <A HREF=3D"http://www2.best.com/~ipc/acmpaper.htm">
	      "Debunking the Software Patent Myths."</A><BR>
	    =

	    1.5 _Pirate_ editorial:  =

	    <A HREF=3D"pirate.txt">
	      "So You Want to be a Pirate?" </A><BR>
	    =

	    1.6 Mike Godwin: =

	    <A HREF=3D"http://www.eff.org/pub/Publications/Mike_Godwin/phrack_ri=
ggs_neidorf_godwin.article">
	      "Some 'Property' Problems in a Computer Crime Prosecution" </A>
	  </LH>
	</UL>
	<P>
	  =

	  <IMG SRC=3D"Images/underconstruction.gif">
	  <STRONG>1a. Supplemntary <A HREF=3D"highnoon2.html #1a"> Readings</A><=
/STRONG>
	  =

	<HR>
	<P>
	  <A NAME=3D"hacking">	  =

	    <STRONG>2.  How should we respond to exploratory hacking/cracking/ph=
reaking?</STRONG>
	    =

	<P>
	  =

	<UL>
	  <LH>
	    2.0 <A HREF=3D"intro2.html">Introduction </A> <BR>
	    =

	    2.1 The Mentor:  <A HREF=3D"mentor.txt">"The Conscience of a Hacker"=
</A><BR>
	    =

	    2.2 Julian Dibbell:  =

	    <A HREF=3D"gopher://gopher.well.sf.ca.us:70/00/Publications/authors/=
dibbell/phiber">"The =

	      Prisoner:  Phiber Optik Goes Directly to Jail" </A><BR>
	    =

	    2.3 Dorothy Denning:  =

	    <A HREF=3D"http://www-swiss.ai.mit.edu/6095/articles/denning_defense=
_hackers.txt">
	      "Concerning Hackers Who Break into Computer Systems"</A>  <BR>
	    =

	    2.4 =

	    <A HREF=3D"http://www.glocom.ac.jp/mirror/www.eff.org/pub/EFF/Policy=
/Security/markey_goldstein.testimony">
	      Congressional Testimony by Emmanuel Goldstein </A><BR>
	  </LH>
	</UL>
	=

	<P>
	  =

	  <IMG SRC=3D"Images/tnew.gif">	 =

	  <STRONG>2a. Supplemntary <A HREF=3D"highnoon2.html#2a"> Readings</A></=
STRONG>
	  =

	  =

	<HR>
	<P>
	  <A NAME=3D"Crypt">
	    <STRONG>3.  Encryption, Privacy, and Crypto-Anarchism</STRONG>
	    =

	<P>
	  =

	<UL>
	  <LH>
	    3.0 <A HREF=3D"intro3.html">
	      Introduction </A> <BR>
	    =

	    3.1 Philip Zimmerman:  =

	    <A HREF=3D"http://www.pegasus.esprit.ec.org/people/arne/pgpdoc1/pgpd=
oc1_3.html">
	      "PGP How it Works"</A>/
	    =

	    <A HREF=3D"http://www.pegasus.esprit.ec.org/people/arne/pgpdoc1/pgpd=
oc1_2.html">
	      "Why do You Need PGP?"</A><BR>
	    =

	    3.2 Steven Levy:  "Crypto Rebels"  <BR>
	    =

	    3.3 John Perry Barlow:  "Jackboots on the Infobahn"  <BR>
	    =

	    3.4 Dorothy Denning: =

	    <A HREF=3D"http://icg.stwing.upenn.edu/cis590/reading.128.html"> =

	      "The Clipper Chip Will Block Crime" </A><BR>
	    =

	    3.5 Dorothy Denning/John Perry Barlow:  =

	    <A HREF=3D"http://www.eff.org/papers/barlow-denning.html">
	      on-line debate </A>(held on AOL) <BR>
	    =

	    3.6 David Chaum:  =

	    <A HREF=3D"http://www-swiss.ai.mit.edu/6095/articles/chaum-electroni=
c-privacy.html">
	      "Achieving Electronic Privacy" </A><BR>
	    =

	    3.7 Timoth May:  =

	    <A HREF=3D"manifesto.txt">
	      "A Crypto-Anarchist Manifesto" </A> <BR>
	    =

	    3.8 Timothy May:  =

	    <A HREF=3D"blacknet.txt">
	      "Blacknet" </A><BR>
	    =

	    3.9 Timothy May:  =

	    <A HREF=3D"worries.txt">
	      "Blacknet Worries" </A>
	  </LH>
	</UL>
	=

	<P>
	  <IMG SRC=3D"Images/tnew.gif">	 =

	  <STRONG>3a. Supplemntary <A HREF=3D"highnoon2.html #3a"> Readings</A><=
/STRONG>
	  =

	<HR>
	<P>
	  <A NAME=3D"censorship"> =

	    <STRONG>4.  Censorship and Sysop Liability</STRONG>
	    =

	<P>
	  =

	<UL>
	  <LH>
	    4.0 =

	    <A HREF=3D"intro4.html">
	      Introduction </A><BR>
	    =

	    4.1 Philip Elmer-Dewitt:  "Censoring Cyberspace"<BR>
	    =

	    4.2  ACLU:  =

	    <A HREF=3D"http://www.eff.org/pub/Censorship/CMU_censorship/aclu_cmu=
_censorship.letter">
	      Letter to CMU on banning of newsgoups</A><BR>
	    =

	    4.3 Mike Godwin:  <A =

	      HREF=3D"http://www.eff.org/ftp/Publications/Mike_Godwin/obscen_vir=
tcom_stds_godwin.article"
	      >"Virtual Community Standards"</A><BR>
	    =

	    4.4 Jeffrey Shallit:  <A HREF=3D"http://math.uwaterloo.ca/~shallit/o=
la.html">"Public =

	      Networks and Censorship" </A><BR>
	    =

	    4.5 Mike Godwin:  <A =

	      HREF=3D"http://www.eff.org/pub/Censorship/Pornography/obscenity_on=
line_godwin.article"> =

	      "Sex and the Single Sysadmin"</A><BR>
	    =

	    4.6 <A HREF=3D"http://spare.toad.com/pub/CAF/banned.1992">Computer a=
nd Academic =

	      Freedom News' List of banned computer material on college campuses=
 </A>
	  </LH>
	</UL>
	<P>
	  <IMG SRC=3D"Images/underconstruction.gif">	 =

	  <STRONG>4a. Supplemntary <A HREF=3D"highnoon2.html #4a"> Readings</A><=
/STRONG>
	  =

	<HR>
	<P>
	  <A NAME=3D"self"> =

	    <STRONG>5.    Self and Community Online </STRONG>
	    =

	<P>
	  =

	<UL>
	  <LH>
	    5.0 =

	    <A HREF=3D"intro5.html">
	      Introduction =

	    </A><BR>
	    =

	    5.1 Amy Bruckman:  =

	    <A HREF=3D"ftp://ftp.media.mit.edu/pub/asb/papers/gender-swapping.tx=
t">
	      "Gender Swapping on the Internet"  =

	    </A><BR>
	    =

	    5.2 Elizabeth Reid: =

	    <A HREF=3D"http://www.ee.mu.oz.au/papers/emr/cult-form.html#Chap3">
	      "Text-based Virtual Realities: Identity and the Cyborg Body" =

	    </A><BR>
	    =

	    5.3 Pavel Curtis: =

	    <A HREF=3D"http://www.eff.org/pub/Privacy/Security/Hacking_cracking_=
phreaking/Net_culture_and_hacking/MOO_MUD_IRC/curtis_mudding.article">
	      "Mudding: Social Phenomena in Tex-Based Virtual Realities"
	    </A><BR>
	    =

	    5.4 Dibbell:  =

	    <A HREF=3D"http://www.panix.com/userdirs/julian/writing/bungle.html"=
>
	      "Rape in Cyberspace"  =

	    </A><BR>
	    =

	    5.5 Elizabeth Reid:  =

	    <A HREF=3D"http://www.ee.mu.oz.au/papers/emr/electropolis.html#Part2=
">
	      "Communication and Community on IRC:  Constructing Communities" =

	    </A><BR>
	    =

	    5.6 Howard Rheingold:  =

	    <A HREF=3D"http://condorito.metro.msus.edu/sliceoflife.html">
	      "A slice of My Life in My Virtual Community"  =

	    </A><BR>
	    =

	    5.7 Humdog:  =

	    <A HREF=3D"humdog.txt"> =

	      "Pandora's Vox" =

	    </A><BR>
	    =

	    5.8 James DiGiovanna: =

	    <A HREF=3D"digiovanna.html">
	      "Losing Your Voice on the Internet" =

	    </A><BR>   =

	    </LH>
	</UL>
	    <P>
	      <IMG SRC=3D"Images/underconstruction.gif">	 =

	      <STRONG>5a. Supplemntary <A HREF=3D"highnoon2.html #5a"> Readings<=
/A></STRONG>
	   =

	=

	<HR>
	<P>
	  =

	  <STRONG>Appendices</STRONG>
	  =

	<P>
	  =

	<UL>
	  <LH>
	    Appendix 1:  John Perry Barlow:  =

	    <A HREF=3D"http://www.eff.org/pub/Publications/John_Perry_Barlow/cri=
me_and_puzzlement.1">
	      "Crime and Puzzlement"
	    </A><BR>
	    =

	    Appendix 2:  Peter Ludlow: =

	    <A HREF=3D"peter1.txt">
	      "Hardware 1:  The Italian Hacker Crackdown"
	    </A><BR>
	    =

	    Appendix 3:  Information  about Electronic Frontiers Italy (ALCEI)<B=
R>
	    =

	    -- =

	    <A HREF=3D"http://www.nexus.it/alcei.html">
	      About ALCEI membership
	    </A><BR>
	    =

	    -- Bruce Sterling:  =

	    <A HREF=3D"http://www.eff.org/pub/Publications/Bruce_Sterling/alcei_=
sterling.note">
	      "Why I Have Joined ALCEI"
	    </A><BR>
	    =

	    Appendix 4:  =

	    <A HREF=3D"http://www.eff.org/pub/Activism/ACTION/activ_resource.faq=
">
	      EFF's (<STRONG>most</STRONG> recent) list of on-line resources.
	    </A>
	    =

	  </LH>
	</UL>
	=

	<P>
	<P>
	  =

	<HR>
	<P>
	  =

	<ADDRESS>
	  <IMG SRC=3D"Images/eyes.gif" ALIGN=3D"BOTTOM">
	  <A HREF=3D"mailto:ludlow@well.com"> =

	  </TT>I can be reached at<TT> ludlow@well.com</TT> =

	  </A>
	</ADDRESS>
	=

    </BODY>
    =

</HTML>



--------------603E60F2B3F--


From weinstone@igc.org Fri Sep 20 22:48:31 1996
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Date: Fri, 20 Sep 1996 20:53:40 -0700 (PDT)
Message-Id: <199609210353.UAA03652@igc4.igc.apc.org>
From: Ann Weinstone <weinstone@igc.apc.org>
To: jamb@leland.stanford.edu, larryf@leland.stanford.edu,
        tlenoir@leland.stanford.edu, weinstne@leland.stanford.edu,
        xinwei@truffaut.stanford.edu
Subject: Re:  ideas for img from Tim, Ann, XW
Cc: niklas@leland.stanford.edu, xinwei@leland.stanford.edu
Status: RO

Xin Wei,

Here are some additional reading suggestions.

S. Turkle. _The Second Self_.
	About subjectivity and connectivity, nuts and bolts
sociological study with "testimony." Easy read.

A.R. Stone. _The War of Desire and Technology_.
	A collection of essays about subjectivity and the net. I
	think it's pretty weak, but would probably appeal to a
	wide variety of readers.

_The Cyborg Handbook_ has a slew of articles about "cybernetic
subjectivity."

Cybernetics and systems theory stuff:

Rosenblueth, Wiener, Bigelow. "Behavior, Purpose and Teleology."
Philosophy of Science  10(1943) 18-24.

Wiener. Cybernetics: or Control and Communication in the Animal
and the Machine. (We might just read the bits about a cybernetic
understanding of the term "information.")

Bertalanffy, Ludwig von. GENERAL SYSTEM THEORY (New York, G.
Braziller
       [1969, c1968]) LOCATION: Green Library Stacks Q295.B4

	Dad of Chaos theory. Great, eclectic essays. Good overview
	of the idea of general systems.

John O'Neill. "Horror Autotoxicus." in _Zone Incorporations_.
	Politics of exchange. Has interesting implications for the
notion of exchange of information.

From dambrau@leland.stanford.edu Fri Sep 13 11:27:08 1996
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Message-Id: <v03007807ae5f569f7da1@[36.117.0.29]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Date: Fri, 13 Sep 1996 11:26:49 -0700
To: hbreit@leland.stanford.edu, josslm@leland.stanford.edu,
        larryF@leland.stanford.edu, mrehm@leland.stanford.edu,
        sepp@leland.stanford.edu, tompkins@leland.stanford.edu,
        xinwei@leland.stanford.edu
From: sue dambrau <dambrau@leland.stanford.edu>
Subject: Humanities Center Workshop
Status: RO

Per my request last week, will you please let me know AS SOON AS POSSIBLE
the name of the department administrator who will be handling the expense
transactions for yur Workshop so that I can make necessary financial
arrangements.

Thanks very much
				Sue


> On 9/5/96 Sue Dambrau wrote:
>
>Please furnish me with the name of your department administrator whom you
>wish >to originate expense transactions for your Workshop, and I will then
>arrange >for them to obtain authority to read account detail on-line.
>Please give your >administrator a copy of the budget so that they know how
>much can be charged to >the account and which kinds of expenses are
>authorized.


****************************************
Sue Dambrau, Program Administrator, Stanford Humanities Center, (415)723-3054



From tlenoir@leland.stanford.edu Sun Sep 29 09:13:44 1996
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Mime-Version: 1.0
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Date: Sun, 29 Sep 1996 09:25:52 -0800
To: simulist@lists.lancs.ac.uk
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Can We Be Included??
Cc: xinwei@leland.stanford.edu
Status: RO

Dear Simulist Group

A colleague of mine recently forwarded some discussion she received from
your listserve on simulations, simlife, AL, and some other topics in
reaction to a posting by Andrew Baxter. I am the coorganizer here of a
group on interactive media and virtual reality programming. Your website
seems really interesting and the discussions seem to be exactly on the
lines we are pursuing in parts of our work. We would be happy to exchange
materials. Your website requires access permission. Would it be possible
for us to join the converstation too?

Tim Lenoir
Interactive Media Group
Stanford University



From tlenoir@leland.stanford.edu Sun Sep 29 14:20:45 1996
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Date: Sun, 29 Sep 1996 14:32:34 -0800
To: xinwei@leland.stanford.edu
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Some Bibliography for IMG and Virtuality
Status: RO



--============_-1368086142==_============
Content-Type: text/plain; charset="us-ascii"

Xin Wei

I have assembled a large bibliography for us to weed through and decide
what we want to use. There are some other things too, but this should
provide some juice. I am sending it as a eudora attachment. If you can't
receive the file, let me know and I will send it some other way.

T



--============_-1368086142==_============
Content-Type: application/mac-binhex40; name="Digital_Culture_Bibliography.do"
Content-Disposition: attachment; filename="Digital_Culture_Bibliography.do"

(This file must be converted with BinHex 4.0)

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H[Mh3ca(JSE%Di3!!!!!!!!!!!!!!!!!!!!!l!!-!r[m*!!B!!!!!!!!!!!!!!!%
!!!!"!!!!!!!!!!!3!!!#!!!!!3!!!2lrrrm!!!!!!!!!!2rrrrrrrrrrrrrrrrr
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--============_-1368086142==_============--


From owner-img-mail@lists.Stanford.EDU Wed Oct  2 18:42:51 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed,  2 Oct 96 18:43:56 -0700
To: img-mail@lists.Stanford.EDU
Subject: Interactive Media Seminar Wed 4:00
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O

Welcome.

This year, the interactive media seminar will meet on Wednesdays, 4:00-6:00.
We'll be meeting for the first time on October 9, in the Humanities  
Center Annex,
which is on the corner of Alvarado and Campus Drive.

Please visit http://www-leland.stanford.edu/~xinwei/pub/img/

We're still working out themes for a more general invitation,
so please send in your preferences.

Looking forward to seeing you next week,
Sha Xin Wei		Tim Lenoir		Larry Friedlander

From owner-img-mail@lists.Stanford.EDU Tue Oct  8 20:49:10 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue,  8 Oct 96 20:49:11 -0700
To: img-mail@lists.Stanford.EDU
Subject: first Interactive Media seminar Oct 9, 4:00
Cc: sati@lists.Stanford.EDU, pcd-student@pcd.stanford.edu,
        m-media@lists.Stanford.EDU
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Status: RO

Humanities Center Seminar on Interactive Media

Our first meeting this year will be tomorrow, Wednesday Oct. 9,
4:00-6:00 in the Humanities Annex.   We'll discuss people's
interests for this term.

Please visit the seminar website
	http://www-leland.stanford.edu/~xinwei/pub/img/img.html
to see the specific themes being proposed, and bring your own suggestions.

We have suggested readings listed in
	http://www-leland.stanford.edu/~xinwei/pub/img/readings.html
	http://www-leland.stanford.edu/~xinwei/pub/img/general/digcult_bib.rtf

and a summary of last year's peregrination in
	http://www-leland.stanford.edu/~xinwei/pub/img/topics.html

Looking forward to seeing you tomorrow,
Xin Wei

From tlenoir@leland.stanford.edu Wed Oct  9 09:27:59 1996
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Date: Wed, 9 Oct 1996 09:38:42 -0800
To: xinwei@leland.stanford.edu
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Re: Can We Be Included??
Status: RO

Xin Wei,

here is a cool looking discussion group I checked out and found
interesting. Do you think we should subscribe and include in the IMG
bulletin board or something? Or should individuals just subscribe period?
Advise. I am not too keen on filling my own mailbox up with listserves.
Also could you please send me the IMG http:// address?



T

>Date: Wed, 9 Oct 1996 16:48:11 +0100 (BST)
>From: Andy Baxter <a.baxter@lancaster.ac.uk>
>To: Timothy Lenoir <tlenoir@leland.Stanford.EDU>
>Subject: Re: Can We Be Included??
>MIME-Version: 1.0
>
>You're certainly welcome to join the party! As far as I know everything
>to do with simulist is on public access, but we have had some problems
>with people accessing the web site (which is basically a short intro to
>the email list, an archive of the list, and a few pointers to other
>relevant sites), so if you can't get through get in touch and tell me
>what's going wrong.
>
>To join the discussion list, just send email to:
>
>majordomo@lists.lancs.ac.uk
>
>containing only the line:
>
>subscribe simulist
>
>cheers,
>
>andy baxter - list manager.
>
>On Sun, 29 Sep 1996, Timothy Lenoir wrote:
>
>> Dear Simulist Group
>>
>> A colleague of mine recently forwarded some discussion she received from
>> your listserve on simulations, simlife, AL, and some other topics in
>> reaction to a posting by Andrew Baxter. I am the coorganizer here of a
>> group on interactive media and virtual reality programming. Your website
>> seems really interesting and the discussions seem to be exactly on the
>> lines we are pursuing in parts of our work. We would be happy to exchange
>> materials. Your website requires access permission. Would it be possible
>> for us to join the converstation too?
>>
>> Tim Lenoir
>> Interactive Media Group
>> Stanford University
>>
>>
>
>Andy Baxter
>
>email: A.Baxter@lancaster.ac.uk
>work:  Centre for Science Studies and Science Policy,
>       School of Independent Studies, Lonsdale College, Lancaster University
>       Lancaster, England.  tel. 0524 65201 x2858
>



From owner-glunch@graphics.Stanford.Edu Wed Oct  9 09:33:49 1996
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	for <glunch@graphics.Stanford.EDU> id JAA14172; Wed, 9 Oct 1996 09:24:52 -0700
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Date: Wed, 9 Oct 1996 09:23:03 -0700 (PDT)
Message-Id: <199610091623.JAA01725@blueridge.Stanford.EDU>
From: Marc Levoy <levoy@graphics.Stanford.Edu>
To: glunch@graphics.Stanford.Edu
Subject: Karl-Heinz Hoehne
Status: RO

		  Volume visualisation for anatomical atlases

			       Karl-Heinz Hoehne
	    Inst. of Math. and Computer Science in Medicine (IMDM)
		University Hospital Eppendorf, Hamburg, Germany

		      Thursday, Oct. 10, 12:15, Gates 392

Abstract

Medical volume visualisation has turned out not only to be useful for clinical
applications, but also for building interactive anatomical atlases. The talk
will cover

	o aspects of relating descriptive knowledge to volume models which is
	necessary for atlases

	o aspects of rendering RGB photographic data, as they are delivered by
	the Visible Human project.



Note added by Marc Levoy:

In my opinion, Dr. Hoehne has produced the most visually stunning volume
renderings ever made.  His data, taken from the U.S. National Library of
Medicine's Visible Human Project, consists of a set of color photographs of
closely spaced axial slices of a frozen human cadeaver.  To learn more about
the Visible Human Project data, surf to:
	http://www.nlm.nih.gov/research/visible/visible_human.html
To view some of Dr. Hoehne's images, surf to:
	http://www.uke.uni-hamburg.de/Institutes/IMDM/IDV/VisibleHuman.html

From xinwei@leland.stanford.edu Sat Oct 12 18:24:40 1996
X-UIDL: 3578614434e33c9f82601808181ef768
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Message-ID: <3260530A.22B3@leland.stanford.edu>
Date: Sat, 12 Oct 1996 18:25:14 -0800
From: Sha Xin Wei <xinwei@leland.stanford.edu>
X-Mailer: Mozilla 2.0 (Macintosh; I; 68K)
MIME-Version: 1.0
To: tlenoir@leland.Stanford.EDU
CC: xinwei
Subject: themes (RTF attachment)
Content-Type: multipart/mixed; boundary="------------3B2A5713312"
Status: RO

This is a multi-part message in MIME format.

--------------3B2A5713312
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi Tim,  here's an attachment in RTF form.  I sketched out some themes 
into the Winter quarter.  My parents just called.  If they visit in 
Feb., I may want to postpone my own stuff till March.

Xin Wei

--------------3B2A5713312
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--------------3B2A5713312--


From tlenoir@leland.Stanford.EDU Sun Oct 13 19:39:34 1996
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Date: Sun, 13 Oct 1996 19:51:50 -0800
To: xinwei@leland.Stanford.EDU
From: tlenoir@leland.Stanford.EDU (Timothy Lenoir)
Subject: Intro Inscribing Science
Status: RO



--============_-1366857386==_============
Content-Type: text/plain; charset="us-ascii"

Xin Wei,

I am sending this file as rtf.

T



--============_-1366857386==_============
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p$9a`BA)JIB40!!!!:


--============_-1366857386==_============--


From tlenoir@leland.Stanford.EDU Sun Oct 13 19:38:59 1996
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Date: Sun, 13 Oct 1996 19:51:43 -0800
To: xinwei@leland.Stanford.EDU
From: tlenoir@leland.Stanford.EDU (Timothy Lenoir)
Subject: on-line media conference
Status: RO

>X-Sender: ir232@sdcc3.ucsd.edu
>Mime-Version: 1.0
>Date: Sun, 13 Oct 1996 16:42:55 -0700
>To: Roddey Reid <rreid@ucsd.edu>,
>        Sharon Traweek <traweek@nicco.sscnet.ucla.edu>,
>        Adele Clarke <aclarke@itsa.ucsf.edu>,
>        Joan Fujimura <fujimura@leland.stanford.edu>,
>        Val Hartouni <vhartoun@ucsd.edu>,
>        Emily Martin <emartin@phoenix.princeton.edu>,
>        Jackie Orr <orr@violet.berkeley.edu>,
>        Molly Rhodes <mrhodes@sdcc3.ucsd.edu>, penley@humanitas.ucsb.edu,
>        lisac@troi.cc.rochester.edu, lwilliam@uci.edu, haraway@cats.ucsc.edu,
>        hayles@humnet.ucla.edu, cmburns@ucsd.edu, tlenoir@leland.stanford.edu,
>        rabinow@uclink.berkeley.edu, 75014.3646@compuserve.com, rmd12@psu.edu,
>        sobchack@emelnitz.ucla.edu, shaviro@u.washington.edu,
>        ptreich@ux1.cso.uiuc.edu, burgin@cats.ucsc.edu
>From: rreid@ucsd.edu (Roddey Reid)
>Subject: on-line media conference
>
>Plesae pass on.
>
>PRESS RELEASE
>
>
>X-Factor Announces Online Conference on the World Wide Web
>http://thecity.sfsu.edu/users/XFactor
>
>San Francisco, September 3, 1996: X-Factor, the national coalition for the
>advocacy of experimental media, announced today that it will hold the
>X-Factor Online Conference for Experimental Media on the Internet's World
>Wide Web concerning the state of experimental film and video. Beginning on
>October 14, 1996, this interactive conference will feature provocative
>writings and discussions by leading media artists, curators and critics
>regarding the critical issues facing the art form today. Visitors to the
>site will be invited to engage in the ongoing discussions and help map out
>strategies for activism. The site will also include a Hall of Shame, framing
>adversaries of the art form; a Flame Thrower section, where visitors can
>"flame" about their pet peeves; site alterations; bulletin boards;
>resources; and much more.
>
>Responding to the near elimination of public and private funds for the
>production, exhibition and distribution of their work, the experimental
>media community straddles the unpleasant chasm between extinction and
>complete absorption by such corporate entities as advertising and music
>videos. The X-Factor Online Conference for Experimental Media provides an
>opportunity for film and video makers, artists, curators, writers,
>fellow-travelers, funders and the general public to discuss and debate the
>current state of the (dis)union facing experimental media in the last gasps
>of the Twentieth Century.
>
>The pervasive influence of moving image technology, from its nascent
>mechanical beginnings through its current electronic morphings, arguably
>situates media as the dominant art form of this century. Experimental
>media's place in this often corporate-dominated endeavor, especially in the
>current fad of appropriation and re-circulation of ideas, requires a
>critical examination of this art form's present and future.
>
>Confirmed conference panelists include Claire Aguilar, Program Manager of
>KCET-TV and Board of Directors, Independent Television Service; Thyrza
>Goodeve, writer and educator; Bill Horrigan, Curator of Media, Wexner
>Center; Laura Marks, writer, programmer and educator; Yvonne Rainer,
>filmmaker; Nino Rodriguez, media artist; Keith Sanborn, filmmaker and
>writer; David Sherman, filmmaker and Administrative Director, Canyon Cinema;
>Elisabeth Subrin, video artist and curator; and Julie Zando, video artist
>and founding member of Squeaky Wheel.
>
>Founded in 1992, X-Factor is a coalition of film and video artists,
>curators, and arts administrators who came together to form a viable
>constituency and to advocate nationally for experimental media.
>
>The X-Factor Online Conference for Experimental Media is made possible, in
>part, through a grant from the now defunct National Alliance of Media Arts
>Centers' Media Arts Fund, a program of the National Endowment for the Arts.
>The conference is sponsored by the San Francisco Cinematheque.
>
>The web address for the X-Factor Online Conference for Experimental Media is
>http://thecity.sfsu.edu/users/XFactor.
>



From owner-img-mail@lists.Stanford.EDU Mon Oct 14 11:13:26 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199610141812.LAA25479@elaine2.Stanford.EDU>
Subject: on-line media conference: XFactor
To: img-mail@lists.Stanford.EDU
Date: Mon, 14 Oct 1996 11:12:13 -0700 (PDT)
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Forwarded message:
> Date: Sun, 13 Oct 1996 19:51:43 -0800
> To: xinwei@leland.Stanford.EDU
> From: tlenoir@leland.Stanford.EDU (Timothy Lenoir)
> Subject: on-line media conference
> 
> >Date: Sun, 13 Oct 1996 16:42:55 -0700
> >From: rreid@ucsd.edu (Roddey Reid)
> >Subject: on-line media conference
> >
> >Plesae pass on.
> >
> >PRESS RELEASE
> >
> >
> >X-Factor Announces Online Conference on the World Wide Web
> >http://thecity.sfsu.edu/users/XFactor
> >
> >San Francisco, September 3, 1996: X-Factor, the national coalition for the
> >advocacy of experimental media, announced today that it will hold the
> >X-Factor Online Conference for Experimental Media on the Internet's World
> >Wide Web concerning the state of experimental film and video. Beginning on
> >October 14, 1996, this interactive conference will feature provocative
> >writings and discussions by leading media artists, curators and critics
> >regarding the critical issues facing the art form today. Visitors to the
> >site will be invited to engage in the ongoing discussions and help map out
> >strategies for activism. The site will also include a Hall of Shame, framing
> >adversaries of the art form; a Flame Thrower section, where visitors can
> >"flame" about their pet peeves; site alterations; bulletin boards;
> >resources; and much more.
> >
> >Responding to the near elimination of public and private funds for the
> >production, exhibition and distribution of their work, the experimental
> >media community straddles the unpleasant chasm between extinction and
> >complete absorption by such corporate entities as advertising and music
> >videos. The X-Factor Online Conference for Experimental Media provides an
> >opportunity for film and video makers, artists, curators, writers,
> >fellow-travelers, funders and the general public to discuss and debate the
> >current state of the (dis)union facing experimental media in the last gasps
> >of the Twentieth Century.
> >
> >The pervasive influence of moving image technology, from its nascent
> >mechanical beginnings through its current electronic morphings, arguably
> >situates media as the dominant art form of this century. Experimental
> >media's place in this often corporate-dominated endeavor, especially in the
> >current fad of appropriation and re-circulation of ideas, requires a
> >critical examination of this art form's present and future.
> >
> >Confirmed conference panelists include Claire Aguilar, Program Manager of
> >KCET-TV and Board of Directors, Independent Television Service; Thyrza
> >Goodeve, writer and educator; Bill Horrigan, Curator of Media, Wexner
> >Center; Laura Marks, writer, programmer and educator; Yvonne Rainer,
> >filmmaker; Nino Rodriguez, media artist; Keith Sanborn, filmmaker and
> >writer; David Sherman, filmmaker and Administrative Director, Canyon Cinema;
> >Elisabeth Subrin, video artist and curator; and Julie Zando, video artist
> >and founding member of Squeaky Wheel.
> >
> >Founded in 1992, X-Factor is a coalition of film and video artists,
> >curators, and arts administrators who came together to form a viable
> >constituency and to advocate nationally for experimental media.
> >
> >The X-Factor Online Conference for Experimental Media is made possible, in
> >part, through a grant from the now defunct National Alliance of Media Arts
> >Centers' Media Arts Fund, a program of the National Endowment for the Arts.
> >The conference is sponsored by the San Francisco Cinematheque.
> >
> >The web address for the X-Factor Online Conference for Experimental Media is
> >http://thecity.sfsu.edu/users/XFactor.
> >



From weinstone@igc.org Wed Oct 16 09:26:15 1996
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Date: Wed, 16 Oct 1996 08:09:18 -0700 (PDT)
Message-Id: <199610161509.IAA23186@igc6.igc.apc.org>
From: Ann Weinstone <weinstone@igc.apc.org>
To: xinwei@leland.Stanford.EDU
Subject: citations
Status: RO

Xin Wei,

Sorry I forgot to send you the citations. It's been a ridiculously
busy weekend.

But here they are:

Taussig, Michael. "Maleficium: State Fetishism." _Fetishism as
Cultural Discourse_. Ed. Emily Apter and William Pietz. Ithaca and
London: Cornell UP, 1993. p. 217-247.

Baudrillard, Jean. "Fetishism and Ideology: The Semiological
Reduction." _For a Critique of the Political Economy of the Sign_.
Trans. Charles Levin. St. Louis: Telos Press, 1981. p. 88-101.

See you later,

Ann

From owner-img-mail@lists.Stanford.EDU Tue Oct 15 18:45:27 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 15 Oct 96 18:47:28 -0700
To: img-mail@lists.Stanford.EDU
Subject: Wed 10/16: themes!
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Dear img folk,

Tomorrow, since enough new voices are expected to appear,
we'll continue our negotiation of the thematic calender for this fall.

Here's a suggestion.   We could spend the first part of the session in
working out the calender.   After a break, we can move on to a
preliminary discussion around the questions of what we think are
"media," and how we distinguish or articulate media.   MacLuhan
is one background for this.  Since he came up in discussion,
I'll bring some selections tomorrow. * Obviously, we'll just freewheel
and leave the "grounded" discussion  for the following weeks.

[* After chatting with Tim, and since Paul S. won't be joining us,
it seemed more logical, fun, and flexible to start with MacLuhan
before diving into particularities.]

Here are some themes (artifacts + readings) in the current
incubation:


15 October 1996

Three classes of artifacts to focus our discussion:

1. The networked desktop, email, teleconferencing
2. Synthetic and sampled images, eg. molecular modelling and virtual surgery
3. VR sites, SimCity, Moving Worlds (VRML 2.0)

Thematically, we're considering two parallel approaches: a  
media-centric, or ontological study, and a subject-centered, or  
phenomenological study. The ontological project includes questions like:  
"How do we distinguish media? How are differences among media  
articulated? What are the textures, elements or objects in these media"  
The more phenomenological project considers questions like: How do we  
ascribe meaning to or in media? How do some forms seem more attractive or  
compelling to us? What is interactivity? How do we inscribe ourselves  
and our social institutions in media?

1. The materiality of the sign and earlier writing technologies
	- MacLuhan: Essential MacLuhan
	- Peirce; Saussure
	- Taussig
	- Putnam
2. Computer-mediated writing, visualization and communication
	- WIMP desktop metaphor vs. UNIX shell
	-Email and teleconferencing
	-Mathematica 3.0 as a fusion genre
	-Kittler: Grammaphon, Film, Typewriter; Discourse Networks
3. Visualization vs. simulation
	-Baudrillard: Simulations and Simulacra
	-Coyne: chap's on phenomenology, metaphor and design
	-visualization: surgery and medical imaging
	-visualization: VRML 2.0
	-scientific modeling vs. data visualization
	-social simulations: SimCity
4. From subjectivity to mediated societies
	-Maturana; Varela
	-Helgi Schweizer: natural interactivity*
	-subjectivity, identity and transformation
	-architecture: Alexander and his school
	-cybernetics, systems theories

Please send in suggestions, comments!

See you at 4:00 in the Humanities Annex,
Xin Wei

From owner-sati@lists.Stanford.EDU Thu Oct 17 19:09:47 1996
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To: art-tech@nocturne.sbay.org, ArtsTech@thecity.sfsu.edu, pgb2@ra.msstate.edu,
        ekent@well.com, kasberry@sfsu.edu, cnewmark@well.com,
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Subject: This Weekend: Sci/Art/Tech exhib.
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Ylem Featured in San Francisco Open Studios
October 19-20, 11-4 pm
3140 22nd St. between Capp and South Van Ness
San Francisco, CA

A Victorian building constructed in 1900 will house Ylem artists' futuristic
technology and media for the year 2000. This show is coordinated with San
Francisco Open Studios, and includes demonstrations and presentations.
Artists represented include 
Eleanor Kent, a fabric artist using fractals and mathematical progressions.
Pat Markovich, a sculptural painter who manipulates light and shadow. She is
listed in Who's Who of the World.
Mike Mosher, a multimedia and installation artist, lecturer, teacher,
muralist and designer showing figurative computer prints and social science
paintings. 
Myrrh, founder of Ylem and painter exploring the boundary between matter and
mind, using translucent acrylics on plexiglas. 
Kit Monroe Pravda, a computer artist producing poetic photomontages.
Patricia Tavenner, an award-winning artist who is included in several books
on art including Art in the San Francisco Bay Area by Thomas Albright.
Mary Teetor, a needlework artist using tessellation patterns.
And more! A display of small items by other Ylem members!




From owner-img-mail@lists.Stanford.EDU Fri Oct 18 11:48:40 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199610181848.LAA21831@elaine12.Stanford.EDU>
Subject: This Weekend: Sci/Art/Tech exhib. (fwd)
To: img-mail@lists.Stanford.EDU
Date: Fri, 18 Oct 1996 11:48:32 -0700 (PDT)
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[Dear img folk, fya. - Xin Wei]
Forwarded message:
> From: TrudyMyrrh@AOL.COM
> 
> Ylem Featured in San Francisco Open Studios
> October 19-20, 11-4 pm
> 3140 22nd St. between Capp and South Van Ness
> San Francisco, CA
> 
> A Victorian building constructed in 1900 will house Ylem artists' futuristic
> technology and media for the year 2000. This show is coordinated with San
> Francisco Open Studios, and includes demonstrations and presentations.
> Artists represented include 
> Eleanor Kent, a fabric artist using fractals and mathematical progressions.
> Pat Markovich, a sculptural painter who manipulates light and shadow. She is
> listed in Who's Who of the World.
> Mike Mosher, a multimedia and installation artist, lecturer, teacher,
> muralist and designer showing figurative computer prints and social science
> paintings. 
> Myrrh, founder of Ylem and painter exploring the boundary between matter and
> mind, using translucent acrylics on plexiglas. 
> Kit Monroe Pravda, a computer artist producing poetic photomontages.
> Patricia Tavenner, an award-winning artist who is included in several books
> on art including Art in the San Francisco Bay Area by Thomas Albright.
> Mary Teetor, a needlework artist using tessellation patterns.
> And more! A display of small items by other Ylem members!
> 
> 
> 
> 


From owner-img-mail@lists.Stanford.EDU Fri Oct 18 19:22:18 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 18 Oct 96 19:24:54 -0700
To: img-mail@lists.Stanford.EDU
Subject: McLuhan
Cc: harrison@leland.stanford.edu, egginton@leland.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Dear img folk,

Last Wednesday, we started a discussion of some general ontological and  
phenomenological questions about "media,"  to be continued in the next  
few sessions.

We agreed to start by reading some McLuhan, and look at representations  
of the Gulf War in different media: newsprint, television, CD ROM,  
videogame and WWW.   I'll include the recommended selections from McLuhan  
(thanks Tim) below for discussion starting next week 10/23.   And I'll  
try to collect some artifacts for the subsequent week 10/30.   Help is  
welcome!   If you have appropriate memorabilia from the Gulf War, give me  
a ring.   In particular, we're looking for documentary CD ROM(s) that  
were published by some news agency (CNN, CBS?) shortly after the war,  
plus the Gulf War Coalition Command video game (preferably for Mac).

Readings

Marshall McLuhan. "Introduction," "The Medium Is the Message," "Media  
Hot or Cold," chap's from _Understanding Media_ (also in _Essential  
McLuhan_, p. 149-168).

_________. "Is It Natural That One Medium Should Appropriate and Exploit  
Another?" p. 180-188; "Media and Cultural Change," p. 89-96; "Laws of  
Media," p. 366-388. From _Essential McLuhan_.

Note that all the selections can be found in _Essential McLuhan_. And  
there are copies of _Understanding Media_ in the Stanford Bookstore.   If  
you'd like a copy of the essays from _Essential McLuhan_, tickle me.

a presto,
Xin Wei

From naimark@interval.com Tue May 21 18:16:37 1996
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: naimark@interval.com (Michael Naimark)
Subject: Re: Talk announcement: Michael Naimark, Interval Research
Status: RO

Dear Sha Xin Wei,

Got your email then flew to Japan. Got back friday and am now in-flight to
Boston (for a day), then can chill a bit.

Your seminar sounds interesting and I would be happy to participate at some
point in the future, schedule permitting, so do keep in touch.

thanx,

-M



From sedunn@leland.Stanford.EDU Tue Oct 15 10:32:09 1996
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Date: Tue, 15 Oct 1996 10:31:50 -0700
To: aleks@leland.Stanford.EDU, benein@leland.Stanford.EDU,
        chekhov@leland.Stanford.EDU, egginton@leland.Stanford.EDU,
        et.jlf@forsythe.Stanford.EDU, gwen@leland.Stanford.EDU,
        harrison@leland.Stanford.EDU, hbreit@leland.Stanford.EDU,
        hf.aab@forsythe.Stanford.EDU, imorris@leland.Stanford.EDU,
        josslm@leland.Stanford.EDU, kbaker@leland.Stanford.EDU,
        kgardner@leland.Stanford.EDU, larryF@leland.Stanford.EDU,
        mrehm@leland.Stanford.EDU, nan.bentley@forsythe.Stanford.EDU,
        Paul.Robinson@forsythe.Stanford.EDU, rezendes@leland.Stanford.EDU,
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        sonya@leland.Stanford.EDU, dambrau@leland.Stanford.EDU,
        suzie@leland.Stanford.EDU, tompkins@leland.Stanford.EDU,
        xinwei@leland.Stanford.EDU
From: "Susan E. Dunn" <sedunn@leland.Stanford.EDU>
Subject: Workshops Web Pages
Status: RO

Dear Workshop Sponsors, Coordinators, and Administrators:

Just to let you know that information on the SHC Research Workshops can be
found at the following address:
	http://shc.stanford.edu/shc/workshops.96-97.html

Each workshop also has its own web page:

Chekhov:
	http://shc.stanford.edu/shc/chekhov.html

Cinema:
	http://shc.stanford.edu/shc/cinema.html

Discourse@Networks:
	http://shc.stanford.edu/shc/disnet2k.html

Empires& Cultures:
	http://shc.stanford.edu/shc/empires.html

IMG:
	http://www-leland.stanford.edu/~xinwei/pub/img/img.html

Mediterranean World:
	http://shc.stanford.edu/shc/medworld.html

Opera Studies:
	http://shc.stanford.edu/shc/opera.html

Philosophic Readings:
	http://shc.stanford.edu/shc/philosophy.html

If you have basic (text) information you would like added to the page,
please let me know.  I will try and keep the pages as up-to-date as
possible.

Suzie

--------------------------------------------------------------------------
  Susan E. Dunn
  Associate Director 		"Make the world your salon"
  Stanford Humanities Center          - Mina Loy

  Mariposa House                        Tel: 415-725-0896
  550 Salvatierra Way                   	Fax: 415-723-1895
  Stanford University            	email: sedunn@leland.stanford.edu
  Stanford, CA 94305-8630	www: http://shc.stanford.edu
---------------------------------------------------------------------------



From owner-sati@lists.Stanford.EDU Sun Sep  1 23:39:49 1996
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From: TrudyMyrrh@AOL.COM
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To: art-tech@nocturne.sbay.org, ArtsTech@thecity.sfsu.edu, pgb2@ra.msstate.edu,
        cnewmark@well.com, sati@lists.Stanford.EDU, ekent@well.com
Subject: More info on Visual Music Forum 9/11
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Status: RO

Hoo boy! I forgot the address of Ylem's wonderful forum. Here are the
complete data:

The Visual Music Ylem Forum:
Natural and Invented Visual Embodiments of Music
Wednesday, September 11, 7:30 PM

McBean Theater, Exploratorium, 3601 Lyon St., San Francisco.

Featuring the work of four leading visual music artists, Ron Pellegrino, Greg
Jalbert, Michael Wanger and Stephen Malinowski. 
Free and open to the public. 

Sorry to trouble you.

--Trudy Myrrh Reagan

From xinwei@leland.Stanford.EDU Fri Oct 25 09:06:32 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199610251606.JAA16353@elaine13.Stanford.EDU>
Subject: Felix is fine
To: dagmar.logie@forsythe.Stanford.EDU
Date: Fri, 25 Oct 1996 09:06:24 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU (Larry Friedlander),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Dear Dagmar,

Things seem fine.  I've chatted with Larry and with Felix, and we
agreed that Felix will be helping out with the background research and
preparations for the Interactive Media Group seminar.  I expect that
Felix and I will meet approximately once a week for the rest of the
term, and that he'll be working approximately 3-5 hours/week on the
average.

If we need to purchase a few items (books etc.), should I bring the
recepits to you?

Thanks for all your help!

regards,
Xin Wei
for the Interactive Media Seminar
______________________________________________________________________
                     Sha Xin Wei  (415)725-3152
Human-Computer Systems Architect  xinwei@leland.stanford.edu
Maths & Scientific Visualization  www-leland.stanford.edu/~xinwei
             Stanford University  Sweet 415/Stanford,CA 94305-3090/USA
______________________________________________________________________

From owner-img-mail@lists.Stanford.EDU Fri Oct 25 16:47:07 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 25 Oct 96 16:47:43 -0700
To: img-mail@lists.Stanford.EDU
Subject: McLuhan readings available
Cc: yeungf@leland.stanford.edu
References: <199610240555.WAA01202@epic11.Stanford.EDU>
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O

Dear img folk,

Thanks to Felix, we have 5 paper copies of the McLuhan readings.   I'll  
leave a few copies outside my door (Sweet Hall 415).  For next week,  
10/30, Tim will be able to join us, so we may look forward to a few words  
from him about McLuhan, an alternative semiotic turn, and other juicy  
stuff (right? ;)

M. McLuhan. "Introduction," "The Medium Is the Message," "Media Hot or  
Cold," chap's from _Understanding Media_ (also duplicated  in _Essential  
McLuhan_, p. 149-168.)

________. "Is It Natural That One Medium Should Appropriate and Exploit  
Another?" p. 180-188; "Media and Cultural Change," p. 89-96; "Laws of  
Media," p. 366-388. From _Essential McLuhan_.

ciao,
Xin Wei

From tlenoir@leland.Stanford.EDU Mon Oct 28 07:50:25 1996
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Date: Mon, 28 Oct 1996 09:03:46 -0800
To: xinwei@leland.Stanford.EDU
From: tlenoir@leland.Stanford.EDU (Timothy Lenoir)
Subject: Brian Rotman material
Status: RO

Xin Wei

have you seen the site Rosemary put together for Rotman?

http://www-leland.stanford.edu/dept/HPS/top.html

Why don't you get the files and copy them into the IMG space? I have some
other things too we should plug in there.

T



From xinwei@leland.stanford.edu Mon Oct 28 11:50:01 1996
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Message-ID: <32750E5F.39FA@leland.stanford.edu>
Date: Mon, 28 Oct 1996 11:49:57 -0800
From: Sha Xin Wei <xinwei@leland.stanford.edu>
Reply-To: xinwei@leland.stanford.edu
Organization: SU
X-Mailer: Mozilla 3.0Gold (Macintosh; I; PPC)
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To: weinstne@leland.stanford.edu
CC: xinwei@jessica.Stanford.EDU
Subject: nanotech pix in 3D web
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Status: O

Hi Ann,  Here are some renderings of Drexler's nanotech
images in VRML 3D form.

http://www.construct.net/projects/nanotech/

Xin Wei

From owner-img-mail@lists.Stanford.EDU Mon Oct 28 10:55:06 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 28 Oct 96 10:55:17 -0800
To: img-mail@lists.Stanford.EDU
Subject: good second webdesign book
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Status: RO

WWWebbers,

I bought a remarkably good web design book by
Lynda Weinman at Keplers yesterday.   It's
well worth studying, I think.   There's smart art, design, animation,
typography, scripting and programming; case studies of some of
the hottest web sites -- IUMA, Dreamworks, Sony Music, @tlas,
Discovery Channel, Construct (a VRML design house), with
well-commented, judiciously edited code. It's up-to-date
(actually, significantly ahead of where we are), names
software, hardware,  designers & programmers, and  includes a
few tricks people may not have seen.  And best of all, it's
*very* efficiently written.

<http://www.lynda.com/

mangia, mangia,
Xin Wei

PS.	IMG, here are encouraging examples of what human
imagination can do against extraordinary media "resistance."

From owner-img-mail@lists.Stanford.EDU Tue Oct 29 11:21:41 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 29 Oct 96 11:21:10 -0800
To: img-mail@lists.Stanford.EDU
Subject: Gulf War artifacts
Cc: yeungf@leland.stanford.edu
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Status: O

Dear img folk,

	Thanks to Felix, we've got some Gulf War artifacts
for perusal. Take a look at the IMG page:

http://www-leland.stanford.edu/~xinwei/pub/img/topics.html#18.10.96

for the web links to some CNN video, a wargame, and some WWW links.

(We'll be adding more material later, so you might want to check in a
second time...)

ta,
Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue Oct 29 13:01:45 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 29 Oct 96 13:01:48 -0800
To: img-mail@lists.Stanford.EDU
Subject: Gulf Way artifacts
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Here are some Gulf War artifacts

http://truffaut.stanford.edu/Library/Media/documents/img/GulfWar/GulfWar.html

Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue Oct 29 11:21:41 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 29 Oct 96 11:21:10 -0800
To: img-mail@lists.Stanford.EDU
Subject: Gulf War artifacts
Cc: yeungf@leland.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O

Dear img folk,

	Thanks to Felix, we've got some Gulf War artifacts
for perusal. Take a look at the IMG page:

http://www-leland.stanford.edu/~xinwei/pub/img/topics.html#18.10.96

for the web links to some CNN video, a wargame, and some WWW links.

(We'll be adding more material later, so you might want to check in a
second time...)

ta,
Xin Wei

From owner-img-mail@lists.Stanford.EDU Wed Oct 30 12:32:29 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199610302032.MAA06980@elaine15.Stanford.EDU>
Subject: Debevec, architecture form photographs, Graphics Lab
To: img-mail@lists.Stanford.EDU
Date: Wed, 30 Oct 1996 12:32:18 -0800 (PST)
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Dear IMG folk,
	from the frontiers of computer graphics...
-Xin Wei


Forwarded message:
> Date: Tue, 29 Oct 1996 16:52:53 -0800 (PST)
> From: Marc Levoy <levoy@graphics.Stanford.Edu>
> To: glunch@graphics.Stanford.Edu
> Subject: Paul Debevec to talk on Thursday
> 
> 	     Modeling and Rendering Architecture from Photographs
> 
> 				 Paul Debevec
> 				  UC Berkeley
> 
> 		      Thursday, Oct. 31, 12:15, Gates 392
> 
> 
> Abstract:
> 
> In this talk I will present a new approach for modeling and rendering
> architectural scenes from a sparse set of still photographs. The modeling
> approach, which combines both geometry-based and image-based techniques, has
> two components. The first component is a photogrammetric modeling method which
> facilitates the recovery of the basic geometry of the photographed scene.  Our
> photogrammetric modeling approach is effective, convenient, and robust because
> it takes advantage of the constraints that are characteristic of architectural
> scenes. The second component is model-based stereo, which recovers how the real
> scene deviates from the basic model.  By making use of the model, this stereo
> technique robustly recovers accurate depth from widely-spaced image pairs.
> Consequently, our approach can model large architectural environments with far
> fewer photographs than current image-based modeling approaches.  For producing
> renderings, we present view-dependent texture mapping, a method of compositing
> multiple views of a scene that better simulates geometric detail and
> non-lambertian reflectance than flat texture-mapping.  I will present results
> that demonstrate our approach's ability to create realistic renderings of
> architectural scenes from viewpoints far from the original photographs,
> including the Rouen Revisited art installation presented at SIGGRAPH '96.
> 
> For more info on these projects, surf to:
> 	http://www.cs.berkeley.edu/~debevec/Research/
> and:
> 	http://www.interval.com/projects/rouen/
> 


From xinwei@leland.Stanford.EDU Mon Nov  4 10:29:45 1996
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199611041829.KAA23406@elaine3.Stanford.EDU>
Subject: IMG Stuff (Peirce refs)
To: yeungf@leland.Stanford.EDU
Date: Mon, 4 Nov 1996 10:29:49 -0800 (PST)
Cc: larryf@leland.Stanford.EDU (Larry Friedlander),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha),
        tlenoir@leland.Stanford.EDU (Timothy Lenoir)
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Dear Felix,

Hi, could you please add these URL's to the IMG's Readings page --
http://www2.peirce.org/peirce/writings.html
http://www.cs.adelaide.edu.au/users/peirce/
?  

The Readings file is --
/afs/ir.stanford.edu/users/x/i/xinwei/WWW/pub/img/readings.html 

(Note the Readings (mostly) are listed by author, and annotated.)
This is just an easy check to see if you have privileges to modify the
img directory in my Leland space.

And maybe you can phone up Prof. Lenoir 3-2993, to see what he would
like to have duplicated in paper for this Wednesday.  Sorry about this
last minute rush.

Thanks, Xin Wei


Forwarded message:

> Date: Sun, 03 Nov 1996 09:53:17 -0800
> From: Timothy Lenoir <tlenoir@leland.Stanford.EDU>
> To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
> Subject: IMG Stuff
...
> 
> I found the Peirce site of your dreams. Here are the URLs for all the
> stuff I proposed reading for the IMG seminar. Can we have these linked
> into our site and organized for the next session. I also contacted Brian
> about the Xenomoney stuff. It turns out he has NO electronic copies of
> the Signifying Nothing materials. I would like to scan the entire book,
> since we use so much of it for different things. Can this be done??? I
> have a hardcover copy that will scan well.
> 
> T
> 
> --------------25D93AFC6924
> Content-Type: text/html; charset=iso-8859-1; name="writings.html"
> Content-Transfer-Encoding: 8bit
> Content-Disposition: inline; filename="writings.html"
> Content-Base: "http://www2.peirce.org/peirce/writings
> 	.html"
> 
> <BASE HREF="http://www2.peirce.org/peirce/writings.html">
> 
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
> <HTML>
> <HEAD>
> 
> <TITLE>Charles S. Peirce: Writings</TITLE>
> 
> 
> </HEAD>
> <BODY BGCOLOR="#ffffff" TEXT="#000066" LINK="#990000" ALINK="#ff0000" VLINK=
> "#660066">
> 
> <PRE>
> </PRE>
> <CENTER>
> <IMG SRC="./graphics/title-fancy1.gif" ALT="Charles S. Peirce" WIDTH="446" HEIGHT="65" BORDER="0">
> <P>
> <IMG SRC="./graphics/title-writings1.gif" ALT="Writings" WIDTH="180" HEIGHT="30" BORDER="0">
> <PRE>
> 
> 
> </PRE>
> <IMG SRC="./graphics/round-top-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> </CENTER>
> <BLOCKQUOTE>
> 
> <H3 ALIGN=CENTER><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> Series</H3>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p30.html"È-->"On an Improvement in Boole's Calculus of Logic."<!--Ç/AÈ-->
> <DD><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> 7 (1867), 250-261.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p30.html"È-->"On the Natural Classification of Arguments."<!--Ç/AÈ-->
> <DD><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> 7 (1867), 261-287.
> </DL>
> 
> <DL>
> <DT><A HREF="writings/p32.html">"On a New List of Categories."</A>
> <DD><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> 7 (1867), 287-298.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p33.html"È-->"Upon the Logic of Mathematics."<!--Ç/AÈ-->
> <DD><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> 7 (1867), 402-412.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p34.html"È-->"Upon Logical Comprehension and Extension."<!--Ç/AÈ-->
> <DD><CITE>Proceedings of the American Academy of Arts and Sciences</CITE> 7 (1867), 416-432.
> </DL>
> </BLOCKQUOTE>
> 
> <CENTER>
> <IMG SRC="./graphics/round-btm-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> <P>
> <HR NOSHADE ALIGN=CENTER WIDTH=100 SIZE=1>
> <P>
> <IMG SRC="./graphics/round-top-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> </CENTER>
> 
> <BLOCKQUOTE>
> <H3 ALIGN=CENTER><CITE>Journal of Speculative Philosophy</CITE> Cognition Series</H3>
> 
> <DL>
> <DT><A HREF="writings/p26.html">"Questions Concerning Certain Faculties Claimed for Man."</A>
> <DD><CITE>Journal of Speculative Philosophy,</CITE> 2 (1868), 103-114.
> </DL>
> 
> <DL>
> <DT><A HREF="writings/p27.html">"Some Consequences of Four Incapacities."</A>
> <DD><CITE>Journal of Speculative Philosophy,</CITE> 2 (1868), 140-157.
> </DL>
> 
> <DL>
> <DT><A HREF="writings/p41.html">"Grounds of Validity of the Laws of Logic: Further Consequences of Four Incapacities."</A>
> <DD><CITE>Journal of Speculative Philosophy,</CITE> 2 (1869), 193-208.
> </DL>
> </BLOCKQUOTE>
> 
> <CENTER>
> <IMG SRC="./graphics/round-btm-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> <P>
> <HR NOSHADE ALIGN=CENTER WIDTH=100 SIZE=1>
> <P>
> <IMG SRC="./graphics/round-top-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> </CENTER>
> 
> <BLOCKQUOTE>
> <H3 ALIGN=CENTER>Illustrations of the Logic of Science</H3>
> 
> <DL>
> <DT><A HREF="writings/p107.html">"The Fixation of Belief."</A>
> <DD><CITE>Popular Science Monthly</CITE> 12 (November 1877), 1-15.
> </DL>
> 
> <DL>
> <DT><A HREF="writings/p119.html">"How to Make Our Ideas Clear."</A>
> <DD><CITE>Popular Science Monthly</CITE> 12 (January 1878), 286-302.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p120.html"È-->"The Doctrine of Chances."<!--Ç/AÈ-->
> <DD><CITE>Popular Science Monthly</CITE> 12 (March 1878), 604-615.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p121.html"È-->"The Probability of Induction."<!--Ç/AÈ-->
> <DD><CITE>Popular Science Monthly</CITE> 12 (April 1878), 705-718.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p122.html"È-->"The Order of Nature."<!--Ç/AÈ-->
> <DD><CITE>Popular Science Monthly</CITE> 13 (June 1878), 203-217.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p123.html"È-->"Deduction, Induction, and Hypothesis."<!--Ç/AÈ-->
> <DD><CITE>Popular Science Monthly</CITE> 13 (August 1878), 470-482.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p129.html"È-->"Comment se fixe la croyance."<!--Ç/AÈ-->
> <DD><CITE>Revue Philosophique de la France et de L'&#201;tranger</CITE> 6 (December 1878), 553-569.
> </DL>
> 
> <DL>
> <DT><!--ÇA HREF="writings/p162.html"È-->"Comment rendre nos id&eacute;es claires."<!--Ç/AÈ-->
> <DD><CITE>Revue Philosophique de la France et de L'&#201;tranger</CITE> 7 (January 1879), 39-57.
> </DL>
> </BLOCKQUOTE>
> 
> </BLOCKQUOTE>
> <CENTER>
> <IMG SRC="./graphics/round-btm-blue1.gif" ALT="-*-" WIDTH="42" HEIGHT="30" BORDER="0">
> </CENTER>
> <PRE>
> 
> 
> </PRE>
> <CENTER>
> <A HREF="http://www.peirce.org/"><IMG SRC="./graphics/address1.gif" ALT="http://www.peirce.org" WIDTH="183" HEIGHT="27" BORDER="0"></A><BR>
> <ADDRESS><A HREF="mailto:webmaster@peirce.org">webmaster@peirce.org</a></ADDRESS>
> </CENTER>
> </BODY>
> </HTML>
> 
> --------------25D93AFC6924--
> 
> 


From tlenoir@leland.Stanford.EDU Sun Nov  3 10:01:54 1996
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Message-ID: <327CDF05.333@leland.stanford.edu>
Date: Sun, 03 Nov 1996 10:06:04 -0800
From: Timothy Lenoir <tlenoir@leland.Stanford.EDU>
Reply-To: tlenoir@leland.Stanford.EDU
Organization: Program In History & Philosophy of Science
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MIME-Version: 1.0
To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Subject: Conceptual Graphs
Content-Type: multipart/mixed; boundary="------------5B63E004FC9"
Status: RO

This is a multi-part message in MIME format.

--------------5B63E004FC9
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Xin Wei

you might want to check this site out to see if it connects to our
themes. I looked through the top layer and definitely think it is right
on.

T

--------------5B63E004FC9
Content-Type: text/html; charset=us-ascii
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Content-Base: "http://www.cs.adelaide.edu.au/users/pe
	irce/"

<BASE HREF="http://www.cs.adelaide.edu.au/users/peirce/">

<HR>

<TITLE>PEIRCE GROUP HOME PAGE</TITLE>

<IMG SRC="peirce_big.xbm" ALT="PEIRCE">
<IMG SRC="peirce_title.xbm" ALT="PEIRCE">

<BR>
<BR>
<BR>
<BR>

<H1>... a Conceptual Graphs Workbench</H1>

The PEIRCE project is an initiative to integrate conceptual graph
development efforts around the world.  The aim is to provide
researchers and developers with an industrial strength, portable, and
freely available conceptual graphs workbench (PEIRCE), and to foster
open collaboration between workers in the field of conceptual graph
theory.

<P>

The project is named after Charles Sanders Peirce, who in 1896
developed the logic of Existential Graphs.  Peirce described
existential graphs as "the logic of the future".  A century later with
the widespread use of powerful graphics workstations and the inception
of the PEIRCE project this statement is poised to become a reality.

<P>
<BR>
<BR>

<H2>PEIRCE Subgroups</H2>

The breadth of the PEIRCE project is realised in its composite nature.
Each aspect of the effort is represented in a subgroup specialised to
provide a timely solution to a particular need.  

<P>

These groups include: <DL>
  
  <DT> <B> Programming Standards (STDS) </B>
       
       <P>

  <DD> This group is establishing guidelines for language and
       environment versions, naming conventions, system calls and
       software release products.  The core implementation language of
       PEIRCE is C++, while advanced services are to be implemented as C++,
       Prolog, or other high-level languages on top of this core. 
       
       <P>

  <DT> <A HREF="http://www.cs.rmit.edu.au/~ged/DB.html">
       <B> Database Storage and Retrieval (DB) </B> </A>
       
       <P>

  <DD> The manipulation and retrieval of large and numerous conceptual
       graphs is key to the performance and applicability of the
       workbench. The DB group is involved in the efficient
       implementation of core graph operations such as graph matching
       (projections), unification (join), indexing, and semantic distance.
       
       <P>

  <DT> <A HREF="http://www.cs.su.oz.au/~morri/notation.html">
       <B> CG Notation and Data Structures </B> </A>
       
       <P>

  <DD> While expressing the complex relations in information
       graphically, conceptual graphs may be conveniently stored and
       transmitted in a flattened linear form.  The linear group is
       charged with standardizing the linear notation for conceptual
       graphs and providing parses and generators for the notation.
       
       <P>
       
  <DT> <B> Massively Parallel Hardware (HARDWARE) </B>
       
       <P>

  <DD> In the long term the Von Neumann machine may not be an appropriate
       platform for intelligent systems. This group will look at massively
       parallel hardware to support contents addressable memories as the base
       for an intelligent platform for PEIRCE.
       
       <P>

  <DT> <A HREF="http://www.cs.adelaide.edu.au/~peirce/GRIP.html">
       <B> Graphical Editor and Display (GRIP) </B> </A>
       
       <P>
       
  <DD> The expressive power of graphical structures in representing
       abstract information is a key quality of Peirce's notation for
       Existential graphs.  Conceptual graph theory has adopted this
       notation and the graphical operations in which it expresses the
       manipulation of information.  The grip group is developing
       graphical editors and displays for this notation and its
       manipulation. 
       
       <P>
       
  <DT> <B> Conceptual Catalogues (Ontologies) (CCAT) </B>
       
       <P>
       
  <DD> The CCAT group needs a database system and a linear/graphical
       interface for encoding ontologics in conceptual graphs. As well as 
       developing their own ontologics and some support tools, CCAT is
       interfacing PEIRCE to a large collection of knowledges such as CYC.
       
       <P>

  <DT> <A HREF="http://www.cs.rmit.edu.au/~ged/CGC.html">
       <B> Programming in Conceptual Graphs with Constraints (CGS) </B> </A>
       
       <P>

  <DD> The language CGC will include conceptual graphs as a subset, but
       add notation for specifying focus and functional constraints. CGC will 
       have a similar control structure to Prolog but will replace Prolog's 
       Herbrand terms and predicates with conceptual graphs theory.
       
       <P>

  <DT> <B> Inference/Theorem-Proving Mechanisms (PROOF) </B>
       
       <P>

  <DD> The proof group will develop proof procedures for conceptual graphs. 
       The alpha and beta rules of Existential Graphs will make excellent 
       interactive proof tools. Eventually proof techniques developed by 
       this group will be written in CGC. 
       
       <P>

  <DT> <B> Learning Machines (LRN) </B> 
       
       <P>

  <DD> The LRN group is providing mechanisms for fearing search control
       knowledge, structural concepts from noisy examples and 
       classifications. LRN requires a database system, conceptual catalogue
       and programming language.
       
       <P>

  <DT> <B> Natural Language Parsers and Generators (NLP) </B> 
       
       <P>

  <DD> One of the goals of PEIRCE is to support natural language processing.
       PEIRCE supplies the NLP group with a database system; large conceptual
       catalogs; matching; unification, and other graph manipulation 
       routines; a theorem prover; a high level programming language, CGC;
       linear and graphical editors; and learning mechanisms.
       
       <P>

  <DT> <B> Information Systems Engineering </B>  
       
       <P>

  <DD> The PIERCE project hopes to get people involved in information systems
       engineering.
       
       <P>

  <DT> <B> Vision Systems (VISION) </B> 
       
       <P>

  <DD> The PIERCE project hopes to get people in a third application, vision,
       to demonstrate the processing power of the system as well as to
       provide a set of library routines. Application developers are
       encouraged to get involved now, so PEIRCE can supply the tools they
       need.
       
       <P>
</DL>

<HR>

    

--------------5B63E004FC9--


From tlenoir@leland.Stanford.EDU Mon Nov  4 13:41:57 1996
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Date: Mon, 4 Nov 1996 13:41:49 -0800 (PST)
From: Timothy Lenoir <tlenoir@leland.Stanford.EDU>
Sender: tlenoir@leland.Stanford.EDU
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Subject: Re: Peirce online
In-Reply-To: <199611041857.KAA24332@elaine3.Stanford.EDU>
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Sure we can send out a message about tomorrow. I basically want to do
the discussion on Leroi-Gourhan and then Derrida on materiality of the
sign. This seems like really interesting stuff relevant to our concerns
about difference between linear writing and graphical understanding. 


T

On
Mon, 4 Nov 1996, Xin-Wei Sha wrote:

> Hi Tim,
> 
> This is a silver mine.  I just fired off a note to ask Felix to put
> these links in.  
> 
> Perhaps we could rope in Ben for tomorrow?  He's busy with job
> applications, but may be available late tomorrow afternoon...  Do you
> think we should send out a little note to lay out the questions you'd
> like to touch on in the next couple of weeks, plus some suggested
> readings (ref's, URL's)?
> 
> Xin Wei
> 


From owner-img-mail@lists.Stanford.EDU Thu Nov  7 10:11:32 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  7 Nov 96 10:12:44 -0800
To: img-mail@lists.Stanford.EDU
Subject: Consciousness Seminars: Fall 1996-97 Schedule
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Date: Wed, 6 Nov 1996 16:26:18 -0800 (PST)
From: Guven Guzeldere <guven@csli.Stanford.EDU>

[NOTE: This is the last mailing on CogLunch for Fall 1996-97.
       Below is the full quarterly schedule. Thank you.]

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


			CSLI  CogLunch  Series
			     Fall 1996-97
			  Topic: Consciousness



October 17: Bill Newsome
	    Department of Neurobiology, Stanford University
		 "Seeing motion: From neural circuits to  perceptual decisions"


October 24: David Rumelhart
	    Department of Psychology, Stanford University
		 "The role of emotions in consciousness"


October 31: Stephen LaBerge
	    Department of Psychology, Stanford University
		 "Consciousness during sleep: The physiology
		   and psychology of lucid dreaming"


November 7: Fred Drestke
	    Department of Philosophy, Stanford University
		 "The mind's awareness of itself"


November 14: NO CogLunch [Week of IAP Events at CSLI]


November 21: Alva Noe
	     Department of Philosophy, UC Santa Cruz
		 "Finding out about filling in: A problem for
		  visual science and the philosophy of mind"


November 26: Marilyn Schlitz
	     Institute of Noetic Sciences
		 "The nature of extra-sensory perception (ESP): What can
		  it tell us about consciousness?"

[NOTE: This talk will take place on a Tuesday due to Thanksgiving holiday.]

	
December 5: Ken Taylor
	    Department of Philosophy, Stanford University
		"The `hard problem' may not be solvable but
		 dualism is still false"




			  Thursdays 12:00-1:30	
			    Cordura Hall 100				
		           Stanford University

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


From owner-img-mail@lists.Stanford.EDU Thu Nov  7 11:23:54 1996
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Date: Thu, 7 Nov 1996 11:10:47 -0800
To: me297@cdr.stanford.edu, cdr-all@cdr.stanford.edu,
        img-mail@lists.Stanford.EDU, pd@lists.Stanford.EDU,
        kristin@cdr.stanford.edu
From: njj@cdr.stanford.edu (Natalie Jeremijenko)
Subject: Talk on  Audio Interfaces and Design Methodology. FRIDAY CDR 1:15PM
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Hi All,

        I have been attending the ICAD conference at XEROX PARC this week
and one of the best talks turns out to be by an Australian(not
surprisingly!!).  I had arranged to give him a tour of some the projects
here at Stanford but he was willing to do a talk on short notice so I have
scheduled it for this Friday in CDR at lunchtime.  Below is a brief
abstract and an even briefer bio.  Please feel welcome to attend.  The
project itself is interesting and relevant to many of us but his survey of
design methodology is fairly broad and may be of general interest to many
more.

FRIDAY CDR(Bldg 560, Panama St) 1:15PM

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

TaDa ! Demonstrations of Auditory Information Design
Stephen Barrass
CSIRO Information Technology Australia

Abstract
The prospect of computers making "noises" is disconcerting to some. Yet the
soundscape of the real worlds does not usually bother us.  Perhaps we only
notice a nuisance? Sounds can support information processing activities by
providing information that is
useful and relevant. The Tada method focuses on designing an auditory
representaion
to meet information requirements, so that the sounds are information rather
than "noise"
The design process integrates task analysis, a database of sound examples,
a rule based aid and interactive sound design tools. The method and tools
are demonstrated
in scenarios from mining exploration, resource management and climatology.
The multimedia interfaces that were implemented show that sounds can
provide information that is difficult to obtain visually, and can improve the
directness and usefulness of an information display.

Bio
Stephen Barrass obtained a degreee in electrical engineering from the
University of NSW in 1987, in which the dissertation was on computer
generated holograms.
With colleagues he designed and installed a voice operated environment
for quadraplegics. He is currently close to completing a PhD
in Auditory Information Design at the Australian National University
and is in SF to present a paper at the third International Conference on
Auditory Display.

Natalie H.M. Jeremijenko
Center for Design Research               ph: (415) 723 7908
Dept. of Mechanical Engineering         fax: (415) 725 8475
Stanford University                     njj@cdr.stanford.edu
560 Panama St.,
Stanford, CA 94305-2232







From owner-img-mail@lists.Stanford.EDU Wed Oct 30 12:32:29 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199610302032.MAA06980@elaine15.Stanford.EDU>
Subject: Debevec, architecture form photographs, Graphics Lab
To: img-mail@lists.Stanford.EDU
Date: Wed, 30 Oct 1996 12:32:18 -0800 (PST)
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Dear IMG folk,
	from the frontiers of computer graphics...
-Xin Wei


Forwarded message:
> Date: Tue, 29 Oct 1996 16:52:53 -0800 (PST)
> From: Marc Levoy <levoy@graphics.Stanford.Edu>
> To: glunch@graphics.Stanford.Edu
> Subject: Paul Debevec to talk on Thursday
> 
> 	     Modeling and Rendering Architecture from Photographs
> 
> 				 Paul Debevec
> 				  UC Berkeley
> 
> 		      Thursday, Oct. 31, 12:15, Gates 392
> 
> 
> Abstract:
> 
> In this talk I will present a new approach for modeling and rendering
> architectural scenes from a sparse set of still photographs. The modeling
> approach, which combines both geometry-based and image-based techniques, has
> two components. The first component is a photogrammetric modeling method which
> facilitates the recovery of the basic geometry of the photographed scene.  Our
> photogrammetric modeling approach is effective, convenient, and robust because
> it takes advantage of the constraints that are characteristic of architectural
> scenes. The second component is model-based stereo, which recovers how the real
> scene deviates from the basic model.  By making use of the model, this stereo
> technique robustly recovers accurate depth from widely-spaced image pairs.
> Consequently, our approach can model large architectural environments with far
> fewer photographs than current image-based modeling approaches.  For producing
> renderings, we present view-dependent texture mapping, a method of compositing
> multiple views of a scene that better simulates geometric detail and
> non-lambertian reflectance than flat texture-mapping.  I will present results
> that demonstrate our approach's ability to create realistic renderings of
> architectural scenes from viewpoints far from the original photographs,
> including the Rouen Revisited art installation presented at SIGGRAPH '96.
> 
> For more info on these projects, surf to:
> 	http://www.cs.berkeley.edu/~debevec/Research/
> and:
> 	http://www.interval.com/projects/rouen/
> 


From owner-img-mail@lists.Stanford.EDU Mon Nov 11 18:46:46 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 11 Nov 96 18:49:16 -0800
To: img-mail@lists.Stanford.EDU
Subject: reading: Leroi-Gourhan ch 6
Cc: egginton@leland.stanford.edu, harrison@leland.stanford.edu
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Dear img folk,

This week, we'll start a more focused investigation of particular  
writing systems.   We'll discuss ancient (technologies of) writing,  
starting with a chapter 6 -- "Language Symbols" --  from Leroi-Gourhan's   
_Gesture and Speech_.   I have paper copies outside my office -- Sweet  
Hall 415.
This will pick up a thread that we started last year about hieroglypic  
and ideographic writing, and picture languages.

AUTHOR:   Leroi-Gourhan, Andre, 1911-
TITLE:    Geste et la parole. English
          Gesture and speech / Andre Leroi-Gourhan ; translated from the 
            French by Anna Bostock Berger.
IMPRINT:  Cambridge, Mass. : MIT Press, c1993.
          xxii, 431 p. : ill. ; 24 cm.

LOCATION: Green Library Stacks GN452.L4713 1993  (checked out to Sha Xin Wei)

Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue Nov 12 11:08:30 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 12 Nov 96 11:10:50 -0800
To: img-mail@lists.Stanford.EDU
Subject: img's activities this term
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[Dear img folk,
	How's this for a public note about the img's activities this term?  
Please send emendations today so we can email this out to
the departments and to the Humanities Center.
Thanks.
- xw]

Humanities Center Seminar: Interactive Media Theory

We are engaged in a study of interaction and media, hoping to
understand these phenomena critically and to build a
constructive theory of how to compose and inhabit interactive
media.  Broadly, the aim is to pursue an ontological and a
phenomenological approach to media, accompanied by an
examination of technological  artifacts, eg. software,
writing systems, design standards and metaphors.

We are currently discussing media from some historical
perspectives, reading McLuhan and Leroi-Gourhan, and examining
some artifacts about the Gulf War -- newspaper, website,
videogame, etc.   This month, we'll continue a discussion of
systems of writing which we started last year, looking at
hieroglyphic Egyptian, and ideographic Chinese for example.

December 4-11, we'll have a visiting neurophysiologist, Prof.
Helgi Schweizer, speak about  "natural interactivity" and
rhythm. We plan to read Maturana and Varela's _Tree of
Knowledge_ during that time.

From owner-img-mail@lists.Stanford.EDU Tue Nov 12 15:55:52 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 12 Nov 96 15:58:16 -0800
To: img-mail@lists.Stanford.EDU
Subject: artifact: Electric Minds
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Dear img folk,

Visit Rheingold et al's Web-incarnation of
the many-to-many communication model of the Well at
	http://www.minds.com/

Check out a "conference" or "conversation."

Xin Wei

From owner-img-mail@lists.Stanford.EDU Thu Nov 14 17:29:17 1996
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Message-ID: <328BC75B.3374@leland.stanford.edu>
Date: Thu, 14 Nov 1996 17:28:59 -0800
From: Sha Xin Wei <xinwei@leland.stanford.edu>
Reply-To: xinwei@leland.stanford.edu
Organization: SU
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Subject: toy voices, toy stories
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Dear story-teller,

Here's a minimal stage, but more compelling perhaps
becuase of its minimality -- MVP Solutions has produced
a Netscape Plug-In that uses Apple's speech synthesis
to read text that you write in synthetic voices.   These voices are
quite odd, but maybe one could use them in 
certain situations.   Here's the MVP 

http://www.webmonkey.com/demo/96/34/talkerdemo/index.html

and here's a story

http://www.webmonkey.com/demo/96/34/talkerdemo/index.html

You need Netscape 3 and a Mac that has the Apple text-To-Speech kit
installed.

Xin Wei

From owner-img-mail@lists.Stanford.EDU Fri Nov 15 19:15:11 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 15 Nov 96 19:16:53 -0800
To: img-mail@lists.Stanford.EDU
Subject: Internet weather
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[Dear img folk,
	This is the first cyber-weather report.
Xin Wei
]

Begin forwarded message:

Date: Fri, 15 Nov 1996 17:16:28 -0800
From: announce@leland.Stanford.EDU (Leland Announcements)
Subject: NETWORK: Brief Internet instability

To: samstu@Forsythe.Stanford.EDU, help@networking.Stanford.EDU,  
cg@leland.Stanford.EDU, netadmin@lists.Stanford.EDU,  
partners@lists.Stanford.EDU, cio-dir@Forsythe.Stanford.EDU,  
unix-info@lists.Stanford.EDU, afs-info@lists.Stanford.EDU,  
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Cc: su.computers@news.Stanford.EDU, su.computers.afs@news.Stanford.EDU,  
su.computers.announce@news.Stanford.EDU,  
su.computers.consult@news.Stanford.EDU
Sender: owner-unix-info@lists.Stanford.EDU


On Friday morning, November 15th, the Internet began to exhibit intermittent
routing problems.  Machines in Seattle, Stanford, Columbia, Berkeley and
certain other sites could not connect to each other, but had no problems
connecting to other sites on the net.  The problem seems to have been fixed
sometime between noon and 2:20 pm on Friday.

The odds are this problem did not affect you.  It was a national problem,
not local to Stanford.  Preliminary information seems to indicate a
connectivity problem between certain Internet providers at a routing
exchange point.

If you have any questions about the erratic behavior of the Internet during
this time, please direct your questions to Networking Systems.


Thank you,

Networking Systems
723-3909
help@networking


==========================================================================
This message was posted through the Stanford campus mailing list
server....

From NanWorMFA@aol.com Tue Nov 19 13:45:46 1996
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From: NanWorMFA@aol.com
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Date: Tue, 19 Nov 1996 16:45:40 -0500
Message-ID: <961119164539_1083401994@emout11.mail.aol.com>
To: xinwei@leland.stanford.edu
Subject: Re: hello
Status: RO

Let's try again:
To: xinwei@leland.standford.edu
Subject: Stanford/Art Tech

Dear Xin Wei

I enjoyed meeting you at my art reception at Art Tech in San Jose. We spoke
on the phone last week regarding your request that I participate in panel
discussions in interactive media at Stanford.

Please e-mail me information about this program, on-going seminars and also
information a possible art exhibit through Charles Lyons, Chair of the Drama
Dept. at Stanford.

I look forward to hearing from you soon.

Nancy Worthington
707-823-3581 (phone-FAX)
NanWorMFA@aol.com

From kernsc@leland.Stanford.EDU Sun Nov 17 15:04:59 1996
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Date: Sun, 17 Nov 1996 15:04:50 -0800 (PST)
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To: xinwei@leland.Stanford.EDU
From: kernsc@leland.Stanford.EDU (Charles Kerns)
Subject: fyi  Film-Philosophy list starting
Status: RO

>Date:    Wed, 6 Nov 1996 14:36:52 -0500
>Reply-To: nmctab@lists.Princeton.EDU
>Sender: owner-nmctab@lists.Princeton.EDU
>From: NMCnancy@aol.com
>To: New Media Centers Technology Advisory Board <nmctab@lists.Princeton.EDU>
>Subject: Film-Philosophy list starting
>X-To: nmctab@lists.princeton.edu
>
>(forwarding from other sources; apologies for duplication - Nancy)
>
>Subj:    new e-salon
>From:  d.frampton%philosophy.bbk.ac.uk%UKACRL.BITNET@uu.psi.com (Daniel
>Frampton)
>
>Hello,
>
>This is a new discussion list for your consideration.
>If you can help by distributing this invitation to other people who may
>also be interested, I would be incredibly grateful.
>
>Yours sincerely,
>
>Daniel Frampton.
>London, England.
>
>*
>This is an invitation to join:
>
>Film-Philosophy
>International Email Salon
>
>*
>'When I first saw the cinematograph I realised it could offer something new
>to philosophy. The cinema provides us with an understanding of our own
>memory. Indeed we could almost say that cinema is a model of consciousness
>itself. Going to the cinema turns out to be a philosophical experience.'
>Henri Bergson
>
>'If Descartes lived today, only through the medium of film would he be able
>to convey to us his Discours de la Methode, because every film, being a
>dynamic piece of work moving in time, is basically a theorem. It is the
>locale of the unfolding of an inexorable logic which traverses its own
>pivotal points, more precisely, the given poles of dialectics.' Alexandre
>Astruc
>
>'The kino is a vulgar modern entertainment and I doubt if it can tell us
>anything serious about the modern condition.' Sigmund Freud
>
>*
>The purpose of the salon is the informal discussion of film philosophies.
>The aim of which is the creation of a discipline from a collision, from a
>debilitating identity crisis.
>Why do we need film philosophies? What can a philosophical viewpoint breath
>into well-worn debates in film theory? What bred the recent surge of
>interest in this area? What is film philosophy?
>
>To join, send the message:
>join film-philosophy firstname(s) lastname
>to:
>mailbase@mailbase.ac.uk
>
>If this subject ain't for you, can you forward this to someone or some list
>that may be interested?
>
>*
>The salon anticipates the following areas to be within the range of its
>playful chat (areas to be reborn through our philosophies of film
>philosophy):
>Film stories, actions and events that illustrate, rehearse or advance our
>understanding of traditional philosophical problems. The meanings of
>reflexive cinema. Philosophical inquiry into our emotional attraction to
>certain types of film drama. Film as philosophy. The place of Plato's cave
>in contemporary film philosophy. The ontology of the moving image: film
>movement, illusion, representation; the 'existence' of fictional
>characters; film as a continuous present; persistence of vision and the phi
>phenomenon. The empiricist essentialism of filmology. Cognitivist and
>phenomenological perspectives on the film experience. Time, memory, and
>space in cinema. Imagination, dreams, mental imagery, other minds and film.
>Characters as metaphors for truth or knowledge; screen detectives as
>epistemologists; the philosophical universalising of motives and actions.
>Film as a new metaphysics. Cultural philosophies of the moving sound image
>as mass media. Filmic aesthetics. The reliability of documentary images -
>narrative and profilmic manipulation. The status of the moving sound image
>as thought and mind. Philosophers' cameos in films. The history of the
>linking of film and philosophy.
>
>*
>The salon will also welcome news of conferences, meetings, articles and
>publications, as well as impromptu reviews of books old and new. Also,
>essays and bibliographies would be very welcome for the salon's web site,
>so please contact the owner at film-philosophy-request@mailbase.ac.uk with
>your contributions and suggestions after you have joined. Already the web
>site contains a general bibliography, as well as dedicated ones for
>Deleuze's Cinema, phenomenology and cognitivism; details on how to access
>these will be sent once you join.
>

---------
charles.kerns@stanford.edu
Head of Curriculum Development Lab and New Media Center, Stanford University
415.723.6654



From owner-img-mail@lists.Stanford.EDU Wed Nov 20 12:48:37 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 20 Nov 96 12:51:14 -0800
To: img-mail@lists.Stanford.EDU
Subject: today (11/20), and tomorrow (12/4, 12/11)
Cc: harrison@leland.stanford.edu, egginton@leland.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: O

Dear img folk,

Today we'll continue our discussion of systems of writing,
reading Leroi-Gourhan on memory and gesture.   Some artifacts
are coming, I'm told.

At some point, it may be worth re-visiting Ben's ideas about the
narratives of abundance, and Ann's ideas about narratives of
transcendence that underwite a lot of tech-talk.

Future:  we'll be taking a detour into the biology
and psychology of interaction when Helgi Schweizer comes Dec
4 - Dec 11.   For that the proposed reading is  Maturana
and Varela's  _Tree of Knowledge_.  Unfortunately the SU
Bookstore just sold out, and says that the publisher is out
of stock.   If necessary, we can try to photocopy some chapters.

Those of you who are already familiar with Maturana
or Varela could instead help us out by summarizing some
other work, such as _The Embodied Mind_ by Varela,
Rosch and Thompson.

Dec 11 will be a portmanteau session, since we'll be joining
the Discourse@Networks2000 seminar .  The first joint
discussion will be based on McLuhan's _Understanding Media_.

see you at 4:00,
Xin Wei

http://www-leland.stanford.edu/~xinwei/pub/img/img.html

From owner-img-mail@lists.Stanford.EDU Thu Nov 21 11:10:55 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199611211910.LAA10264@elaine36.Stanford.EDU>
Subject: Special graphics lunch talk this Friday: "Rhythm & Hues"
To: img-mail@lists.Stanford.EDU
Date: Thu, 21 Nov 1996 11:10:43 -0800 (PST)
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Forwarded message:
> From: Marc Levoy <levoy@graphics.Stanford.Edu>
> To: glunch@graphics.Stanford.Edu
> Subject: Special graphics lunch talk this Friday
> 
> 
> 	    The digital revolution in the special effects industry
> 
> 				 Pauline Ts'o
> 				 Rhythm & Hues
> 		  Friday, Nov. 22, 12:15, in the graphics lab
> 
> Pauline Ts'o, VP of Rhythm & Hues and a longtime player in the computer
> animation industry, will give an informal talk on Friday at 12:15 in the
> graphics lab (not in the conference room).  She'll give an overview of the
> computer animation and digital effects industry, and she'll compare the
> technical, production, and strategic business approaches of different studios.
> She'll also speculate on the possible future of the industry.  Given the
> digital revolution now sweeping Hollywood, this promises to be an interesting
> talk.
> 
> Note: don't confuse this with John Hughes's talk on Thursday.
> This is a busy week!
> 
> 


From owner-img-mail@lists.Stanford.EDU Wed Oct 30 12:32:29 1996
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199610302032.MAA06980@elaine15.Stanford.EDU>
Subject: Debevec, architecture form photographs, Graphics Lab
To: img-mail@lists.Stanford.EDU
Date: Wed, 30 Oct 1996 12:32:18 -0800 (PST)
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Dear IMG folk,
	from the frontiers of computer graphics...
-Xin Wei


Forwarded message:
> Date: Tue, 29 Oct 1996 16:52:53 -0800 (PST)
> From: Marc Levoy <levoy@graphics.Stanford.Edu>
> To: glunch@graphics.Stanford.Edu
> Subject: Paul Debevec to talk on Thursday
> 
> 	     Modeling and Rendering Architecture from Photographs
> 
> 				 Paul Debevec
> 				  UC Berkeley
> 
> 		      Thursday, Oct. 31, 12:15, Gates 392
> 
> 
> Abstract:
> 
> In this talk I will present a new approach for modeling and rendering
> architectural scenes from a sparse set of still photographs. The modeling
> approach, which combines both geometry-based and image-based techniques, has
> two components. The first component is a photogrammetric modeling method which
> facilitates the recovery of the basic geometry of the photographed scene.  Our
> photogrammetric modeling approach is effective, convenient, and robust because
> it takes advantage of the constraints that are characteristic of architectural
> scenes. The second component is model-based stereo, which recovers how the real
> scene deviates from the basic model.  By making use of the model, this stereo
> technique robustly recovers accurate depth from widely-spaced image pairs.
> Consequently, our approach can model large architectural environments with far
> fewer photographs than current image-based modeling approaches.  For producing
> renderings, we present view-dependent texture mapping, a method of compositing
> multiple views of a scene that better simulates geometric detail and
> non-lambertian reflectance than flat texture-mapping.  I will present results
> that demonstrate our approach's ability to create realistic renderings of
> architectural scenes from viewpoints far from the original photographs,
> including the Rouen Revisited art installation presented at SIGGRAPH '96.
> 
> For more info on these projects, surf to:
> 	http://www.cs.berkeley.edu/~debevec/Research/
> and:
> 	http://www.interval.com/projects/rouen/
> 


From owner-img-mail@lists.Stanford.EDU Mon Nov 25 13:44:32 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 25 Nov 96 13:45:56 -0800
To: img-mail@lists.Stanford.EDU
Subject: on writing, gesture and memory
Cc: egginton@leland.stanford.edu, harrison@leland.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
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Dear img folk,

Last Wednesday, we discussed Leroi-Gourhan's theories about
memory and gesture. This week we'll continue our discussion of
writing.   Thanks to Tim, we have an essay by Kittler on
operators,  which offers an interesting path toward a future
discussion of media and technologies of writing.

http://www-leland.stanford.edu/~xinwei/pub/img/media/Virtuality/Kittler/Kittler_operator.html

For those of you who want to catch up via WWW, the
Leroi-Gourhan is on our website:

http://www-leland.stanford.edu/~xinwei/pub/img/media/Virtuality/Leroi-Gourhan/

A presto,
Xin Wei

From yeungf@leland.Stanford.EDU Mon Dec  2 13:35:27 1996
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From: Cheng Yeh <yeungf@leland.Stanford.EDU>
Sender: yeungf@leland.Stanford.EDU
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        xinwei@leland.Stanford.EDU
cc: larryf@leland.Stanford.EDU, tlenoir@leland.Stanford.EDU
Subject: Interactive Media Theory Workshop
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Status: RO

Dear colleague,

	We would like to invite you to participate in a
Humanities Center Seminar on interactive media.  Over the past
two years, this working group of faculty, students and
professionals has been engaged in a critical study of
interaction and media.

	We meet weekly to discuss a reading or artifact
introduced by members of the seminar,  such as: Richard
Coyne's _Designing Information Technology in the Postmodern
Age_, Humberto Maturana and Francisco Varela's _The Tree of
Knowledge_,  and VRML 2.0 -- the Virtual Reality Modeling
Language.  This year, we meet on

           Wednesdays, 4:00 - 6:00 pm, in the
               Stanford Humanities Annex.

Over the next two quarters, we'll enjoy an association with
the Discourse@Networks2000 seminar and offer the interactive
media workshop as a forum for discussion of the issues raised
in that speaker series as well.


Future events include:

December 4:  Helgi Schweizer -- Natural Interactivity

December 11:	Joint IMG-DN2000 Seminar


Please visit the IMG website for information about the
workshop's themes and readings:
    http://www-leland.stanford.edu/~xinwei/pub/img/img.html


Best regards,

Larry Friedlander
English Department
415-621-3368

Timothy Lenoir
History Department
415-723-2993


From yeungf@leland.Stanford.EDU Mon Dec  2 13:42:57 1996
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Date: Mon, 2 Dec 1996 13:42:11 -0800 (PST)
From: Cheng Yeh <yeungf@leland.Stanford.EDU>
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cc: larryf@leland.Stanford.EDU, tlenoir@leland.Stanford.EDU
Subject: Helgi Schweizer lecture 12/4 IMG seminar (fwd)
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Status: RO

Dear colleague,

Helgi-Jon Schweizer will speak about interactivity from the perspective of a
biological psychologist. Based on his own and other experimental work in
rhythmic behavior he will explore interactivity through the coupling of
temporal processes, and explore the implications for interaction in
artificial/media environments.


The time date will be
4:00 PM, Wednesday, December 4

at the Humanities Annex.


Best Regards,
IMG Workshop

Larry Friedlander
English Department
415-621-3368

Timothy Lenoir
History Department
415-723-2993


From luke@hotwired.com Wed Dec  4 14:47:11 1996
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Date: Wed, 4 Dec 1996 14:47:59 -0800
To: xinwei@leland.stanford.edu
From: luke@hotwired.com (l g k)
Subject: Re: Talker story, please?
Status: RO

Dear Xin Wei,

Sure thing!  You'll want to make sure you get them _all_, as the bottom
frame set is the one calling in the speech part.  I don't think you'll have
to do much tidying up of paths - they're all relative to one another, I
believe.

I'm glad you enjoyed it.  I'll have another one going up in a few weeks, a
treatment of "'Twas the Night Before Christmas".

Let me know how your seminar goes! Good luck!

Luke Knowland
Producer, Webmonkey

ps - Only because technically HotWired owns the copyright to it, our legal
person wanted to know if you could sign a "permission agreement" that just
says that you won't sell this or use it to takeover the world, that kind of
thing.  I'll just mail it along, it's no big deal, but our legal people,
you know... :)

Again, best of luck!
Thanks!
Luke


>Dear Luke Knowland,
>
>Your story, "The Ant who thought he was a Penguin" is a wonderful use
>of the medium.   May I download your set of files to show to my
>seminar on Interactive Media in a Duo 270 detached from the net?
>Our meeting room has no internet access.
>My Duo has the English Text-to-Speech software -- I'll
>install Talker and hope it sworks.
>
>Regards,
>Xin Wei
>Stanford Humanities Center Seminar on Interactive Media
>http://www-leland.stanford.edu/~xinwei/pub/img/img.html
>
>___________________________________________________________________
>Sha Xin Wei                      E-mail: xinwei@leland.stanford.edu
>SULAIR Human-Computer Systems Architect       Phone:  (415)725-3152
>Mathematics and Scientific Visualization
>Stanford University
>Stanford, CA 94305-3090
>___________________________________________________________________



From owner-img-mail@lists.Stanford.EDU Thu Dec  5 11:24:48 1996
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  5 Dec 96 11:20:15 -0800
To: img-mail@lists.Stanford.EDU, bush@team-prometheus.com,
        egginton@leland.stanford.edu, harrison@leland.stanford.edu,
        pag@leland.stanford.edu, ravaglia@csli.Stanford.EDU
Subject: Discourse@Networks2000 Speaker Series
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

[Dear img folk,

It's a pleasure to note that the Discourse@Networks2000
Seminar has organized a speaker series for the year which
should complement our discussions quite well.   Next week,
December 4, we'll hold a  joint workshop with the DN2000
folk.   At 4:00, we'll have an opportunity to continue a
discussion with Helgi Schweizer about the Sonosphere project,
and so-called "virtual reality."  And at 5:00, we'll discuss
media in the context of McLuhan's _Understanding Media_. =20

- Xin Wei

http://www-leland.stanford.edu/~xinwei/pub/img/img.html
=
http://www-leland.stanford.edu/~xinwei/pub/img/media/McLuhan/Understandin=
gMedia.html
]

A Humanities Center Research Workshop on=20
the Epistemology of Information Technology

Organized by=20
        Alan Bush (Department of Philosophy)
        William Egginton (Department of Comparative Literature)
        Peter Gilgen (Department of German Studies and=20
                Graduate Program in Humanities)
        Robert  P. Harrison (Professor of French and Italian) =20
        Ray Ravaglia (Department of Philosophy and=20
                Center for the Study of Language and Information)

This workshop explores convergences between new information =
technologies
and concerns traditionally associated with the humanities, in
particular, the material and formal underpinnings and institutions that
provide the framework for the processing of so called "information."
       =20
We are proud to announce this year's schedule of events: =20

Opening Event:  A Discussion of=20
Marshall McLuhan's "Understanding Media" (Text available at the =
Stanford=20
Bookstore)
        Wednesday, December 11th, 5PM, Humanities Center Annex
       =20
John Perry Barlow, Founder, Electronic Frontier Foundation and lyricist
for the Grateful Dead.
        Speaking on "Owning Free Speech"
        Thursday, January 16th, 5PM, Humanities Center Annex

Hubert Dreyfus, Professor of Philosophy, UC Berkeley, with a response
from Richard Rorty, University Professor of Humanities, University of
Virginia
        Topic TBA=20
        Monday, February 3rd, 5PM, Humanities Center Annex

Ed Kozel, Chief Technical Officer, Cisco Systems,=20
        Speaking on "Storming Heaven:  The Internet Revolution,"
                         and
Kim Polese, Chief Executive Officer, Marimba Software,=20
        Speaking on "Time-Release Software: =20
        Using the Network to Streamline Applications" =20
        Monday, February 25th, 5PM, Humanities Center Annex

Jonathan Lethem, author of "Amnesia Moon" and "Gun with Occasional
Music,"=20
        Speaking on "Technological Fiction and Fictional Technology"
        Date and location to be announced

John Zerzan, critic of technology and anarchist, and author of "Future
Primitive," "Questioning Technology" and "Elements of Refusal," with a
response by
Jean-Marie Apostolides, Professor of French and Italian, Stanford
University, and author of "L'Affaire Unabomber"
        Speaking on "Against Technology,"=20
        Wednesday, April 23th, 5PM, Humanities Center Annex

John Seely Brown, Vice President and Chief Scientist of the Xerox
Corporation and Director of the Xerox Palo Alto Research Center, with a
response by=20
Hans Ulrich Gumbrecht, Albert Guerard Professor of Literature, Stanford
University
        Speaking on "Bridging Epistemologies:  =20
        The Generative Dance between=20
        Organizational Knowledge and Organizational Knowing"
        Monday, April 28th, 5PM, Humanities Center Annex
       =20
Mark Pesce, creator of Virtual Reality Modeling Language and author of
"Building Cyberspace"
        Speaking on "Ontos and Technos: =20
        Incorporations and the Noosophere"
        Wednesday, May 7th, 5PM, Humanities Center Annex

       =20
Go to our website for up-to-date information:
http://shc.stanford.edu/shc/disnet2k.html

From markg@interval.com Tue Dec 10 13:05:06 1996
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Date: Tue, 10 Dec 1996 13:10:00 -0800
To: xinwei@leland.stanford.edu
From: markg@interval.com (Mark Goldstein)
Subject: what's cool
Status: RO



--========================_48036268==_
Content-Type: text/plain; charset="us-ascii"

Hi,

Sorry I'm not around the seminar these days- been traveling and playing
rehearsals in Berkeley. I thought you might be interested in this op-ed
piece. Gary Chapman was the first exec director of CPSR and was a Stanford
poly sci PhD (and former Green Beret). A very interesting fellow.

mark



--========================_48036268==_
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<html>
<head>
<title>
 What Is Cool? Certainly Not a Campaign for It
</title>
<meta name="Desk"        content="CUTTING">
<meta name="Pubdate"     content="961202">
<meta name="Author"      content="GARY CHAPMAN">
<meta name="Page"        content="D-1">
<meta name="Section"     content="CUTTING">
<meta name="Headline"    content="What Is Cool? Certainly Not a Campaign
for It">
<meta name="Descriptor"  content="POP CULTURE, ADVERTISING, WEB SITES,
POVERTY, TRENDS">
<meta name="Biofile"     content="">
<meta name="Byline"      content="Gary Chapman is director of the 21st
Century Project at the University of Texas at Austin. He can be reached at
gary.chapman@mail.utexas.edu">
<meta name="Writer"      content="GARY CHAPMAN, Gary Chapman is director of
the 21st Century Project at the University of Texas at Austin. He can be
reached at gary.chapman@mail.utexas.edu">
<meta name="Type"        content="Column">
<meta name="Columntitle" content="INNOVATION">
<meta name="Pageheader"  content="The Cutting Edge">
<meta name="Kicker"      content="">
<meta name="Deckheader"  content="Trends: Although many companies would
like to appear 'with it,' the true cutting edge emanates from the
streets.">
<meta name="Subsection"  content="980038797">
<meta name="Pubday"      content="Monday, December 2, 1996">
<meta name="Dateline"    content="">
<meta name="Part"        content="FI, Business">
<meta name="Allhead"     content="The Cutting Edge; INNOVATION; What Is
Cool? Certainly Not a Campaign for It; Trends: Although many companies
would like to appear 'with it,' the true cutting edge emanates from the
streets.">
<meta name="Community"   content="">
<meta name="DaysToKeep"  content="7">

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<img align=top hspace=0 vspace=0 width=327 height=52 border=0
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   <br><font size=-1><b>INNOVATION</b></font>
   <br>
   <font size=+1>
   <b>
     What Is Cool? Certainly Not a Campaign for It
   </b>
   </font>
   <p>
   <font size=+1><!-- -->
    <p><!-- -->
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   <font size=+0>
   <!--img vspace=2 height=6 width=6 src="/GIFS/PIXELS/blackpix.gif" alt="">
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<img height=6 width=6 src="/GIFS/PIXELS/blankpix.gif">
Trends: Although many companies would like to appear 'with it,' the true
cutting edge emanates from the streets.
   </font>
   <p>
    <!-- author & byline -->By  GARY CHAPMAN<br>
</b><br>&#160;&#160;&#160;&#160;&#160;Microsoft Corp. <nobr>(<a
href="http://fast.quote.com/fq/latimes/quote?symbols=MSFT"><img
align=absmiddle height=14 width=65 border=0 hspace=0 vspace=0
src="/GIFS/ICONS/quotecom.gif" alt="[Current Quote]"></a><wbr><a
href="http://www.hoovers.com/cgi-bin/brand_la_mlist.cgi?mode=full&index_code
=14120"><img align=absmiddle height=14 width=45 border=0 hspace=0 vspace=0
src="/GIFS/ICONS/hoovers.gif" alt="[Company Capsule]"></a>)</nobr> has
launched a new advertising and public relations
campaign, and the mission, according to some people who work at the
company's ad agency, Wieden & Kennedy, is a seemingly impossible one: to
make Microsoft cool.
</b><br>&#160;&#160;&#160;&#160;&#160;   "Cool" is the holy grail of the
cyber-elite. It's the only word that
conveys success, that draws crowds in virtual space and that indicates a
company "gets it," in the cultural vernacular of the times. Cool is
completely binary--a company or a Web site is either cool or it's dead,
cold. In cyberspace, "cool" and "hot" are the same thing.
</b><br>&#160;&#160;&#160;&#160;&#160;   What is cool? Where does it come from?
</b><br>&#160;&#160;&#160;&#160;&#160;</b><br>&#160;&#160;&#160;&#160;&#160;
It comes from the streets. And more often than not, it comes from the
streets of the working poor, especially from the vibrant culture of poor
African American and Latino kids. It comes from the opposite pole of our
society than the one Microsoft Chairman Bill Gates and his peers inhabit.
Increasingly, immense multinational corporations are dependent, for their
marketing, on the culture of young people who are the losers in the
Information Age.
</b><br>&#160;&#160;&#160;&#160;&#160;At the recent Conference on
Technology, Jobs and Community held at Cal
State L.A., I spent some time talking with some young hip-hop artists,
black, white and Latino. Carlos "MARE 139" Rodriguez, a former graffiti
artist who grew up in the South Bronx, put it rather succinctly: "The
'soul' of this country has always been rooted in poverty."
</b><br>&#160;&#160;&#160;&#160;&#160;This is an old phenomenon. European
bourgeois discovered the vitality
of urban bohemian culture in the late 19th century, resulting in
Puccini's great opera, "La Boheme." Harlem's renaissance in the 1920s was
due to wealthy white patrons spending their time and money in black
nightclubs. All the forms of that global cultural juggernaut, rock 'n'
roll, were born in black juke houses in the South or in the ghettos of
factory cities in the North.
</b><br>&#160;&#160;&#160;&#160;&#160;The predominant cultural expression
of the inner city for the last 15
years, hip-hop, has been a brilliant marriage of street slang and
technology. Hip-hop got its start in the 1970s when street DJs started
manipulating records on turntables to produce rhythms and surprising
collages of sounds and words.
</b><br>&#160;&#160;&#160;&#160;&#160;Hip-hop musicians have absorbed
computers and turned them into bold
music machines with sampling, synthesized bass and dense layers of sound
and expression. Hip-hop swept the suburban world of white youth as much
as it did the mean streets of the ghetto.
</b><br>&#160;&#160;&#160;&#160;&#160;Just as corporations swallowed up the
music of the '60s to sell
products to baby boomers, companies have sanitized hip-hop, punk and
surfer culture to appeal to the young computer generation. Coca-Cola,
perhaps the ultimate brand-name standard, has a home page
(<a href="http://www.cocacola.com">http://www.cocacola.com</a>) that
features text of surfer "valley talk" in a
jagged punk font. One page describes "a guy with a full-body tattoo
covered with links"--cyberpunk meets the soft drink business.
</b><br>&#160;&#160;&#160;&#160;&#160;Brett Webb runs a Web site called Art
Crimes
(<a href="http://www.graffiti.org">http://www.graffiti.org</a>), an
international database of graffiti art.
Webb says he got an offer from Levi Strauss to buy the entire site.
</b><br>&#160;&#160;&#160;&#160;&#160;It's long been an axiom of cool that
whenever something cool shows up
in commercial use it's no longer cool.
</b><br>&#160;&#160;&#160;&#160;&#160;What is obvious is that the great
factories of style and coolness that
are constantly churning out ideas in places like East L.A., Watts,
Harlem, the South Bronx and elsewhere are always "pushing the envelope"
of what mainstream white society will accept. When someone like Dennis
Rodman starts showing up in TV commercials and People magazine, it's time
to move on to something new.
</b><br>&#160;&#160;&#160;&#160;&#160;But the deepest irony is that the
global information economy is
pushing the working poor of all races to the wall. In previous eras, it
was possible to have a vital working-class culture that survived on
factory and service wages. That's no longer true. Despite the recent
boost in the minimum wage, most of the working poor, tens of millions of
people, are barely making ends meet.
</b><br>&#160;&#160;&#160;&#160;&#160;The fact that billionaires and
millionaires are stealing or faking the
culture and imagery of the ghetto is not lost on the people who live
there. What was once a mostly happy and carefree hip-hop culture has
already turned into something angry and dangerous--gangsta rap, for
example--and now that's devolving into something even angrier and more
confrontational.
</b><br>&#160;&#160;&#160;&#160;&#160;There are edgy fault lines between
the artists of the ghetto and
high-tech imitators of cool that could eventually register on the Richter
scale. Advertising firms may want to make their clients cool, but they're
playing with fire.
<b><br><br>&#160;&#160;&#160;&#160;&#160;<center>- - -</center><br>Gary
Chapman Is Director of the 21st Century Project at the University of Texas
at Austin. he Can Be Reached at <a
href="mailto:Gary.chapman@mail.utexas.edu">Gary.chapman@mail.utexas.edu</a><
br><p>
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From markg@interval.com Tue Dec 10 13:05:06 1996
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Date: Tue, 10 Dec 1996 13:10:00 -0800
To: xinwei@leland.stanford.edu
From: markg@interval.com (Mark Goldstein)
Subject: what's cool
Status: RO



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Hi,

Sorry I'm not around the seminar these days- been traveling and playing
rehearsals in Berkeley. I thought you might be interested in this op-ed
piece. Gary Chapman was the first exec director of CPSR and was a Stanford
poly sci PhD (and former Green Beret). A very interesting fellow.

mark



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 What Is Cool? Certainly Not a Campaign for It
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<meta name="Author"      content="GARY CHAPMAN">
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<meta name="Descriptor"  content="POP CULTURE, ADVERTISING, WEB SITES,
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<meta name="Byline"      content="Gary Chapman is director of the 21st
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gary.chapman@mail.utexas.edu">
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<meta name="Columntitle" content="INNOVATION">
<meta name="Pageheader"  content="The Cutting Edge">
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<meta name="Pubday"      content="Monday, December 2, 1996">
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   <br><font size=-1><b>INNOVATION</b></font>
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   <b>
     What Is Cool? Certainly Not a Campaign for It
   </b>
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Trends: Although many companies would like to appear 'with it,' the true
cutting edge emanates from the streets.
   </font>
   <p>
    <!-- author & byline -->By  GARY CHAPMAN<br>
</b><br>&#160;&#160;&#160;&#160;&#160;Microsoft Corp. <nobr>(<a
href="http://fast.quote.com/fq/latimes/quote?symbols=MSFT"><img
align=absmiddle height=14 width=65 border=0 hspace=0 vspace=0
src="/GIFS/ICONS/quotecom.gif" alt="[Current Quote]"></a><wbr><a
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src="/GIFS/ICONS/hoovers.gif" alt="[Company Capsule]"></a>)</nobr> has
launched a new advertising and public relations
campaign, and the mission, according to some people who work at the
company's ad agency, Wieden & Kennedy, is a seemingly impossible one: to
make Microsoft cool.
</b><br>&#160;&#160;&#160;&#160;&#160;   "Cool" is the holy grail of the
cyber-elite. It's the only word that
conveys success, that draws crowds in virtual space and that indicates a
company "gets it," in the cultural vernacular of the times. Cool is
completely binary--a company or a Web site is either cool or it's dead,
cold. In cyberspace, "cool" and "hot" are the same thing.
</b><br>&#160;&#160;&#160;&#160;&#160;   What is cool? Where does it come from?
</b><br>&#160;&#160;&#160;&#160;&#160;</b><br>&#160;&#160;&#160;&#160;&#160;
It comes from the streets. And more often than not, it comes from the
streets of the working poor, especially from the vibrant culture of poor
African American and Latino kids. It comes from the opposite pole of our
society than the one Microsoft Chairman Bill Gates and his peers inhabit.
Increasingly, immense multinational corporations are dependent, for their
marketing, on the culture of young people who are the losers in the
Information Age.
</b><br>&#160;&#160;&#160;&#160;&#160;At the recent Conference on
Technology, Jobs and Community held at Cal
State L.A., I spent some time talking with some young hip-hop artists,
black, white and Latino. Carlos "MARE 139" Rodriguez, a former graffiti
artist who grew up in the South Bronx, put it rather succinctly: "The
'soul' of this country has always been rooted in poverty."
</b><br>&#160;&#160;&#160;&#160;&#160;This is an old phenomenon. European
bourgeois discovered the vitality
of urban bohemian culture in the late 19th century, resulting in
Puccini's great opera, "La Boheme." Harlem's renaissance in the 1920s was
due to wealthy white patrons spending their time and money in black
nightclubs. All the forms of that global cultural juggernaut, rock 'n'
roll, were born in black juke houses in the South or in the ghettos of
factory cities in the North.
</b><br>&#160;&#160;&#160;&#160;&#160;The predominant cultural expression
of the inner city for the last 15
years, hip-hop, has been a brilliant marriage of street slang and
technology. Hip-hop got its start in the 1970s when street DJs started
manipulating records on turntables to produce rhythms and surprising
collages of sounds and words.
</b><br>&#160;&#160;&#160;&#160;&#160;Hip-hop musicians have absorbed
computers and turned them into bold
music machines with sampling, synthesized bass and dense layers of sound
and expression. Hip-hop swept the suburban world of white youth as much
as it did the mean streets of the ghetto.
</b><br>&#160;&#160;&#160;&#160;&#160;Just as corporations swallowed up the
music of the '60s to sell
products to baby boomers, companies have sanitized hip-hop, punk and
surfer culture to appeal to the young computer generation. Coca-Cola,
perhaps the ultimate brand-name standard, has a home page
(<a href="http://www.cocacola.com">http://www.cocacola.com</a>) that
features text of surfer "valley talk" in a
jagged punk font. One page describes "a guy with a full-body tattoo
covered with links"--cyberpunk meets the soft drink business.
</b><br>&#160;&#160;&#160;&#160;&#160;Brett Webb runs a Web site called Art
Crimes
(<a href="http://www.graffiti.org">http://www.graffiti.org</a>), an
international database of graffiti art.
Webb says he got an offer from Levi Strauss to buy the entire site.
</b><br>&#160;&#160;&#160;&#160;&#160;It's long been an axiom of cool that
whenever something cool shows up
in commercial use it's no longer cool.
</b><br>&#160;&#160;&#160;&#160;&#160;What is obvious is that the great
factories of style and coolness that
are constantly churning out ideas in places like East L.A., Watts,
Harlem, the South Bronx and elsewhere are always "pushing the envelope"
of what mainstream white society will accept. When someone like Dennis
Rodman starts showing up in TV commercials and People magazine, it's time
to move on to something new.
</b><br>&#160;&#160;&#160;&#160;&#160;But the deepest irony is that the
global information economy is
pushing the working poor of all races to the wall. In previous eras, it
was possible to have a vital working-class culture that survived on
factory and service wages. That's no longer true. Despite the recent
boost in the minimum wage, most of the working poor, tens of millions of
people, are barely making ends meet.
</b><br>&#160;&#160;&#160;&#160;&#160;The fact that billionaires and
millionaires are stealing or faking the
culture and imagery of the ghetto is not lost on the people who live
there. What was once a mostly happy and carefree hip-hop culture has
already turned into something angry and dangerous--gangsta rap, for
example--and now that's devolving into something even angrier and more
confrontational.
</b><br>&#160;&#160;&#160;&#160;&#160;There are edgy fault lines between
the artists of the ghetto and
high-tech imitators of cool that could eventually register on the Richter
scale. Advertising firms may want to make their clients cool, but they're
playing with fire.
<b><br><br>&#160;&#160;&#160;&#160;&#160;<center>- - -</center><br>Gary
Chapman Is Director of the 21st Century Project at the University of Texas
at Austin. he Can Be Reached at <a
href="mailto:Gary.chapman@mail.utexas.edu">Gary.chapman@mail.utexas.edu</a><
br><p>
   <p>
   <font size=-1>
 Copyright Los Angeles Times
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From bolton@leland.Stanford.EDU Thu Dec 12 15:42:49 1996
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Date: Thu, 12 Dec 1996 15:40:47 -0800
To: xinwei@leland.Stanford.EDU
From: bolton@leland.Stanford.EDU (Christopher & Kija Bolton)
X-Sender: bolton@pobox1.stanford.edu
Subject: IMG
X-Mailer: Eudora-JE(1.3.8-JE13)
Status: RO

Xin Wei,

It was nice talking to you at the seminar yesterday.  Could you send me
some information on the Interactive Media Group when you get started again
in the winter quarter?

Thanks.  I'll look forward to talking with you more in January.

Christopher Bolton
Asian Languages
bolton@leland
Tel. 321-1533

---------------------------------------------------------------
Christopher A. Bolton                bolton@leland.stanford.edu
Stanford Asian Languages                 
---------------------------------------------------------------


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To: img-mail@lists.Stanford.EDU, bush@team-prometheus.com,
        egginton@leland.stanford.edu, harrison@leland.stanford.edu,
        pag@leland.stanford.edu, ravaglia@csli.Stanford.EDU
Subject: IMG Wednesday, January 8
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Dear IMG and DN2000 folk,

The Interactive Media Group's first meeting of the quarter will be this  
Wednesday at 4:00, in the Humanities Center.
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html)

We'll discuss the themes for this term, both on-going themes, such
as technologies of writing, and themes inspired by upcoming  
Discourse@Networks2000 public talks:
http://shc.stanford.edu/shc/disnet2k.html

Looking forward to seeing you all this Wednesday,
Xin Wei


From owner-img-mail@lists.Stanford.EDU Wed Jan  8 18:00:26 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed,  8 Jan 97 17:51:47 -0800
To: img-mail@lists.Stanford.EDU
Subject: John Perry Barlow at Stanford (note change of location)
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Discourse@Networks.2000

A Stanford Humanities Center Research Workshop on

The Epistemology of Information Technology

is proud to announce the first speaker of the Winter Quarter:

John Perry Barlow, founder of the Electronic Frontier Foundation,

Speaking on

"Owning Free Speech"

Thursday, January 16th, from 5 to 7 PM, in Building 260 room 113

	Southwest corner of the Main Quad, near the Clock Tower,
        across from the Cubberly School of Education,
        Stanford University

        This site shows the Clock Tower
        (and provides access to ever-larger maps to help you find it)
        http://www-tour.stanford.edu:1081/cgi-bin/ctour.prl/21.00/d

See our web page http://shc.stanford.edu/shc/disnet2k.html
or email Alan Bush at bush@team-prometheus.com for more information.

From owner-img-mail@lists.Stanford.EDU Fri Jan 10 17:12:32 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 10 Jan 97 17:03:30 -0800
To: img-mail@lists.Stanford.EDU
Subject: "Mixing Messages" site; Journal of Design and Design Theory
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Dear IMG folk,

Here's a site that Mark found (via SciAm Jan 97):
<http://mixingmessages.si.edu/
with some interesting essays about cyber-age design.

And Charles forwarded a ref to the Journal of Design and Design Theory:
(Zeitschrift fuer Gestaltung)

>This issue was edited by Gui Bonsiepe (Professor of Audivisual Media and
>Hypermedia
>at Cologne Polytechnicxs Department of Design), the titel is:
>
>Gemischtwaren - digital. Design und Neue Medien
>The Digital Variety Shop. Design and the New Media
>
>The main contributions are:
>
>- Gui Bonsiepe
>  On the Tense Relation Between Theory and Practice
>
>- Ralf Hebecker and Justus Herrmann
>  Multimedia-Design
>
>- Volker Grassmuck
>  On the Typology of the Hacker in Japan
>
>- Mihai Nadin
>  Computational Design
>
>- Arthur Kroker
>  Digital Humanism
>
>- Georg Fleischmann
>  Performance Animation
>
>- Peter Friedrich Stephan
>  Designers in Cyberspace: Cluelss
>
>- Oliver Wrede
>  Mnemonics in Graphic Interfaces
>
>Miscellany / Re-read / Reviews:
>
>- Michael Erlhoff
>  Reflections
>
>- Guenter Hoehne
>  Product Culture Without Dialog
>
>- Hartmut Winkler
>  As we may Think
>
>- Volker Albus
>  Sudden Notions
>
>- Heiner Jacob
>  Hyptertext, Interactivity, Multimedia
>
>- Bernhard E. Buerdek
>  As time goes by
>
>- David Oswald
>  The Way Things Work
>___________________________________________________________________________
>!  The next issue will appear at the end of June 1997, it will focus on   !
>!  "Product Language" or "Product Semantics".                             !
>!  Authors are invited to submit articles for consideration               !
>!________________________________________________________________________ !
>

Xin Wei

From xinwei@truffaut.stanford.edu Fri Jan 10 17:17:45 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 10 Jan 97 17:08:46 -0800
To: xinwei@leland.Stanford.EDU
Subject: FWD>notes on last IMG mtg
Status: RO

Xin-Wei..I have added two or three items from my written notes which I did not
have with me yesterday. Otherwise the notes are the same.  See you on
Saturday? We could talk then also whether we want to give these notes a bit of
a spin in our direction. Helga  helga_wild@irl.org

--------------------------------------
Date: 1/9/97 3:22 PM
From: Helga Wild
Dear Xin-Wei:
Here as much as I remember.....
Greetings, Helga

First IMG session Jan 8, 1997
We started to discuss our plans for this quarter by talking about practices
(possibly to get away from the notion of Media which felt a bit frazzled at
the edges  at the end of last quarter). Xin-Wei mentioned  "alternative
practices."   During the next minutes everybody noted  practices as possible
approaches to the study of media: medical practice (operations under distant
control?), educational practice, publishing practice, political practice ,etc.
 It quickly became clear that each member expects different things from such a
focus.  Some expect practical help, some innovation in specific a specific
domain, others would take it as a frame to explore theoretical ideas.
Alternative practice was also interpreted as a way to reflect on our own
position inbetween industry and university, a position which could be made
more stable or legitimate through establishing of a new practice.
Then we all agreed that we would rather work together as a project team with
the goal of designing/ creating the specifications for some thing leaving
unspecified what this thing might be.  It was also agreed that we will not at
first be narrowed down to implementable things or will try to find money for
the effort.
In the following brainstorming a number of topics were brought up; some of
them as candidates for the design effort,  others are issues that should /
could be addressed within the design.

Candidates
Reconceiving /Designing of:
advertisement / space(s)/ electronic field trip/ smart clothes or jewelry/
innovative (=non-imitative) forms of publishing on the web/ news (room/
genre)/.... sketching/....

Issues to be considered
money as part of practice/ money as a symbolic object/ continuity of
experience/ shading...peripheral vision  for the experience of space/  getting
away from objecthood / differential geometry and topology to provide
inspiration for different structures/..rhtyhm/ shading as a temporal
indicator/...

We agreed that we will audiotape from now on every session (Helga responsible
for that), and have a note taker on a rotational basis.

Task for next session:  We need to decide on the object.





From xinwei@truffaut.stanford.edu Fri Jan 10 10:50:48 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 10 Jan 97 10:41:52 -0800
To: xinwei@leland.Stanford.EDU
Subject: notes on last IMG mtg
Status: RO



Begin forwarded message:

Date: 9 Jan 1997 15:22:21 -0800
From: "Helga Wild" <helga_wild@irl.org>
Subject: notes on last IMG mtg
To: "Xin-Wei Sha" <xinwei@truffaut.Stanford.EDU>
X-Mailer: Mail*Link SMTP-QM 3.0.2

                       Subject:                               Time:2:51 PM
  OFFICE MEMO          notes on last IMG mtg                  Date:1/9/97

Dear Xin-Wei:
Here as much as I remember.....
Greetings, Helga

First IMG session Jan 8, 1997
We started to discuss our plans for this quarter by talking about practices
(possibly to get away from the notion of Media which felt a bit frazzled at
the edges  at the end of last quarter). Xin-Wei mentioned  "alternative
practices."   During the next minutes everybody noted  practices as possible
approaches to the study of media: medical practice (operations under distant
control?), educational practice, publishing practice, political practice ,etc.
 It quickly became clear that each member expects different things from such a
focus.  Some expect practical help, some innovation in specific a specific
domain, others would take it as a frame to explore theoretical ideas.
Alternative practice was also interpreted as a way to reflect on our own
position inbetween industry and university, a position which could be made
more stable or legitimate through establishing of a new practice.
Then we all agreed that we would rather work together as a project team with
the goal of designing/ creating the specifications for some thing leaving
unspecified what this thing might be.  It was also agreed that we will not at
first be narrowed down to implementable things or will try to find money for
the effort.
In the following brainstorming a number of topics were brought up; some of
them as candidates for the design effort,  others are issues that should /
could be addressed within the design.

Candidates
Reconceiving /Designing of:
advertisement / space(s)/ electronic field trip/ smart clothes or jewelry/
innovative (=non-imitative) forms of publishing on the web/ news (room/
genre)/....

Issues to be considered
money as part of practice/ money as a symbolic object/ continuity of
experience/ shading...peripheral vision  for the experience of space/  getting
away from objecthood / differential geometry and topology to provide
inspiration for different structures/....

We agreed that we will audiotape from now on every session (Helga responsible
for that), and have a note taker on a rotational basis.

Task for next session:  We need to decide on the object.





From owner-img-mail@lists.Stanford.EDU Mon Jan  6 16:39:13 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon,  6 Jan 97 16:30:56 -0800
To: img-mail@lists.Stanford.EDU, bush@team-prometheus.com,
        egginton@leland.stanford.edu, harrison@leland.stanford.edu,
        pag@leland.stanford.edu, ravaglia@csli.Stanford.EDU
Subject: IMG Wednesday, January 8
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Dear IMG and DN2000 folk,

The Interactive Media Group's first meeting of the quarter will be this  
Wednesday at 4:00, in the Humanities Center.
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html)

We'll discuss the themes for this term, both on-going themes, such
as technologies of writing, and themes inspired by upcoming  
Discourse@Networks2000 public talks:
http://shc.stanford.edu/shc/disnet2k.html

Looking forward to seeing you all this Wednesday,
Xin Wei


From owner-img-mail@lists.Stanford.EDU Mon Jan 13 14:59:20 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 13 Jan 97 14:59:27 -0800
To: img-mail@lists.Stanford.EDU
Subject: notes from first Winter IMG
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

First IMG session Jan 8, 1997

We started to discuss our plans for this quarter by talking
about practices (possibly to get away from the notion of Media
which felt a bit frazzled at the edges  at the end of last
quarter). Xin-Wei mentioned  "alternative practices."   During
the next minutes everybody noted  practices as possible
approaches to the study of media: medical practice
(operations under distant control?), educational practice,
publishing practice, political practice ,etc.

It quickly became clear that each member expects different
things from such a focus.  Some expect practical help, some
innovation in specific a specific domain, others would take it
as a frame to explore theoretical ideas. Alternative practice
was also interpreted as a way to reflect on our own position
inbetween industry and university, a position which could be
made more stable or legitimate through establishing of a new
practice. Then we all agreed that we would rather work
together as a project team with the goal of designing/
creating the specifications for some thing leaving unspecified
what this thing might be.  It was also agreed that we will
not at  first be narrowed down to implementable things or will
try to find money for the effort.

In the following brainstorming a number of topics were brought up; some of
them as candidates for the design effort,  others are issues that should /
could be addressed within the design.

Candidates

Reconceiving /Designing of:
advertisement / space(s)/ electronic field trip/ smart
clothes or jewelry/ innovative (=non-imitative) forms of
publishing on the web/ news (room/ genre)/.... sketching/....

Issues to be considered

Money as part of practice/ money as a symbolic object/
continuity of experience/ shading...peripheral vision  for the
experience of space/  getting away from objecthood /
differential geometry and topology to provide inspiration for
different structures/..rhtyhm/ shading as a temporal
indicator/...


We agreed that we will audiotape from now on every session (Helga  
responsible for that), and have a note taker on a rotational basis.

Task for next session:  We discuss candidates and issues, and
the forms of participation in this round.

- HW

>>> Please, everyone who's on the img-mail goup,
>>> post your reactions to
>>> img-mail@lists.stanford.edu
>>> so we can see what people would like to work on this term,
>>> Please propose questions/scenarios you'd like to study
>>> and for which you can take some responsibility in discussion.
>>> - SXW
http://www-leland.stanford.edu/~xinwei/pub/img/img.html


From owner-img-mail@lists.Stanford.EDU Tue Jan 14 12:07:43 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 14 Jan 97 12:07:41 -0800
To: img-mail@lists.Stanford.EDU
Subject: alternative practices & topics for Winter; SIGGRAPH96
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Status: RO

Dear img folk,

My interest in this joint exercise is to approach some of the
conceptual problems, rather than design for the sake of design.  More
specifically, I'd like to do this gedanken experiment explicitly with
the aim of sharpening our(my) currently vague notions of
continuous/smooth field ontologies.  I'd like to think about how to
sketch marks that can support precise, sustained reasoning about fuzzy
or non-object stuff.  The marks should sustain a variable degree of
precision and depth, unlike most computer systems which support only a
phenomenologically "superficial" engagement (eg. using a drawing app),
or a deep but very narrow form of cognition (eg.  composing and
debugging programs in a procedural language).

With that in mind, how about: a hybrid physical-computational park --
a "public" garden -- as our object?  Here are some questions.  I'll
keep some of my preliminary conjectures in suspension.


0.  Why a park?  I agree with Ann and others that "that deciding on
the object is secondary to defining the objectives of our alternative
practice qua practice."  It may be useful to implicitly define a set
of political or cultural stakes in the context of a park.

1.  What does it mean to sketch in diagrammatic systems?  Can we
extend this to designing rooms and houses?  Sketching, to me is
different and much more evanescent/less commit-ful from construction,
which underwrites the engineers' notion of rapid prototyping.

2.  How do regions and borders get established -- in aural field, in
community space, in private relations?

3.  What are some notions of metric that do not directly derive from
kinesthetic schema, yet could be useful in topologizing a hybrid
space?

4.  Can we apply the paradigms of sketching to the construction of
hybrid physical-computational spaces?  Does this offer a "mindblowing,
exemplary" extension of the notion of writing?


Here are some references from SIGGRAPH96 that impinge on our topics...
These are valuable windows into the state of the art and the ideology.

Improv: A System for Scripting Interactive Actors in Virtual Worlds
   
http://www.siggraph.org/conferences/siggraph96/core/conference/papers/t130.2.html

Lumigraph (plenoptic function, alternative to QTVR for merging synthetic  
and sampled images)
   
http://www.siggraph.org/conferences/siggraph96/core/conference/papers/w1015.4.html

SKETCH: An Interface for Sketching 3D Scenes
    
http://www.siggraph.org/conferences/siggraph96/core/conference/papers/t1015.1.html

Superior Augmented Reality Registration by Integrating Landmark Tracking  
and Magnetic Tracking
    
http://www.siggraph.org/conferences/siggraph96/core/conference/papers/f130b.2.html

Adding Force Feedback to Graphics Systems: Issues and Solutions
    
http://www.siggraph.org/conferences/siggraph96/core/conference/papers/f130b.4.html

- Xin Wei

PS.  Mark Pesce appeared in at least three panels, but I didn't
see anything worth relaying. Ann may be interested in
analyzing him ;)

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 14 Jan 97 11:32:11 -0800
To: img-mail@lists.Stanford.EDU
Subject: Niklas' Re: notes for img agenda
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[From Niklas - XW]

Keeping my promise to write a short response to the last Img
meeting-discussion and taking my cue from certain coomments that Xin-wei
and Helga made, I would like to raise the following issues-topics for
discussion and possible joint exploration:

What is a hybrid physical-computational domain? How can it be  
characterized 'ontologically': as material? as semiotic? What are the  
implications for designing a medium
presuming we can specify the differences between, in short, the
prediscursive and discursive descriptions? How can such a medium if medium
is indeed the word for it , become supportive of a public domain that
thereby honors the embodied condition of its 'occupiers'?
Could such a public domain function as an agora or as a novel
theatrical stage? What kind of social relations/institutional
arrangements are to be in place for such thing to arise and what kind of  
social ties would it, in turn foster?

These are some of the issues iam interested in. I recognize they are
difficult and not easy to translate into "implementable solutions".
However even if they can not themselves be 'solved' by the group, they
bring attention to 'the social-political' which Ithink should constantly
and consistently inform our
search for better understanding and designing! During the meeting I raised
questions concerning the economy and role of money in this brave new
World, but i refrain from trying to raise, here, questions about them.
Crucial as they are I think we are going to have our hands and minds full
just trying to address the issues of the aforementioned questions.
That's all for now. Niklas

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                       Subject:                               Time:2:17 PM
  OFFICE MEMO          re: questions/ issues for IMG seminar  Date:1/13/97

Dear IMG participants:
Here are two issues that I would like to pursue in the context of the IMG
seminar.  
1. How are boundaries established in social space, geographical space, other
space?  Does this have something to do with the experience of inside and
outside?  Does this have something to do with the experience of identity? Or
is it ungrammatical to speak of an "experience" of identity?  .....
Spenser-Brown comes to mind; physiological evidence of when an object is
experienced to be part of one's body, when a part of one's body is experienced
as foreign. Phenomenology of space  (Stroeker, etc.) 

Second issue: rhythm - a different approach to time. 
Biological, circadian rhythm as disposition of the individual;  Short-term,
motor rhythm as the basis of the interaction with objects/ their integration
into behavioral sequences. (Heidegger's ready-to-hand,  Miller's midworld)
Social rhythm as temporal basis for collaboration.....  
 


From owner-img-mail@lists.Stanford.EDU Mon Jan 13 19:20:34 1997
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From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: Alternatives and Practices
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Dear All,

Sorry I missed last week. I was exhausted after first teaching, new
classes, etc. 

I like the idea of making an object. Here are some
questions/suggestions/directions. 

In what way will we define or pursue "alternative practice?" It seems to
me that deciding on the object is secondary to defining the objectives of
our alternative practice qua practice. How is our process of object making
to be alternative? What alternati ve practices do we want our object to
embody? Some of these will, naturally and excitingly, emerge in the
process of construction. But I would think that we have to agree on some
specific desireable practice outcomes in advance. A kind of manifesto?
Some blatantly political aims? Cultural? 

I suggest, for many reasons, that we develop alternative writing
practices. Or alternative "presentation of complex idea" practices. First
of all, we all write. And we all are intensely engaged in the presentation
of complex ideas. Note: I am purposely a voiding the word "information."
Indeed, I would suggest the striking of the word "information" as one of
our alternative practices.  Then, there is so much kant (pun intended)
about writing and new media. A mindblowing, exemplary, and politically
grounded answer is in order. 


What do you think?

xxAnn


From CK.CFU@Forsythe.Stanford.EDU Tue Jan 14 13:02:18 1997
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From: "NSI"             <CK.CFU@Forsythe.Stanford.EDU>
To: "Philip S McLaughlin"  <Phil.Mclaughlin@Forsythe.Stanford.EDU>,
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1Jan. 14, 1997           Your old room was needed by a course.            Page 1


 Record 1 of 1 -----------------------------------------------------------------

    REQ TYPE:  A Academic      EV TYPE:  D Departme    ENR: 20     KEY: 247979
    EVENT NAME: Interactive Media Group Seminar            ADD DT: 09/18/96
    DPT/SPN: Humanities Ctr                                UPD DT: 01/14/97
    REQ NAME: Xin Wei Sha                                  INIT:   PM
    PHONE:  5-3152
    EMAIL:  XINWEI@LELAND                                  MAIL CODE:

    SU13:
    SU40:
    PE100:                                    ALL FORMS IN?
    REQUEST NUMBER(S):

 EVENT NOTES:
 Faculty Seminar. Need room w/ SUNet hookup for computers. **PLEASE NOTE: You
 may be bumped if the room you have been given is needed for a regular class.**

 STATUS  ROOM NUMBER                DATE     DAY INFO  BEGINTIME   ENDTIME   WHO
    A    200-32                     04/02/97   We R    06:30 PM    08:30 PM
    A    200-32                     04/09/97   We R    06:30 PM    08:30 PM
    A    200-32                     04/16/97   We R    06:30 PM    08:30 PM
    A    200-32                     04/23/97   We R    06:30 PM    08:30 PM
    A    200-32                     04/30/97   We R    06:30 PM    08:30 PM
    A    200-32                     05/07/97   We R    06:30 PM    08:30 PM
    A    200-32                     05/14/97   We R    06:30 PM    08:30 PM
    A    200-32                     05/21/97   We R    06:30 PM    08:30 PM
    A    200-32                     05/28/97   We R    06:30 PM    08:30 PM
    A    200-32                     06/04/97   We R    06:30 PM    08:30 PM

From owner-img-mail@lists.Stanford.EDU Wed Jan 15 20:23:32 1997
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I just read Niklas' post via Xin Wei. I'd like to suggest a shift in
direction, more along the lines of what Niklas says about a computational
environment "honoring the embodied condition of its occupiers." I was
guilty of a rather discipline and punish approach in our meeting today.
Could we think along the same lines, but cast our gedanken experiment as
more loving?

xxAnn



From owner-img-mail@lists.Stanford.EDU Thu Jan 16 01:44:10 1997
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199701160944.BAA13842@elaine42.Stanford.EDU>
Subject: my response
To: img-mail@lists.Stanford.EDU
Date: Thu, 16 Jan 1997 01:44:01 -0800 (PST)
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 (Dear img folk, this is just my own first response.  I'll write up
 more neutral notes soon.)
 
 Well, I'm jazzed, even if it's only, as the Italians say, fried air at
 this stage.  Just as playing blackjack for money puts salt on the
 game, I feel that honoring certain socio-political concerns makes the
 thought experiment worth performing.  Like at least some of the others
 around the table, I also would like to see us conduct this term's
 thought experiment with something important at stake.  For me, what
 would make this exercise worthwhile falls along two questions.  (1)
 Which of our own politics would we like to reflect in this putative
 hybrid computational-physical realm?  Laying out some cards, I'd be
 curious to see if anyone's interested in evaluating whatever we come
 up with in terms of something like Laclau and Mouffe's _Hegemony and
 Socialist Strategy (chap. 4)_, or, if you prefer, some Deleuzean
 manifesto.  (2) What smooth or continuous or algebraic structures can
 form in computational media and what are their implications for play,
 fantasy, alternativity?  Here my recommendation for a starting point
 is Jaenich's _Topology_.
 
 The object, the thought experiment?  Of the suggested experiments, let
 me synthesize one now, and defer a complete listing to the mtg notes.
 How could people experience alternativities that have political and
 affective stakes?  How could people who are ordinarily political
 objects project alternative lives in a public forum?  Ben posed this
 sharp, substantial challenge, and I'll try to do it more justice in my
 notes.  Let me extract two scenarios/worlds out of the many scenarios
 that we discussed.  (1) A virtualization or remote representation:
 eg. a video or VRML, ... multimedia window between two radically
 different worlds.  (2) An augmented reality or a hybrid
 computational-physical world mediated by some computational and social
 fields.  (Almost every term here is quoted or subscripted, of course,
 so I'll sprinkle Michael's "sozusagen" throughout.)  It's easier for
 me to see how smart clothing, as a metonym for
 computationally-augmented fields that corona our bodies, could
 interact with (2), but I think we need to contrast it with something
 like (1).  In a social sense (1) is theater, and (2) is inverse
 theater.  I think of Ben's challenge as a call for inverse theater.
 
 Even though the bifurcation between (1) and (2) is not so clearcut, I
 think that it'd be most valuable to construct contrasting scenarios:
 something that doesn't "play" and something that may do "better."  Ann
 said, let's try to avoid using the word "information," to which I'd
 like to add let's be careful about evaluating our gedanken scenario by
 how well it "works."  Laura's intervention, "Are we doing a product
 design or what?" was well-put.  So let's see how people and things
 play out.
 
 For those of you who've debugged fairly large programs, or have
 created a fair amount of digital media, you know what a gulf there is
 between what we've said today and the technologies that exist.  That
 gulf justifies Ann's concern about the constraints of current writing
 systems, and Ben's observation months ago about how underwhelming
 multimedia appears upon inspection.  I suggested that we examine the
 technologies of writing, taking writing in a radically generalized
 sense, partly to try to bridge this gulf by extrapolating from
 technology that's familiar.  Maybe smart clothing/ embedded
 computation/augmented reality is a more median interpolation.  I think
 I'm more familiar with technologies of writing, but "computational
 clothing fields" are more fun.  And, pace Petrucci and his _Public
 Lettering_, it's all writing anyway.
 
 xx
 Xin Wei
 
 


From owner-img-mail@lists.Stanford.EDU Sun Jan 19 14:37:07 1997
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
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Subject: notes 15 Jan 97
To: img-mail@lists.Stanford.EDU
Date: Sun, 19 Jan 1997 14:36:50 -0800 (PST)
Cc: xinwei@truffaut.Stanford.EDU
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Notes 15 Jan 97	
							
Ann, Ben, Niklas, Helga, Charles, Laura, Sam, Chris, Glen, Xin Wei

Comments in square brackets were added later by the notetaker
XW. Please forgive misattributions and my inevitable distortions.
Please send a few lines to img-mail@lists.stanford.edu, summarizing
your own response.  We discussed possible thought experiements and
associated questions, purposes.

To X's initial suggestion that we consider a park, N responded that we
should avoid a merely mimetic transfer of an old social form into the
virtual or hybrid realms.  G would like to see how economics figure in
this experiment.  A would like to first understand what the point of
the discussion would be.  A's interested in, for example, how we would
overcome the impoverished expressivity of current writing technology.
N extended this to ask how the new hybrid computational world could
honor the desire to express oneself.  How would we represent what used
to be unrepresentable?  (Is this possible?)  CK mentioned the use of
talk-aloud protocol in user studies, as a (unsatisfacory?) was to get
at user's experience of non- verbal objects.  B asked, but are we
talking about a game?  Who are the players, how many can participate?
Games have an implict closure.  Take a scenario from a real community
in whch representations and resolutions of interest are central
problems, for example: People's Park or Dolores Park.  (H, B) -- One
of the problems of Luhmannesque systems theory is the difficulty of
considering phenomena that cross systems.  Could we consider a model
economy and consider the problem of shared scarcity?

Malapropos of ScareCity(A) (ScarCity (G)), A referred to science
fiction: S. Delaney's _ Dhalgren_, in which the environment is filled
with enigmatic objects, and where the regularities in the world seem
to shift; Murphy's _City Not Long After_.  Another reference
recommended was _Theater and the Practice of Everyday Life_.

N: How do we understand constraint and scarcity in the new contexts?
Information about ___ is limited by the interpretative imagination.
How do we relate to information as material?  Is scarcity a notion
that charactieristic of phsyical material?

G suggested SimLover, certainly scarcity logics enter.  X suggested
the genre of personal ads.  A -- But are such narrow goals necessary?
We thought that this genre was probably too limited.  L. suggested
that pressures of some sort are quite necessary.  Constraints give us
something to work against/with.  B -- These scenarios certainly carry
emotional stakes.  A and others said, of course we;'ve got to have
some fun.  C -- We've describing how to interact via non-verbal means.
I've thought, for example what if we could use, say dripping, to
communicate?  A -- Permutation City people constructed identities
combinatorially out of personality panels.

N -- At PARC there was research on intelligent beams (in buildings)
that was a primitive example of putting the computational into the
("ordinary") material world.  An embedded chip would solve the
[inverse pendulum kinemtics?]  dynamical equations so that a beam
could flex to counter motions of the earth and remain standing.

X -- How about smart clothing?  We recalled scramble suits in
P. Dick's novel.  What if these clothes were not entirely under our
conscoius control, asked G [perhaps harkening back to Freud].
"Wearing your heart on your sleeve."  C and A - - What if we consider
clothes as pets?  But B noted that this is subject to Derridean
problem signs, reminding us that in Dick's novel scramble suits were
used by police surveillance agents to avoid detection.  N sees that we
could use this to attempt to *de-semioticize* the world.  H -- What if
we view clothing as a field phenomenon rather than a well-defined
skin?  Imagine encounters mediated via sound or music.  B -- But
clothes already create / funciton in socio-economic fields.  We think
about smart clothes more as an inversion, how they are organized
around some heuristics, such as the regulation of public desire.

B -- Imagine a recursive experiment.  Suppose we consider a real
political situarion, such as the community discussions about the role
of and the disposition of resources around Dolores Park.  Imagine a
computational field [a model?] projected onto real space [reverse
Baudrillard] in which policy and information models would be visible
in this public space (and subject to negotiation).  [See work by Steve
Mann, MIT.]  L asked in what sense are smart clothing a field?  Does
smart clothing related to intuition, the unconscious.  Is it merely a
prosthetic?  C proposed a more information-theoretic function: imagine
clothing that gave comnpass-directional information, and effectively
manifested this by texturizing space.  Also, clothing could server as
a probe into the self's body.  B -- What if you gave political victims
(objects) some input into this computational system, so that they had
the opportunity to construct and enact alternative visions of
themselves and their own lives.  These alternatives would be manifets
in some public space.  X called this an inverse theater (and therefore
not subject to L's criticism of political theater which degenerated
into vehiclkes for artist egos at the expense of poltical victims.)  S
mentioned several network art projects in Europe.  In one, poor
families were projected into WWW, with the intent of exposing the
WWW-world to the conditions of life of these poor families.  The
effect on the victims was quite destructive.  [This sharply
illustrates a difference between self-organized and
externally-organized forms of expression.]  There were other
experiments in which the computer clearly enabled the simultaneous
presentation of multiple "realities."  L -- A problem with art as
social service is that people are asked to do something more risky.  A
-- perhaps there's an opposition between the real-time [synchronous
communication] and fantasy.  What if we set up a video wall joining
two very different parts of NYC?  X -- this points up a problemwith
video, used as a form of so-called direct, synchronous representation.
Such technologies make a spectacle of need [in the case of news, it
makes a spectacle of misery].  It would be valuable to conduct a dual
experiment to see how the different technologies (say
representationalist vs enactive) could have quite different
consequences, given a set of social stakes.  N and others agreed that
smart clothing could serve as a particular mechanism that mediates
between local/private and global/public, and between computational and
social.


S mentioned an installation called DeepBlue in which deep blue tubes
were suspended in a dark room.  In another example, the warmth of the
viewers bodies generated sense.

B and others asked, but what are the interests involved in smart
technology?  Who wants to push it, who wants to use it?  N.  suggested
that there are degrees of individuation and ways of defining
our-selves qua bodies that may be possible through these forms.
["Clothing"should be treated metonymically for certain fields, to be
defined, rather than as referring to any particular object.]

- XW

From owner-img-mail@lists.Stanford.EDU Sun Jan 19 14:39:20 1997
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
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Subject: Smart Clothing article
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Date: Sun, 19 Jan 1997 14:39:04 -0800 (PST)
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Dear img folk,

There is a fascinating body of work by Steve Mann at the MIT Media Lab
that's relevant to our discussion.  I suggest that we read Mann's
"'Smart Clothing': Wearable Multimedia Computing and 'Personal
Imaging' to Restore the Technological Balance Between People and Their
Environments," Proceedings ACM Multimedia 96,
163-174. http://wearcom.org.  I'll bring paper copies to the next
meeting.

- Xin Wei

From owner-img-mail@lists.Stanford.EDU Mon Jan 20 12:58:57 1997
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Subject: Brecht; S. Mann's "Smart Clothing"
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Dear img folk,

I'm preparing some references that seem relevant to our discussion of  
constructing hybrid spaces and wearable computation.  Here are some  
possibilities. Please suggest others.  I have paper copies of Mann's  
article by my door.  (Also an article about Improv, a scripting system  
for synthetic actors.)


1. Steve Mann, "'Smart Clothing': Wearable Multimedia Computing and  
'Personal Imaging' to Restore the Technological Balance Between People  
and Their Environments," Proceedings ACM Multimedia 96,
163-174.   http://wearcam.org/

2. Roswitha Mueller, _ Bertolt Brecht and the Theory of Media_, ch. 1
http://www-leland.stanford.edu/~xinwei/pub/img/media/Brecht/Mueller_Brecht.html
   Gives an account of Brecht's, Benjamin's and contemporaries ideas  
about how people could construct media for themselves, based on  
experiments with radio, film and theater.   (eg. Piscator's multimedia  
theater.)  I just scanned it w/o proofing it.   Maybe Chris. Ben or Laura  
could enlighten us
on the relevant debates about means of production in theater & the  
multimedia of the 1920's.

- Xin Wei


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From: gkurtz@digitopia.com (Glenn Kurtz)
Subject: some thoughts
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IMGistas:

since we're working on a gedanken experiment, I have the following Gedanken:

My objection to "theater in reverse" is not against creating such a
project, but  against providing a specific political content for it. What I
object to is the implied didacticism and moralsism, especially when it is
conceived as a way to offer the voiceless a voice. "We" don't know what the
voiceless want to say, even if we have our own ideas about how important it
is for them to say it.

If our goal is to facilitate alternative discourses, we'll want to design
the "stage," but leave the script, and all elements of the performance, to
the users--aware that many users will undoubtedly want to say things that
conflict with our own political goals [i.e., military/police use of smart
clothes]. But that very problem--that the space we define will be used in
"unauthorized" ways--is the central fact of open systems like the internet
(which is already a theater in reverse for those on it). Maybe our project
should encourage and explore "unauthorized use" in its broadest sense.
Maybe something that defies its own authority, built to exemplify a
hacker's epistemology: a product designed to be used in ways contrary to
its design. If there is a politics to be promoted in our system, I feel it
has to be promoted *systemically*, not through specific content.

I don't think this conflicts at all with the goal of having something of
vital, even political importance at stake; I think it radicalizes that goal
by putting *us* at stake as well. (And unless we are also at stake, we are
just moralizing; advertisers for our brand of politics.) (The goal would
not be to reverse the audience/actor relation, but to tear down the theater
in which we are held enthralled by gods.--Sim-Revolution?) I prefer to
think of creating an "instrument"--like a musical instrument--, and to
leave the music to the inventiveness of the players (among whom we would
not be priveleged).

The central question, as always, is: How do we define "alternative
discourses (practices)"? Is this meant in a purely demographic sense
(people of color; the economically disadvantaged, etc.)? Or might it also
mean alternatives to what is generally accepted as "proper behavior"? Or
even: proper medium of communication? (Isn't "writing"--as the epitome of
and primary metaphor for "thinking"--an unnecessary restriction of our
physical/unconscious/sensory activity? Wouldn't "multimedia," as an
alternative metaphor, hold the promise of new forms of self-representation,
and so of expanding the definition of "thinking"?) [--I'd like to propose
that we ban (or at least be highly critical of) "writing" and "reading"
along with "information."]

How much and what kinds of "empowerment" are we willing to imagine? Do we
stick within constitutional bounds? Within the bounds of conventional
morality? (To say nothing of conventional physics or representation?)



Glenn





From owner-img-mail@lists.Stanford.EDU Tue Jan 21 07:38:23 1997
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Date: Tue, 21 Jan 1997 07:12:32 -0800 (PST)
From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: Re: Glenn's post
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I'd like to offer a hearty second to Glenn's gedankens, with a few
additions and caveats. 

Caveat: "We" are privileged, but not all in the same way or to the same
degree. Even choosing not to privilege ourselves in our own project is a
privilege. A political mentor of mine said vis-a-vis privilege "Take what
you've got and use it in the service
 of what you believe." One aspect of the smart clothing that makes me
uncomfortable is the boy-with-toy feel to it. (No reference to biological
sex intended!) The cost of it. The flashy-hi-techness of it.  I think
whatever we do, our privileges, the economics of it, and the genetics of
the economics (the route to funding, etc.) should be visible parts of the
content of the piece. And by way of implicating ourselves, I don't think
we should be so quick to knock "enthrallment." 

In terms of "putting ourselves at risk," I think this can only be done if
we *do* come out politically, in all *our* variety. So maybe consensus
around political goals was not the right way to go.  We all have political
agendas, ideas, and they should be visible too, and the ways in which
these shape the project should be visible. I think a useful procedure
would be to lay bare the ways in which we must, of necessity, direct
aspects of the project, and the inevitable ways in which all that we do
would be informed by our cultural/political auras. I don't believe it's
possible to create a stage without content. And that wouldn't be dangerous
enough (for us) anyway. 

I love the idea of a self-hacking project. And of a decomposing theater as our model of the model. (pun/double entendre intended)

???,

Ann


From owner-img-mail@lists.Stanford.EDU Tue Jan 21 14:34:02 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 21 Jan 97 14:30:02 -0800
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Eureka, nerves!   Now we begin to place some stakes in this discussion.

+ Political Transparency vs Visibility

Fear not -- our diverse histories and strong personalities preclude any  
move toward eeuw yuck mono-politik.  And since we're talking about a  
meta-design thought experiment, we're working two levels above any action  
on the street (another archaic form).   My concern is the opposite, that  
there's been too much techno-infatuation (BoyWithNetwork or  
BoyWithMultimedia) and too little critical disposition.   By critical I  
mean not only a political, but also a radical technical criticism, based  
on a some reconceived notions of the computational and material worlds  
and of how we move in them.   But as I said, it keeps me awake to have  
some some stakes in this experiment.  One of computer technology's  
illusions is precisely the notion of content-free design, of  
transparency, an appropriate illusion for a seminar like the IMG to  
perturb, don't you think?  (In fact, we touched on this lightly last year  
when we read parts Coyne's _Desiging Information Systems in the  
Postmodern Era_.)  So... how stage AND what to put on the stage.

Even if we do "only" a thought experiment, referring it to specific  
content would give us something to grip.  It seems that any "content"  
worth its salt would raise some hot political issues if viewed through a  
political optic.   There's no call for everyone engaged in the experiment  
to put on such an optic.   The strength of a multi-discplinary approach  
is that we can bring different optics to our seminar, mine being  
mathematical and computer-science optics.  However, I wouldn't mind,  
quite the contrary, if we do skinny dip a bit, and if we do radicalize  
the project by putting ourselves under the political optic.

+ Right to Self-representation

I think we're in agreement here.  I strongly second this call for a  
respect for *self* expression.   That's why I chose my references  
carefully -- A part of Brecht, Deleuze and Leclau&Mouffe's various  
reactions to their worlds is the respect for people's right to express  
their alternativities themselves in a multiple society.   I'd be most  
interested in discussing this with you(plural) some more to see what you  
think.
(As Ann and Steve Reich say, "Come Out Come OutComeOutComeOutComeOut...")

If we agree in principle that no one should presume to speak on behalf  
of the imagined "voiceless," then let's analyze some genres of electric  
or electronic media that do presume to do just that.   This was a reason  
to compare print journalism, WWW and game versions of the Gulf War last  
term.  But cooler[several senses] artifacts may be found in TV ads, a   
genre that could be read both ways a la Baudrillard.

I think I have very little to contribute to the demographic notion of  
alternative discourse.   Although I think it's important, I think that  
the IMG is not the forum for such an explicit political discussion.   If  
there are any realizable projects -- software application, book,  
performance, installation, suicide hotline cum website... -- that spin  
out of this seminar, so much the better, but if you wanna dirty your  
fingers, do it outside, heh heh.

Questions such as those Glenn raised about alternate media for  
self-presentation, action, and presentations-to-self brought me to the  
IMG, so I'm aligned with also with the positive part of his response  
(second half of last paragraph).

+ Technologies of Writing...Expression

If one gives up determinist theories, technological or otherwise, one  
should also be more sanguine about inevitable unauthorized uses of  
technology.   But in fact, unauthorized use, Searle's bane and one of the  
saving graces of language, opposes most current approaches to commercial  
software design.   Having spent many years with the instruments of both  
natural and artificial languages, I'd give up contemporary software  
before I give up writing and reading in English.  But that technicality  
aside, I fully agree with the spirit of Glenn's questions about alternate  
discourse technologies.

I'm interested in somehow building beyond the primitive technologies  
that we are given, especially the so-called multimedia technologies (eg.  
QuickTime, QuickTimeVR, OpenGL, Renderman, HTML, VRML...).   To me they  
seem like a giant leap *backward* from traditional corsets of writing and  
reading, but I'd be most interested in comparing notes with people who  
live farther from the computer.   Of course, analog logocentric  
technologies need not be our only means of expression in the  
computational era.  One of my own interests is to build radically more  
flexible technologies of -- for lack of a better term -- writing,  
construed in some exploded/explosive sense which I'd like to talk about  
this quarter.   If you're game, I'd like to introduce some concepts from  
topology and measure theory and differentiable manifolds in order to  
leaven this radical project.

+ Thrills and Stakes

Part of the thrill is that we will put into play the "self" in  
"self-hacking" and the intentionality implied in that phrase.  Another  
thrill is an ontological project drawing on free-based math.   
Self-stimulation, whether done privately or communally in a seminar, is  
fun, but after awhile I wouldn't mind going for the intersubjective  
thrill -- how people play with each other.

- Xin Wei

PS.  I'd suggest playing with the (idea of) Smart Clothing.   See what  
non-Boys can do with it.

From owner-img-mail@lists.Stanford.EDU Tue Jan 21 17:19:19 1997
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From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: Smart?
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Geez Xin Wei, I didn't know you could be so . . . hot. Eschewing "dirty
fingers," though. 

Speaking as a mostly (but not entirely) not-Boy, or, for a moment,
inhabiting the subject position of not-Boy, How about putting together
smart clothing and intersubjective play? 

Anybody seen the new MCInet commercial? 

"THERE ARE NO RACES. THERE ARE NO GENDERS. THERE ARE NO AGES. THERE ARE NO
INFIRMITIES. THERE ARE ONLY MINDS." 

Whew! 

So , if SC (smart clothing) is computational fields in the world
(although, and despite Niklas' disclaimers, I still think we are
valorizing world over virtual world), and chips are supposed to get rid of
all of those nasty "surfaces," what about using smart clothing for
surface hyperbole?  Or to invite exploration of surfaces of the not-smart 
body?

I'm struggling. I still don't get the appeal of the SC. So maybe SC
advocates will use a slower hand and explain their positions tomorrow
night.  (grin)

xxAnn

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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199701241322.FAA11263@elaine19.Stanford.EDU>
Subject: notes 22.1.97; bodystorming exercise
To: img-mail@lists.Stanford.EDU
Date: Fri, 24 Jan 1997 05:22:51 -0800 (PST)
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Sorry, since this is a witching hour, I will dispense with language
and give you only fragments of my memory of the last IMG seminar.  Sharp
fun.  The exercise we'd like all of us to do for next Wednesday is the
following: Read Steve Mann's article on Smart Clothing.  As you go
about your affairs this week, imagine your life with such computation
stitched into yourself and your surroundings.  We'll detox and debrief
at the next session.

Socrates Phaedra, and the possibility of reflexive, explosive critique
(ask G.).  [pseudo-Godel]

Not "social" meaning not "mimetic" transport from existing social
realities also not mimetic transfer from phsyical realities
(spatiotemporal mimetic fallacy)

Neuromancer -- SimStim, empathic clothing?

Composite bodies shaped from multiple subjects? (ask L.)

Change apparent body or perceptual machanism, then see how we adapt?
(extension of the upside-down glasses experiment)

Time play?   Martin Ames's Time's Arrow; Alan Lightman's Einstein's Dreams
Time play: make your perceptual time delays (a la Slow Glass or jitter
as in Edgertonian eyes), be a function of social relation to the
people or part of the world that you attend.  Walk down University
Ave.  Motion blur or time-delay proportional to how much wealthier the
person (flesh-persons as well as corporation-persons?) is relative to
you, etc.

Alternate physics (as a step toward alternate socialities)

Meta-Design -- how do *we* wrestle with our goals and methods?  How do
we measure "progress"?  How do latecomers or intermittents
participate?  How do we register and use group memory?  Can we cycle
our objects of analysis into our own practice?

End product this term-- a jointly-authored document, with some sense
of a jointly constructed vision, or responsive organism.

Taxonomies of social forms:
	Point-Point Dyads: Host-Parasite, Host Guest, Tutor Apprentice, Client Server
	Point-Field: Teacher Class
Agency: locus, diffusion, definition?
	autonomy, unexpectedness, out of your control, is this
animism? hidden laws?

Loyalty, Commitment, Friendship, Solidarity

Advertising, Freud's brother in law (G)

Generalized writing and literacy? Literacy has negative senses under
certain commodified relations.  Kittler, literacy and women.  Women
have no such role in "cyberliteracy" (oxymoron?)

Scenarios should sustain Fantasy as joke/irony, or as music.

Exercise for next time: read the Mann article, and imagine how ou
would go about your life this week if you had smart clothing or some
extension of such technology into your world.

-SXW

From xinwei@leland.Stanford.EDU Mon Jan 27 15:15:50 1997
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Date: Mon, 27 Jan 1997 15:15:52 -0800
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Reply-To: xinwei@leland.Stanford.EDU
Organization: SU
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Dear Steve Mann,

	I'm really intrigued by and sympathetic to your work.  Could you
give me (and my friends/colleagues here) some guidleines
on how to out together and use our own wearable tech, starting
with wearcam and wireless transmission?   What equipment, and what
costs?
	Institutionally, I work, as an "architect" for human-computer systems
at Stanford, with more of an emphasis on the human than
the average.   For other motivations, you're welcome to visit
http://www-leland.stanford.edu/~xinwei.

	Thanks.

Regards,
Sha Xin Wei

From owner-img-mail@lists.Stanford.EDU Thu Jan 30 15:50:39 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 30 Jan 97 15:44:26 -0800
To: img-mail@lists.Stanford.EDU
Subject: Stanford Digital Art Center
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Dear IMG folk,

	You may be interested in the
Stanford University Digital Art Center:
	http://www-stanford.edu/dept/art/SUDAC

Xin Wei

From yeungf@leland.Stanford.EDU Mon Feb  3 01:41:35 1997
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From: The Evil Twin <yeungf@leland.Stanford.EDU>
Message-Id: <199702030940.BAA19666@epic9.Stanford.EDU>
Subject: Revisions....
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Hi Xin Wei,
	I did two things:
	1) Deleted most of the Agenda page.
	2) Added in a link for responses to 8 & 15 Jan topics. Couple
steps:
	a) Link to the form
	b) Form goes to posting board page (transient -- so that those
who posted can view their own comments)
	c) Posting board page provides a link to the cumulative
comments page, with everybody else's comments.

	I'll add in a link to the cumulative comments on the
discussion page itself, so that people can access it without having to
post messages.

Felix
ps How far back should I go?  I did the January one, and am not sure
whether people would still want to respond to previous ones...?

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From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: Update on Sharon Traweek Colloquium (fwd)
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---------- Forwarded message ----------
Date: Mon, 3 Feb 97 10:24:32 PST
From: Rosemary Rogers <Rosemary.Rogers@Forsythe.Stanford.EDU>
To: Distribution list:
Subject: Update on Sharon Traweek Colloquium

From: fujimura@leland.stanford.edu (Joan H. Fujimura)
Subject: Traweek Luce Colloquium



  The Henry R. Luce Professorship of Biotechnology and Society Presents

                  Sharon Traweek: Cultural Reality Wars

  February 5, 1997
  3:30 pm
  Building 200 Room 34, Stanford University
  Reception following in Building 110 Room 111-O

  Organized by Joan H. Fujimura, Henry R. Luce Professor of Biotechnology and
  Society

  Hosted by the Department of Anthropology and the Program in History and
  Philosophy of Science, Stanford University

  For at least a millenium there have been debates in the European tradition
  about  realities, rationalities, truths, objectivities, etc.  There are
  also long-standing debates about the accumulated human strategies for
  making knowledge:  empiricisms, solipcisms, relativisms, positivisms, and
  so on.  Similarly, these issues have been explored for millenia in other
  intellectual traditions, such as those in west, south, and east Asia.

  Historians understand that every one of these key words has a distinctive
  and significant history and that the meanings of those terms have been
  different at different historical moments in different places.  Many
  historians would also recognize those European debates are usually
  recapitulations of theological arguments about the existence of god and
  about whether to read biblical texts literally.

  Over the millenia these debates over words have often been doctrinal and
  conducted with considerable passion, often accompanied by dogma, excess,
  ignorance, slander, and malevolence.  Historians now know that these
  debates were also debates about institutions, economics, status, and
  politics, not easily separable from the intellectual positions about ways
  of knowing.  The current manifestation of these debates in the United
  States and Great Britain under the name of 'science wars' is no
  exception.

  Who cares?  Whose heresy is this about?  What is the institutional
  political economy of the American 'science wars'?  A fifty-year-long
  funding ecology that supported the stunning expansion of  American
  academic disciplinary research fields has ended, along with the cold
  war.  All who benefitted from that ecology [both those 'in power' and
  'the opposition'] are now under duress.   The 'science wars' are about
  who 'really knows what', about whose way of knowing is the best strategy
  for making sense in these unstable times, about whose work must survive
  and whose might be eliminated when there is not enough to go around.

  Intriguingly, this deadly talk is about ontology and epistemology, in an
  old language about the gods of reality and about who has the most literal
  readings of those gods' worlds.  Throughout Europe, Asia, and North
  America religious fundamentalism has provided the language for debating
  the end of modernity at the end of the millenium.  Cultural anthropologists
  have studied the ways people strategically invoke
  traditional language in new ways when they engage in contests about a
  shared future.

  Professor Sharon Traweek, Department of History and Women's Studies,
  University of California, Los Angeles


  One day parking permits are available from the Transportation Programs Office
  at 855 Serra Street. For further information on parking and transportation
  please call the above office at 415-723-9362 or see the Stanford
  transportation web page:
  http://transportation.stanford.edu/transportation




****************
Joan H. Fujimura
Associate Professor
Department of Anthropology
Henry R. Luce Professor of Biotechnology and Society
Stanford University
Stanford, CA 94305-2145
415-723-5669
fax 415-725-0605
dept 415-723-3421
fujimura@leland.stanford.edu


To:  HPS-COLLOQUIA(Public Dist. List)


From owner-img-mail@lists.Stanford.EDU Tue Feb  4 18:46:03 1997
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Date: Tue, 4 Feb 1997 18:42:15 -0800 (PST)
From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: Sharon Traweek
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Hey folks,

Sharon Traweek is speaking tomorrow at 3:30, blg. 200, rm. 34. I forget 
the name of her talk, something about Enlightenment science, I think. 
Anyone want to have a field trip to her lecture and reconvene our 
gedanken experiment next week? There's a reception after. (Appeal to FOOD)

xxAnn

From owner-img-mail@lists.Stanford.EDU Wed Feb  5 12:12:26 1997
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199702052012.MAA26382@elaine2.Stanford.EDU>
Subject: Sharon Traweek Colloquium
To: img-mail@lists.Stanford.EDU
Date: Wed, 5 Feb 1997 12:12:08 -0800 (PST)
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The Sharon Traweek Colloquium looks really interesting. But since I'll
be busy, I can't make it, maybe someone (Ann) could post a reaction to
her talk to img-mail@lists?

Speaking of reaction, I wonder what people thought of the discussion
in the Dreyfus&Rorty show yesterday?

Why "information technology"?  Why "databases"?  Why "networks"?
Why "speech acts"?

Xin Wei

From owner-img-mail@lists.Stanford.EDU Fri Feb  7 06:37:30 1997
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From: The Evil Twin <yeungf@leland.Stanford.EDU>
Message-Id: <199702071437.GAA28861@epic8.Stanford.EDU>
Subject: Request
To: img-mail@lists.Stanford.EDU
Date: Fri, 7 Feb 1997 06:37:19 -0800 (PST)
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Hi Y'all,
	This is Felix, I'm helping to maintain the IMG webpage now.
One request:  In and out of class, a lot of e-mail messages are
generated in response to class material, lecture ideas, and other
people's comments.  We're trying to find a good way to keep track of
people's comments and organize them better for your reading pleasure.
	The way you guys can all help out with this is:  whether you're
submitting a comment through the web page, or typing out e-mail,
please put in a subject line that says explicitly to what or to whom
you are referring.  That will save us some time in the process.  
	Thanks, and hopefully we'll find the necessary web tools to
further simplify things!

Felix
yeungf@leland.stanford.edu

"Only Connect!" -- Howards End  E.M. Forster


From owner-img-mail@lists.Stanford.EDU Sat Feb  8 20:13:16 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Sat,  8 Feb 97 20:10:13 -0800
To: img-mail@lists.Stanford.EDU
Subject: Einstein's Dreams
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Dear IMG folk,

Apropos of time play, here are some chapters form Lightman's
novel, _Einstein's Dreams_:

http://www-leland.stanford.edu/~xinwei/pub/img/media/Lightman/
EinsteinsDreams.html

Xin Wei

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Subject: UC Berkeley lecture series on Art, Technology and Culture
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[Dear IMG folk,  the time conflict is tragic but I'll ask if
they'll broadcast those talks. - Xin Wei]

In addition to the CyberSemester Speaker Series (see program below), events
include:

*a lecture series on Art, Technology and Culture
( http://queue.IEOR.Berkeley.EDU/~goldberg/lecs/)
*a series of events sponsored by the Humanities and Computing Group
*a series of films and speakers on computing and cultural theory, including
Kathryn Hales and Howard Rheingold
*a show of CD-ROM artists at the PFA in March

We and others will send out notices as appropriate.

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

THE CYBERSEMESTER SPEAKER SERIES

Wednesdays 5:00pm - 7:00pm in 2050 Valley Life Sciences Building
**Please Note Class Time Changes; Feb.5, 6pm-8pm & Apr.9, 5pm-8pm**

OPEN TO THE PUBLIC
***************************************************************************
Speaker Schedule...

January 29      The Importance of Time, with Dr. Eric Schmidt, Chief Technology
Officer and CEO, SUN Microsystems

February 5      From Wagner to Virtual Reality: The History of
Multi-Media, with
Randall Packer, Visiting Lecturer, Art Practice Department
***class will meet from 6:00pm - 8:00pm***

February 12     Slouching Toward Broadband: Discontinuities in the Evolution of
Information Infrastructure, with Michael Borrus, Adjunct Professor, College
of Engineering, Co-Director, Berkeley Roundtable on the International Economy

February 19     The Information Economy, with Hal Varian, Dean and Professor,
School of Information Management and Systems

February 26     Copyright in Cyberspace, with Pam Samuelson, Professor, School
of Information Management & Systems and Boalt School of Law

March 5 Creating Businesses on the Internet, Haas School of Business, MBA
Student Roundtable

March 12        Smart Cars on Smart Roads: An End to Congestion?, with
Professor
Pravin Varaiya, Electrical Engineering and Computer Science

March 19        Tele-Robotics via the World Wide Web, with Professor Ken
Goldberg,
Industrial Engineering & Operations Research, and creator of the Tele-Garden

April 2         Living in Cyberia:  A Case Study of Internet Culture,  with
Professor Nina Wakeford, University of Sheffield, United Kingdom

April 9         Film Presentation: Visions of Heaven and Hell, with
introduction
by Steve Seid, Curator, Pacific Film Archive
***class will meet from 5:00pm - 8:00pm***

April 16        Digital Libraries and Collaboration, with Robert Wilensky,
Professor, Computer Science

April 23        Using the Web as an Outreach Tool: A Case Study from
International Affairs, with Harry Kreisler, Executive Director, Institute for
International Studies

April 30        The Ubiquitous Internet: Beyond Reading, Writing, and Money
Machines, with John Gage, Director and Chief Scientist, SUN Microsystems

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Date: Tue, 11 Feb 1997 13:27:06 -0800
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Dear IMG folk,

The Center for National Research INitiatives has been shepherding a
universal naming service, described in

http://www.handle.net/docs/overview.html

Here's an excerpt.   It's meta-fascinating.  - Xin Wei


Introduction

Why names?

A Handle is a name used to identify items and other Internet resources.
The Handle System is a distributed
computer system which stores these names and provides the information
that is needed to locate and access these
items. The system ensures that handles are unique and that they can be
retained over long time periods. 

In the past, most computer systems have identified an item by the
location where it is stored, for example by the
name of a computer system and the name of a file on that computer. A
notable example is the World Wide Web
which use a Uniform Resource Locators (URL) for this purpose. 

In building large information systems, it proves much more efficient to
refer to items by name, rather than
location. This is particularly important if the information is expected
to be valuable over long periods of time.
Some of the advantages of handles are listed below. 

Persistence 
       Much information has a life much longer than the organization
that created it. The handle system is
       designed so that a handle can outlive the organization that
created it. The name lasts longer than any
       specific computer system or organization. (For example, one use
of handles is to identify items that are
       subject to copyright. In the USA, copyright lasts seventy years
after the death of the creator. This is far
       beyond the life of any of today's computer systems, most
organizations, and probably the Internet itself.) 
Location independence 
       With handles, the name of the item is unrelated to the location
that the item is stored. This allows easy
       reorganization of information. It is even possible to transfer
parts of collections from one organization to
       another without changing the handle. (As an example of the
problems caused by identifying items by
       location, some time ago, much of the documentation for the Web
moved from CERN in Geneva to MIT in
       Boston. Every pointer to a URL at CERN became obsolete. If the
information had been identified by
       handles, this transfer would have been managed by simply changing
data in the handle system.) 
Multiple instances of an item 
       A handle can refer to more than one instance of an item. (As an
example, CNRI is the publisher of D-Lib
       Magazine. The magazine is mirrored in Britain. By giving a handle
to each article, the handle system can
       store data that lists each instance of the article and how to
access it.)

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 11 Feb 97 15:40:10 -0800
To: img-mail@lists.Stanford.EDU
Subject: Zizek Feb 20
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[from Suzie Dunn at the Humanities Center - Xin Wei]

Slavoj Zizek
Cyberspace: Or how to Enjoy through the Other"
Thursday, February 20, 1997
3:00pm
Humanities Center Annex
Sponsored by the STanford Humanities Center


</center>Slavoj Zizek is one of the preeminent philosophers of our
time. He holds doctorates in Philosophy and Psuchoanalysis and
currently is a researcher at the Institute for Social Sciences,
Ljubjana, Slovenia. He has published widely on philosophy, politics,
culture, film and psychoanalysis.  He is the author of numerous
ground-breaking studies, including *The Sublime Object of Ideology*,
*Enjoy Your Symptom!*, and *Everything You Always Wanted to Know About
Lacan (But were Afraid to Ask Hitchcock)*.


For information call 415-723-3053

http://shc.stanford.edu/shc/zizek.html
mailto:sedunn@leland.stanford.edu

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 11 Feb 97 20:05:18 -0800
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Dear IMG folk,

Just a reminder,  last time we agreed to play with some
media, working with some basic materials like clay,
videocamera, reflective surfaces, etc.   I will try to supply
a videocamera + a monitor.   Everyone, please bring your
favorite stuff.   This will fall into context when Niklas
sends out his notes of the last meeting(s) ;)

Someone new should take notes tomorrow.

BTW, if anyone has a small TV monitor that can take signal in
RCA phono-plugs, please  bring it.  I may be able to bring a
second camera for this experiment.

Xin Wei

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Dear IMG folk,

Doug Felt (an honorary member of the seminar), told me about Thomas  
Zimmerman, at IBM (ex MIT Media Lab) who invented a way for information  
to be passed by touch, conducted by electric charge on the skin.    
Zimmerman christened it Personal Area Networks (PAN).  Here are the  
links, but I'll include some text.

http://www.research.ibm.com/research/pan.html
http://w.media.mit.edu/~tz/
http://www.computerworld.com/search/AT-html/online/9611/961119comdex.html

He also invented a (the?) DataGlove.

- Xin Wei

---------------------------
IBM
---------------------------

Hi-tech, hi-touch:
Personal Area Networks

Scientists at IBM's Almaden Research Center (San Jose, CA) are  
perfecting a new Personal Area Network technology (PAN) that uses the  
natural electrical conductivity of the human body to transmit electronic  
data. PAN technology is being demonstrated publicly for the first time at  
the Comdex computer industry trade show in Las Vegas on November 18 and  
19.

Using a small prototype transmitter (roughly the size of a deck of  
cards) embedded with a microchip, and a slightly larger receiving device,  
the researchers can transmit a pre-programmed electronic business card  
between two people via a simple handshake. What's more, the prototype  
allows data to be transmitted from sender to receiver through up to four  
touching bodies.

How PAN works

The natural salinity of the human body makes it an excellent conductor  
of electrical current. PAN technology takes advantage of this  
conductivity by creating an external electric field that passes an  
incredibly tiny current through the body, over which is carried.

The current used is one-billionth of an amp (one nanoamp), which is  
lower than the natural currents already in the body. In fact, the  
electrical field created by running a comb through hair is more than  
1,000 times greater than that being used by PAN technology.

The speed at which the data is transmitter is equivalent to a 2400-baud  
modem. Theoretically, 4000,000 bits per second could be communicated  
using this method.

Potential applications

IBM researchers envision PAN technology initially being applied in three ways:

1. To pass simple data between electronic devices carried by two human  
beings, such as an electronic business card exchanged during a handshake.

2. To exchange information between personal information and  
communications devices carried by an individual, including cellular  
phones, pagers, personal digital assistants (PDAs) and smart cards. For  
example, upon receiving a page, the number could be automatically  
uploaded to the cellular phone, requiring the user to simply hit the  
"send" button. This automation increases accuracy and safety, especially  
in driving situations.

3. To automate and secure consumer business transactions. Among the many  
examples:
- A public phone equipped with PAN sensors would automatically identify  
the user who would no longer have to input calling card and PINs. This  
application significantly reduces fraud and makes calling easier and more  
convenient for users;

- By placing RF (radio frequency) sensors on products, such as rental  
videos, stores could essentially eliminate counter lines and expedite  
rentals and sales. The customer would simply carry the selected videos  
through a detecting device that would automatically and accurately  
identify the customer and his selections, and then bill his account  
accordingly.

- Health service workers could more safely and quickly identify  
patients, their medical histories and unique medicinal needs by simply  
touching them. This application would be particularly helpful in accident  
situations or where the patientis unable to speak or communicate.

)In this example, A researcher's electronic buiness card is transmitted  
between two people by simply touching fingers.
_
Why use the body to transmit data?

Sharing information increases the usefulness of personal information  
devices and provides users with features not possible with independent or  
isolated devices. However, finding a way to do this effectively,  
securely and cost-efficiently presented a challenge, at least until PAN  
was developed.

That's because other likely approaches are not practical for everyday  
use. For example, wiring all these devices together would be cumbersome  
and constrictive to the user. Infra-red communications of information,  
used on TV remote controls, requires direct lines of sight to be  
effective. Radio frequencies (such as those used with automated car  
locks) could jam or interfere with each other, or be imprecise in crowded  
situations.

Previous work in this area

PAN grew out of work between Professor Mike Hawley's Personal  
Information Architecture Group and Professor Neil Gershenfeld's Physics  
and Media Group, both located at the MIT Media Laboratory. Initial  
research was funded by the IBM Corporation, Hewlett-Packard and the Festo  
Didactic Corporation.

Thomas Zimmerman (now at the IBM Almaden Research Center), working  
closely with Gershenfeld, realized that data could be sent through the  
body by modulating the electric field used in position measurement  
experiments. This technique was developed by Zimmerman in part while MIT  
was working with the magicians Penn and Teller to refine an illusion in  
which Penn and Jillette "played" musical instruments without touching  
them.

Availability

The prototype technology being demonstrated by IBM at Comdex is still in  
the research stages and is being refined before it will be applied to  
any future products and services.

From owner-vrml-behaviors@franklin.sdsc.edu Thu Feb 13 05:46:30 1997
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From: psto@xs4all.nl (Peter Stone)
Subject: ## News: Symbolic Composer 4.0 (with VRML 2.0) For The PowerMac ##
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Symbolic Composer 4.0 for PowerMacintosh is now ready and shipping.
A demo can be downloaded from page

   http://www.xs4all.nl/~psto/

SCOM 4.0 for PowerMac port was financed by pre-ordered subscriptions by 
the users. Thank you for all of you who made this possible! SCOM 4.0 runs 
now fully PowerMac-native and is 31 times faster than SCOM Pro on PPC. A 
score that previously took 30 minutes to compile is now ready and playing 
under a minute. 

New features were also added: tonality interpolators and processors, 
fade-in/out automation plus web-access directly from SCOM menus. SCOM 
4.0 users may now download and contribute scores to Score Forum, and let 
Score Clinic solve problems. Globally-accessible compositional idea bank
accessible from SCOM menu is now made possible by these enhancements.

SCOM Highlights

  Ready-to-use and modificable score demos 
  Easy to maintain and develop complex scores 
  Instant Lisp access, expansion and environment customisation 
  Visual compiler spots errors in the right place 
  Easy examination of values at a given point of score

  Suitable for generating final productions and pre-compositional material 
  Applicable for commercial, experimental and modern music of any complexity 
  Wide range of musical functions 
  Perfect partner for small and large MIDI studios
  Perfect tool for music education 
  Interface to industry-standard MIDI sequencers and notation programs 
  Runs on standard 14 inch bw or color monitor, no need for a big monitor

  ZIPI-like instrument control, up to 256 channels using standard MIDI 
  Easy-to-use tunings (cents, ratios, algorithms) 
  Lisp-based editor with auto-formating and parenthesis counting 
  Compositional element library 
  Web-access directly from the program 
  Customizable launching of other programs while booting up
  Online electronic hyperhelp documentation and tutorials 

The SCOM Language

SCOM functions are selected from hierarchical menus and pasted on the 
editor. Each function has one output and several inputs. Functions are 
nested into each other to achieve the proper functionality. SCOM's 
unique feature that nearly any function can be connected to any other 
function maximises the creative freedom and allows to develop new 
compositional ideas. 

New composition-specific functions can be programmed on-line by the composer
with build-in Common Lisp interpreter. The extensions can be included in 
the score, and made available for other user as plug-ins, including a 
hypertext documentation. New interface extensions can be designed using 
the MCL 4.0 compiler (Macintosh Common Lisp) available from Digitool <http://www.digitool.com/>.

SCOM function library covers 500 musical and mathematical building blocks,
chaos, fractals, series, progressions, morphs, interpolations, a 
complete scale and chord system, tree-like orhestral and section 
hierarchies, 300 experimental tunings, ZIPI-like instrument control 
structure and 256 MIDI channels realized in standard MIDI protocol.

Programming environment allows graphical examination and manipulation of
compositional data. Plug-ins developed by composers add new features
to the system.

The Principle Of Operation

The composer may define length, symbol, velocity, channel, controller, 
program, signature, duration, expression, groove, tempo, tuning, rhythm, 
class, grammar, orchestra, section, tonality and zone contents of the 
score. 

Definition is done by hierarchical function nets, which can be build 
using the following generators and processor: 

Generator Categories

  Fractal Expansions 
  Fibonacci Series 
  Grammars 
  L-System 
  Loops 
  Morphs 
  Palindrome 
  Randomization 
  Arrays 
  Chaos Theory 
  D-Forms 
  Energy Fields 
  Fourier Synthesis 
  Noise 
  Number Theory 
  Oscillators 
  Solar Systems 
  Autocatalysis 
  Conversions 
  Neurons 

Processor Categories

  Chordize 
  Harmonize 
  Fill 
  Filter 
  Find 
  Mask 
  Misc 
  Mix 
  Reflect 
  Resize 
  Shift 
  Transform 
  Transpose 
  Trigger 
  Amplify 
  Analyze 
  Modulate 
  Quantize 
  Slice 
  Library 
  Midi 

Tonalities

  Complete western scale system
  Complete western chord inversion and position system 
  300 experimental tunings 
  Harmony theory generators 
  Overtone and n-tet octave generation 
  Interpolations 
  Distortions 
  Enrichments 
  Mixing 
  Sorting 
  Minimum-energy folding 

Metrics

Time units are expressed as standard music notation ratios with dot, 
triplet, tuplet etc. extensions, or with milliseconds. Time units can be
processed by algorithms. Same time unit expressions are applicable to both rhythmics, subsection and section lengths. 

Configuration

SCOM is available for both 68k Macs and PowerMacs. A minimum of 8 MB RAM 
is needed to run the system, although 16 MB is suggested. SCOM runs equally 
well on all monitors sizes and types. Build-in Lisp Interpreter can be used 
to extend the system on-line and it allows to develop new plug-ins by the 
user. The system footprint is between 20-50 MB depending on the partition 
scheme of the hard disk. 


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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 13 Feb 97 14:29:54 -0800
To: img-mail@lists.Stanford.EDU
Subject: Symbolic Composer (music)
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[Dear IMG-folk,
        This is a music composition system which which we might examine
when we turn to technologies of writing.   Maybe one of our musical members
(hello Mark, you out there?) could come in and give a demo/talk about MAX,
SCOM, and other music composition apps.
        Charles, can the Meyer Media Center acquire MAX or SCOM?  We
could ask the Music Dept./CCRMA for a recommendation/justification.
Note that Apple now supplies a MIDI instruments extension so you can
perform MIDI files entirely "in" Mac System 7.5 software -- without
external MIDI devices.

- Xin Wei
]

Forwarded message:
> Date: Thu, 13 Feb 1997 10:36:19 +0100 (MET)
> To: vrml-behaviors@sdsc.edu, vrml-modeling@sdsc.edu, moving-worlds@sgi.com,
>         vworlds-list@netcom.com, vr-art@mailbase.ac.uk, www-vrml@wired.com
> From: psto@xs4all.nl (Peter Stone)
> Subject: ## News: Symbolic Composer 4.0 (with VRML 2.0) For The PowerMac ##
>
> Symbolic Composer 4.0 for PowerMacintosh is now ready and shipping.
> A demo can be downloaded from page
>
>    http://www.xs4all.nl/~psto/
>
> SCOM 4.0 for PowerMac port was financed by pre-ordered subscriptions by 
> the users. Thank you for all of you who made this possible! SCOM 4.0 runs 
> now fully PowerMac-native and is 31 times faster than SCOM Pro on PPC. A 
> score that previously took 30 minutes to compile is now ready and playing 
> under a minute.
>
> New features were also added: tonality interpolators and processors,
> fade-in/out automation plus web-access directly from SCOM menus. SCOM
> 4.0 users may now download and contribute scores to Score Forum, and let 
> Score Clinic solve problems. Globally-accessible compositional idea bank
> accessible from SCOM menu is now made possible by these enhancements.
>
> SCOM Highlights
>
>   Ready-to-use and modificable score demos
>   Easy to maintain and develop complex scores
>   Instant Lisp access, expansion and environment customisation
>   Visual compiler spots errors in the right place
>   Easy examination of values at a given point of score
>
>   Suitable for generating final productions and pre-compositional material 
>   Applicable for commercial, experimental and modern music of any complexity 
>   Wide range of musical functions
>   Perfect partner for small and large MIDI studios
>   Perfect tool for music education
>   Interface to industry-standard MIDI sequencers and notation programs 
>   Runs on standard 14 inch bw or color monitor, no need for a big monitor
>
>   ZIPI-like instrument control, up to 256 channels using standard MIDI 
>   Easy-to-use tunings (cents, ratios, algorithms)
>   Lisp-based editor with auto-formating and parenthesis counting
>   Compositional element library
>   Web-access directly from the program
>   Customizable launching of other programs while booting up
>   Online electronic hyperhelp documentation and tutorials
>
> The SCOM Language
>
> SCOM functions are selected from hierarchical menus and pasted on the
> editor. Each function has one output and several inputs. Functions are 
> nested into each other to achieve the proper functionality. SCOM's
> unique feature that nearly any function can be connected to any other
> function maximises the creative freedom and allows to develop new
> compositional ideas.
>
> New composition-specific functions can be programmed on-line by the composer
> with build-in Common Lisp interpreter. The extensions can be included in 
> the score, and made available for other user as plug-ins, including a
> hypertext documentation. New interface extensions can be designed using 
> the MCL 4.0 compiler (Macintosh Common Lisp) available from Digitool  
<http://www.digitool.com/>.
>
> SCOM function library covers 500 musical and mathematical building blocks,
> chaos, fractals, series, progressions, morphs, interpolations, a
> complete scale and chord system, tree-like orhestral and section
> hierarchies, 300 experimental tunings, ZIPI-like instrument control
> structure and 256 MIDI channels realized in standard MIDI protocol.
>
> Programming environment allows graphical examination and manipulation of
> compositional data. Plug-ins developed by composers add new features
> to the system.
>
> The Principle Of Operation
>
> The composer may define length, symbol, velocity, channel, controller, 
> program, signature, duration, expression, groove, tempo, tuning, rhythm, 
> class, grammar, orchestra, section, tonality and zone contents of the
> score.
>
> Definition is done by hierarchical function nets, which can be build
> using the following generators and processor:
>
> Generator Categories
>
>   Fractal Expansions
>   Fibonacci Series
>   Grammars
>   L-System
>   Loops
>   Morphs
>   Palindrome
>   Randomization
>   Arrays
>   Chaos Theory
>   D-Forms
>   Energy Fields
>   Fourier Synthesis
>   Noise
>   Number Theory
>   Oscillators
>   Solar Systems
>   Autocatalysis
>   Conversions
>   Neurons
>
> Processor Categories
>
>   Chordize
>   Harmonize
>   Fill
>   Filter
>   Find
>   Mask
>   Misc
>   Mix
>   Reflect
>   Resize
>   Shift
>   Transform
>   Transpose
>   Trigger
>   Amplify
>   Analyze
>   Modulate
>   Quantize
>   Slice
>   Library
>   Midi
>
> Tonalities
>
>   Complete western scale system
>   Complete western chord inversion and position system
>   300 experimental tunings
>   Harmony theory generators
>   Overtone and n-tet octave generation
>   Interpolations
>   Distortions
>   Enrichments
>   Mixing
>   Sorting
>   Minimum-energy folding
>
> Metrics
>
> Time units are expressed as standard music notation ratios with dot,
> triplet, tuplet etc. extensions, or with milliseconds. Time units can be
> processed by algorithms. Same time unit expressions are applicable to  
both rhythmics, subsection and
 section lengths.
>
> Configuration
>
> SCOM is available for both 68k Macs and PowerMacs. A minimum of 8 MB RAM 
> is needed to run the system, although 16 MB is suggested. SCOM runs equally 
> well on all monitors sizes and types. Build-in Lisp Interpreter can be used 
> to extend the system on-line and it allows to develop new plug-ins by the 
> user. The system footprint is between 20-50 MB depending on the partition 
> scheme of the hard disk.
>
>
> -------------------------------------------------------------------
> *** Please send administrative requests to <majordomo@sdsc.edu> ***
> -------------------------------------------------------------------
>

From yeungf@leland.Stanford.EDU Tue Feb 18 10:50:40 1997
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From: Sing Song Boy <yeungf@leland.Stanford.EDU>
Message-Id: <199702181850.KAA04357@elaine9.Stanford.EDU>
Subject: Internet 2
To: xinwei@leland.Stanford.EDU
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Xin Wei,
	URL for the article is
http://www-leland.stanford.edu/~yeungf/internet2.html 

	Criticism, suggestions, comments, all welcome!

Felix


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To: img-mail@lists.Stanford.EDU
Subject: CHANGED HOUR & LOCATION: Feb 19, 5:00-7:00, Sweet Hall 303
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Dear IMG folk,

	Continuing our experiments this week, please bring some props  
and ruminations.   I'll try to have a monitor and a VHS deck for any  
tapes you'd like to show.   Please bring short tapes that you'd like us  
to view.  (eidos:telos ballet? a CCRMA performance...)

	Remember that this week, we'll meet in Sweet Hall 303, at 5:00  
PM.  (CHANGED HOUR & LOCATION!)    And at 7:00, we'll go out for dinner.

Xin Wei

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[Notes, thanks to Helga!  Dear lurkers, given the liveliness of the  
exchange, it'll be difficult to convey our constructions in text or  
video.   But we are keeping an audiotape record of the sessions, and  
we'll continue to send out cryptic notes to mark our path.]

IMG 2/26/97
Chris/Ben/Xin-Wei/Ann/ Laura/Helga/ Chris

An analysis of WIRED magazine as an expression of a new medium

Ann reads from WIRED about push and pull media. We talk about drag-  
swipe media (where you can just swipe your credit card)
New media---personalized experience that is not bounded by a page... quote.  
Immersion/ information coming at you. push media arrive automatically
feeding the couch potato in all of us......

How to make money off it? by charging you when you loook at it...the  
retinal swipe....

We talk about the feeling WIRED creates with this kind of article:  
enthusiastic embracing of the new technological world, the new  
creativity, the new moneymaking schemes.
Which then gets opposed to the good olfashioned face to face...with the  
en effect of subsuming face to face under the new way of being in the  
world.
BEN: want to keep my dignity, so bring you own sandwiches.Take what you  
want from popualr culture.
Chris: If they only admitted that all they are after is making money.  ...
Kris:  But people can transform the pieces from popular culture into  
their own creation.

Ann reads on: incredibly simplicistic view of media development. extend  
- unify, extend....  comment: replacement for sex.
Critique of the whole magazine: look at the pseudo-hip presentation,  
then 2nd page has Calvin Klein and BMW advertisement....

Ben: tells the story where the media tried to create a frenzy over OJ  
Simpsons trial and failed to do so.  (I remember the hype about  
telecommuting in companies which was largely created by the media- and  
succeeded to create a trend for a time)

Xin-WEi talks about JAVA and the disadvantages/ advantages of  
restricting the applications that can run on your machine. Dos not think  
that this push-pull media is touching upon this thing at the right level.
Dont think that many people make a lot of money with online services.   
Internet is at the moment not self-supporting- lives on venture money  
right now.  CD Rom for example, was a flop after they had poured millions  
into it.
Ann brings up VR as one example of what people think the internet is  
about.  Question: what it is really about? Maybe these attempt to get  
more perfect in presentation actually accomplishes the opposite.
Xin-Wei: this is the mimetic fallacy...to try and imitate what thy think  
the world is like, the photorealism does not make an experience rich and  
authentic.
Is it about making stories? About style?  Chris hurls an  
objectile...book about Earth moves: furnishing territorities written by a  
student of Deleuze.
Functions like a modern drug, LSD,..the Leary comment.
Laura: is about eliminating the body.  May the body reappear at the  
other side of this disembodiment?  Our culture is already biased to  
removing the body:  keeping the body still, emphasis on vision;
really very ancient- this hate or fear or dismissal of the body.

IS the body made into a mystic/ mystifying substance? maybe as a  
countermove to the above tendency.
Advertisement and consumption become form and content. Value ..?Concern  
for.... is lost.  Fetishism....
Yet does not exclude that this medium is also put to other use.

Ann feels that the magazine itself is the BODY, is forming a body into  
which the reader wants to become incorporated...immortality is really  
what we are after in the contact of these medium.

Design of magazine: very middle-class, not very stylish, crude.
Where is the power of the individual. Ann remembers an advertisement of  
father and son sitting in office with each powerbook on thie lap..title  
You Will...the will to consumption as the expression of the individual?  
The vision of the new push media even does away with using choice as an  
advertising move.  Basic move:  you are freed from having to make  
choices.
All creative acts are thereby pushed aside..
Still there is the suspicion that hidden in the presentation of the  
thrill ofthe push medium is an appeal to the individuals (choice?or being  
chosen? for chosen to consume?i.e. for being actively passive)
Only comparable to this machinerie is the Hollywood industry or the  
games industry...
Ann: What is forgotten about the Web is the enormous resurgence of the  
letter writing culture....
Xin-WEi talks about Gabriele: his experience of school is to sit next to  
other kids, not a electronically mediated contact.  This will not  
change, but of course the experience of Saturday TV, cartoons, games,  
etc. has its impact.

Transcendent approach to technology:  ...the desire to replace our  
bodies with technology
Other approach is that the medium is an extension; the expressive powers  
of the medium itself to extend our bodies...

Each computer as a material object that allows one to lock into the  
sublimity of this culture, into its technological prowess, its physical  
power,  productive perfection, etc...this accounts for the addictive  
quality of the web?
Immersion has a very different quality...immersive experiences are  
somehow always social experiences.....Why not explore the interpassivity  
as a way to create a place....
IDEA: to create a place out of our interpassions.....

Proposal:  we all are strong personalities with our personal takes on  
the world... could we create a landscape of our positons/ places...with  
social interference suits we could imagine  such a landscape as a field  
of issues and relations and fieldlines.


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From: wsack@media.mit.edu (Warren Sack)
Cc: ni-request@media.mit.edu

Xin Wei:

I added you to the narrative-intelligence mailing list. Welcome!

The group started in 1990 with the goal of discussing the impact of
narrative theory on artificial intelligence and vice versa. With time we
have broadened our focus to include any sort of theory that expands our
understanding of media studies. The group has a critical bias towards
situated approaches to knowledge such as Reader Response Theory,
Constructivism, Situated Action, and Sociology of Science.

To post, send mail to:
narrative-intelligence@media-lab.media.mit.edu

Requests to be taken on or off the list should go to:
narrative-intelligence-request@media-lab.media.mit.edu

We meet every Thursday from 5:30 to 7:00. You should receive announcements
of readings. We try to be conscientious about including complete
bibliographic info for remote members. Don't hesitate to ask for more info
on a reference if someone forgets. Please come to a meeting if you happen
to be in town!

Sorry, but we can't mail readings to anyone.

Enjoy!

-- Warren




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img amici,

Next week, we'll do some preliminary discussion of the background  
against which Derrida was writing: namely speech act theory and  
related issues in philosophy of language.   Michelle kindly agreed to  
start off with a capsule introduction.

I'll be in Pasadena unfortunately, so I selfishly hope that you guys  
won't  actually  start Derrida until the following session.   In any  
case, there are some classic references to semantics which Michelle  
(or Ben) may suggest as background before next week's session.   
(Austin, Searle)

A brief on Saussure (or Pierce, if anyone's read Pierce) may provide  
one way to enter Derrida.  I think the Saussure selection  from CS  
378 is eminently readable, and some parts are relevant to issues of  
quantization that I'd like to bring up later on.    (Course On  
General Linguistics 1-17, 65-78, 101-134. tr. Wade Baskin,  
McGraw-Hill 1983.)  I'll try to remember to leave a xerox outside my  
office.

It would be very interesting to constantly keep in mind how this  
is/is not helpful for designing interACTION, or even just non-text  
modalities (digital video, graphics).


For the May 18 session, I propose we take up Derrida's "Signature,  
Event, Context" which is linked to:

http://www-leland.stanford.edu/~xinwei/pub/img/readings.html

will send out brief notes from last time,
Xin Wei
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Date: Mon, 4 Mar 1996 16:01:14 -0800
To: xinwei@leland.stanford.edu
From: lesliej@leland.stanford.edu (Leslie Johnston)
Subject: IMG
Status: RO

Patience Young has been passing along information on the group since I
arrived here 3 weeks ago.  Now that I'm settled in, I would like to be
subscribed to your list and begin to attend your seminars as possible, if
that's not a problem.

Thanks,
Leslie


------------
Leslie Johnston
Information Resources Specialist for Art
Stanford University
lesliej@leland.stanford.edu


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Subject: no seminar this week
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Dear img folk,

There will be NO SEMINAR THIS WEEK.  We'll pick up
March 14, when Bob Horn will speak about visual language.   I'll leave 
xeroxes of his notes by my office door for you after tomorrow
noon.

Larry's speaking this Thursday at the Symbolic Systems Forum:

Stepping Out of the Box: Interfaces as Human Environments

Larry Friedlander
English Department
Stanford, CA 94305

Time: 4:15 p.m., Thursday, March 7th
Location: Building 60, Room 61F, Stanford University

ABSTRACT:

Computers of the future will no longer be in that now-familiar box, but
will be hidden in the world around us, embedded in floors and walls, and
tucked away in everyday objects. They will be controlled by voice, by
movement, perhaps even by brain waves and body temperature, It will be a
world of virtual and real presences, strangely intermingled. How will we
design for such technology?

Theater and performance traditions offer one paradigm that will be more and
more useful in these radically new situations. I will discuss some early
attempts I and others have made to explore these new kinds of interface and
speculate on some further strategies.

- Xin Wei
 
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199602122205.OAA21929@elaine38.Stanford.EDU>
Subject: you opened your mouth
To: xinwei@leland.Stanford.EDU
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Status: RO

Xin Wei:  Remember our aging poem discussion?  Well, having
nothing to do on a bus trip this weekend, I sketched one
possible version for such a thing. To keep things somewhat
simple, I imagined a form in which the words/lines of a
simple stanza grow old, decay, and generate new words/lines:
			   [bury]
		[Lets] squat here [the dead]
		[and fry]			
		on one of these [our toungues]
		[on] strata [the pavement] of interest
		
The nonbracketed text:   squat here 
			 on one of these
			 strata of interest
						 
would form a first discrete state.  The bracketed words
would regenerate on top of the old.  If, in my notation,
the bracketed word(s) appear beside their progenitor lines,
then they actually can appear on those lines prior to the
line's death, if the bracketed word(s) appear above a line
then they arise out of the ashes of the words below them.  So,
the 2nd discrete state would be:

	Let's bury the dead
	and fry our tongues 
	on the pavement.
	
Which would then age:
			  [sit down]
	[for pete's sake] Let's bury the dead
	
	     [she swears] and fry our tongues [the immortal ichor]
	     
	             [now] on the pavement [a knife in her back]
	             
Creating a 3rd discrete stage:

	For pete's sake sit down
	she swears   the immortal ichor
	now a knife in her back

and so on. I roughted out 7 stages.
Pretty simple, I'd think, and let's not comment on the verse, I'm
not much of one to write in transit, but I think could be handled
fairly straightforwardly by creating variable instances of ScriptX's
Transition Player.  Question would be how well it can work with
text--it's built in subclasses are typical of cinematic dissolves,
fades, slides, etc.  I don't think it would be necessary to mess
around with a bunch of fonts for such a project, but it might be
nice to have some audio accompaniment to the transition process.
Maybe something done on the violin :)  Also, might be fun, or perhaps
too precious, to have something like some shimmering video, light,for
backdrop when words are in severe state of decay. Finally, the screen/page
should age and regenerate as well. This latter could perhaps indicate
a kind of dramatic progression and could have different characteristics
then the stanzas it hosts.

Oh, yes, feel free to say, 'john you're a kook, don't bother me with
your nutty ideas!'

--john
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: laurel@interval.com (Brenda Laurel)
Subject: Re: public discourse and rhetoric
Status: RO

Thanks very much, I'll go see your website asap.

BL


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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199603132014.MAA04900@elaine30.Stanford.EDU>
Subject: Bob Horn, Sweet Hall 026, Thursday 5
To: img-mail@lists.Stanford.EDU
Date: Wed, 13 Mar 1996 12:14:24 -0800 (PST)
Cc: thare@leland.stanford.edu
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Dear img folk,

Bob Horn will speak about 

Visual Language -- Combining Words, Images and Shapes to Make a New Langauge

Thursday 5:00-6:30

Note that we'll meet in 

Sweet Hall's Presentation Palace (026).

I have a few paper copies of his slides by my office door Sweet 415.

- Xin Wei
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603141824.KAA27560@elaine22.Stanford.EDU>
Subject: Re: Graduate Research Workshop flyer
To: Gwen.Lorraine@Forsythe.Stanford.EDU (Gwen Lorraine)
Date: Thu, 14 Mar 1996 10:24:10 -0800 (PST)
Cc: larryf@leland.Stanford.EDU (Larry Friedlander),
        keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199602282356.PAA20787@leland.Stanford.EDU> from "Gwen Lorraine" at Feb 28, 96 03:56:33 pm
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Hi Gwen,

oops, sorry, I've been out of town...
Here's a blurb.  Would you mind printing this out in some jazzy font,
or must someone bring a physical (!) copy to you?

_________________________________________________________________
Interactive Media:    Theory and Technologies of Representation
                      Faculty Seminar

We are an interdisciplinary group interested in the
promises and perils of new media.  We look at a wide
range of subjects, including visual languages, cybernetic
spaces such as the world wide web, immerse environments
suggested by various forms of virtual reality, various
uses of digital texts, music and cinema.

Our study of the methods, theories, and models of interactive
media engages related work on the theory of design, educational
technologies, system theories, multimedia performance, the study
of visual representation, metaphor, and computational languages.

In a typical session we may discuss a shared set of readings,
look at a multimedia artifact, and/or listen to a guest speaker.
In addition to invited lecturers, seminar participants take
turns presenting their research to the group.


    Meeting Time: Thursdays, 5:00-6:30
        Location: Humanities Center Annex (Campus & Alvarado)
         Website: http://www-leland.stanford.edu/~xinwei/pub/img/img.html
       Mailgroup: img-mail@lists.stanford.edu
_________________________________________________________________



> 
> Tim, Xin Wei, & Dominique,
> 
> Do you have a flyer to publicize your Graduate Research Workshop?
> If so, could you please send me a copy?  I would like to post it on
> our bulletin board and keep a record for Keith Baker, Director of
> SHC.
> 
> Thanks,
> Gwen Lorraine
> Humanities Center
> 8630
> 
> 
> To:  LANET@LELAND, XINWEI@LELAND, DOMINIK@LELAND
> 

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Date:     Thu, 14 Mar 96 16:46:05 PST
From: "Ann Sultan"      <Annie.Sultan@forsythe.stanford.edu>
To: "Distribution list":;
Subject:  NEW COURSE THIS SPRING IN MULTIMEDIA
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                           ATTENTION!

                  IMPORTANT SPECIAL NEW COURSE!
                    NEW SPRING QUARTER COURSE


                  CS377D: Multimedia Tools and Environments
 (PLEASE NOTE that in an earlier announcement this was listed
 as 377B--B is WRONG; D is RIGHT!)


        Instructor: Stephan Schwanauer
        Time      : Mondays 4:15-6:15
        Location  : Meyer 260
        3 units




        Course Description:

        The course will cover the implications of tools and
environments for a representative set of standards (ISO/ITU,
Trade Group, Vendor, etc.).   For such standards, we'll focus on
HCI issues from media formats, networked and otherwise, to
scripting languages.  Class discussion will link HCI/presentation
topics to the constraints for the underlying media.

        Students will do short assignments and a final project.


Stephan Schwanauer is the author of MACHINE MODELS OF MUSIC (MIT
Press: Cambridge, 1993) and MUSE: A LEARNING SYSTEM FOR TONAL
COMPOSITION (1986).

Detailed Syllabus is available at CS for CS 377b.  This course
would be particularly useful for students whose work integrates
art and technology.  If you have questions, please address them
to Stephan Schwanauer at stephan@ccrma.

OOPS--there it is again--that's still 377D, don't forget.  We
actually did cross-list this course, but you're supposed to
enroll in CS 377D anyway so who cares?

Annie

To:  SATI@LISTS, MUSICGRADS(Public Dist. List), MUSICUGRADS(Public Dist.
     List), LOCAL-USERS@CCRMA
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603160035.QAA06327@elaine42.Stanford.EDU>
Subject: some responses & questions
To: bobhorn@well.com
Date: Fri, 15 Mar 1996 16:35:40 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Status: RO

Dear Bob,

The way I see it, your Visual Language project is at the Baconian
stage of collecting the lexicon of signs = <word + image + shape>, and
identifying the emerging conventions on their morphology.  As such, it
is quite a useful and interesting project.

I think some of the claims about images' close attachment to emotional
response, o aesthetic effectiveness are completely misfounded.  In
fact, I believe that neuro-psychological evidence syas that its
olfactory sense data that trigger the greatest emotional response.
And music, at least for me, is by far the most affective mode.   Yet
more ocularcentrism, eh?  But for the sake of argument, and since the
session was about _visual_ language I let that pass.  We'll take this up
after Mark plays his Thunder.

But there are a few claims that gave me pause...May I chew these over
with you?  I'd like to get your responses, then post both our points
to the img-mail.  A little scholarly point counterpoint. Would that be
ok?
 
0.  "In ancient Chinese, however, the pictographs become far more
stylized and it is difficult for the stranger to the langauge to
understand the written symbols."

I can understand your rhetorical need to characterize Chinese and
Egyptian written languages as primitive, archaic forms of
representation (viz. use of the adjective "Ancient" Chinese, when the
examples are of modern Chinese characters.)  Unfortunately, at least
in the case of Chinese, this won't stick.  Chinese is a modern, and
one of the most highly evolved languages used by humans.  (The only
other I can think of that has such a long history of refinement is
Tamil.)

1. The system of Chinese or Egyptian marks has no more arbitrary
relation to speech than Roman-languages' alphabetic systems.  (Apres
Derridian semiotics...)  In fact,by what reason should we expect a
sentient alien to find _any_ human writing system to have a less
arbitrary relation to speech sound than another?  This is an
absolutely crucial point.


2. The pictorial glyphs that those two cultures started with several
thousand years ago evolved in quite different ways, but they did
evolve over many centuries.  As graphical languages, they are much
more nuanced, expressive, and exhibit morphological conventions that
are several centuries more evolved than VL.  Tom Hare, who was present
at the seminar, can give a much more expert testimony to this.  There
is a very large body of work on both calligraphic and hieroglyphic
writing systems that one should examine carefully.  And based on such
obvious counter-examples, it seems clear that pidgin VL and iconic
representations are the "backward" and rudimentary systems of writing,
just a-borning.

In fact, just as astronomoers are captivated by transient phenomena
such as a protostar forming from infalling gas or a nova, as an
armchair semiotician, I, quite intrigued by this fledgling phenomenon
that you've discovered.  I'm intrigued because it's at the earliest,
crudest stage, and even more because it's an example of a pidgin
between image and text-word.

3.  But this phenomenon of fusion between image and text is by no
means new or unique, I'm compelled to point out.  The first examples
that leap to mind are the medieval lettered manuscripts, and Chinese
calligraphy/literature.  (There are copious references.)  It's only
with the introduction of Western printing technology (Chinese printing
technology appeared earlier by several centuries) that certain
conventions emerged distinguishing "text" -- the squiggles that the
typesetters decided to keep in their standard trays -- from image --
the squiggles that were still drawn by hand by illuminators (16c).

4.  IndoEuro-centrism & alphabeto-centrism.

"Everyone agrees that ideographic alphabets based on drawings rather
than phonetic alphabets are much harder to learn..."

	"harder to learn" by whom?  By someone who is already
alphabetized?  It would be enlightening to do some estimates of
literacy across 10 centuries in, say, Italy + MittelEuropa, and in
China.  You may well find that the rates are comparable.  The argument
about the advantages of using a small 26-letter "basis" falls into the
trap of assuming that meaning is alphabetically-based.  As Saussure
poi8nted out, it is not even based at the level of words.  And
post-Wittgenstein, we suspect that meaning may inhere not in any
indivduatable graphemic units, but in whole discourse networks.

5.Technological determinism:

"...and much more difficult for contemporary word processing"

	It is a historical contingency that programming languages were
designed by speakers of Indo-European langauges.  I would be shocked
if this historical contingency did not profoundly constrain
Anglo-German linguistic and even logical theories of language.  This
contingency also constrained the design of word-processors.  Computer
operating systems and software designed from "the ground up" by
non-alphabetic cultures would naturally be modelled after their modes
(physical gestures) of writing, and would presumably be hostile to
alphabetic input.  To argue anything else seems to give some
transcendentally essentialist status to the linear, alphabetic
accident.

6.  Ocularcentric assumption of clarity

	I like your observation that images by themselves have
slippery semantics (agrees also with Charles & APple research on
un-intelligibilty of unlabelled poster-frames).  

7. Isn't VL a special case of Graphic Design?

Graphics artists, who are trained to the highest pitch in combining
all manner of image seem to have incredibly sophisticated and powerful
(=effective in your sense) theories of visual language, which includes
more than image + shape + text.  They have, based on my readings and
from conversations with them, conscious, trained control over elements
like: color, texture, layout, balance, rhythm, text font, text
meaning.  Graphic design, (as "opposed" to "art") does seem to already
have a rich theory of visual language, actually several.  And the
proof of it's effectiveness (in the philosophical, epistemological
sense of an effective theory) is in that designers can go to school
and learn the rules of various visual languages, and make a living
applying these rules in a predictable way.  (Of course, some are
"better" than others and the Spirit moves some to more breathtaking
expression, but this is true also for journalism, a text-based craft.)

Finally, questions.

When is a graphic a "shape" and not an "image"?  Derridean and Quinean
citation make this a tough problem.

Taking your use of the term "language" seriously, it would be
conventional to ask you to define the morphology, syntax, grammar of VL,
and a theory of meaning that's connected to those formal descriptions.

(In each layer of description, VL, if it is a langauge, will exhibit
greater or lesser degrees of conventionalization, of course.)

Like Barbara, I think it's too early, both in your project, and in the
evolution of modern  pidgin text-image signs, to say that we have a
language with syntax and grammar and a theory of meaning, yet, even if
we radically generalize linguistic notions of syntax and grammar.

The reason I bothered to write such a lengthy response is becuase I'm
very much interested in grammatical structures that can be used to
describe non-linear, multidimensional media.  The "natural,
grassroots" human phenomena of CAD, architecture software, VRML,
SGML/HyTime, and your VL are all nudging CS & linguistics theorists in
these new directions.

best regards,
Xin Wei
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603160144.RAA08660@elaine42.Stanford.EDU>
Subject: img next year?
To: larryf@leland.Stanford.EDU (Larry Friedlander)
Date: Fri, 15 Mar 1996 17:44:00 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <v01510103ad6f18f67b79@[36.128.0.38]> from "Larry Friedlander" at Mar 15, 96 12:57:17 pm
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Status: RO

Hello  Larry,

Sure, let's meet next week. Say Thursday before the img seminar?
at 3:00?  Earlier in the week's fine, if you'd like to suggest
a time some late morning (11:00 slots are free).

(Daniel Potter's speaking.)

> What should we do about reapplying for next year. Aplications are due
> beginning April.

Yes, it would be good, but should not depend on my presence.

I'd like to participate if 

(1) I'm around next year, and 

(2) the Hum Center will let us split into two parallel tracks: theory
and design/performance.

I noticed that SATI had (is this the appropriate tense?) a theory
group as well as a whatever group.  How about if I try to start up a
theory track (with another faculty sponsor if necessary & strategic)
while you carry on with the design/performance track?

As I said before, while I strongly believe that any flavorful theory
must be based on cases (or case studies), I need a forum for sharp
theoretical work. (My professional work gives me more case experience
than I can swallow:) This is quite the opposite from most of the
faculty and maybe the students, naturally, so I can see the need for
img-performance/design.  In fact, while the natural tendency would be
for folk like comp-lit or philosophy theoreticians to flock to an
img-theory, it would be better if there were a cross-migration.  
So, it would be great if you would continue the img-design/performance
track.

Nevertheless, over the past 1 1/2 yrs, we have attracted a few sharp
theory people who are also creatively juiced.  Unfortunately, they
tend to drop out after awhile because the discussion leaves too many
of their neurons untickled.  We're beginning to recover some of the
analytical and scholarly steam, I think, and this spring, we'll see if
we can do a bit of creative ratiocination with a few close readings.

Next year, if I'm here, I'd like to run a separate track in which the
people who are already deep into philosophy, cultural studies,
etc. can actually get something out of participating.  If the Hum
Center won't go for this, then maybe an ancillary Reading Group might
work.  (I'm talking to people who haven't joined the img yet about
options.)

By the bye, we also have some procedural problems, related to
conversational airtime and turn taking, but I think that can be worked
out with a bit of facilitation.

It's a lovely Spring out there.   Time to play....

take care,
Xin Wei




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Date: Fri, 15 Mar 1996 17:53:12 -0800 (PST)
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: larryf@leland.stanford.edu (Larry Friedlander)
Subject: Re: img next year?
Status: RO

>Hello  Larry,
>
>Sure, let's meet next week. Say Thursday before the img seminar?
>at 3:00?  Earlier in the week's fine, if you'd like to suggest
>a time some late morning (11:00 slots are free).
>
>(Daniel Potter's speaking.)
>
>> What should we do about reapplying for next year. Aplications are due
>> beginning April.
>
>Yes, it would be good, but should not depend on my presence.
>
>I'd like to participate if
>
>(1) I'm around next year, and
>
>(2) the Hum Center will let us split into two parallel tracks: theory
>and design/performance.
>
>I noticed that SATI had (is this the appropriate tense?) a theory
>group as well as a whatever group.  How about if I try to start up a
>theory track (with another faculty sponsor if necessary & strategic)
>while you carry on with the design/performance track?
>
>As I said before, while I strongly believe that any flavorful theory
>must be based on cases (or case studies), I need a forum for sharp
>theoretical work. (My professional work gives me more case experience
>than I can swallow:) This is quite the opposite from most of the
>faculty and maybe the students, naturally, so I can see the need for
>img-performance/design.  In fact, while the natural tendency would be
>for folk like comp-lit or philosophy theoreticians to flock to an
>img-theory, it would be better if there were a cross-migration.
>So, it would be great if you would continue the img-design/performance
>track.
>
>Nevertheless, over the past 1 1/2 yrs, we have attracted a few sharp
>theory people who are also creatively juiced.  Unfortunately, they
>tend to drop out after awhile because the discussion leaves too many
>of their neurons untickled.  We're beginning to recover some of the
>analytical and scholarly steam, I think, and this spring, we'll see if
>we can do a bit of creative ratiocination with a few close readings.
>
>Next year, if I'm here, I'd like to run a separate track in which the
>people who are already deep into philosophy, cultural studies,
>etc. can actually get something out of participating.  If the Hum
>Center won't go for this, then maybe an ancillary Reading Group might
>work.  (I'm talking to people who haven't joined the img yet about
>options.)
>
>By the bye, we also have some procedural problems, related to
>conversational airtime and turn taking, but I think that can be worked
>out with a bit of facilitation.
>
>It's a lovely Spring out there.   Time to play....
>
>take care,
>Xin Wei

Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756


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To: xinwei@leland.stanford.edu
Subject: img discussion trail
Date: Sun, 07 May 1995 17:09:55 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O


To: media@otter.stanford.edu
Subject: img discussion trail

Amici,

Here are some very impressionistic notes from last Thursday, as my  
contribution in lieu of Being-At-The-Next-Session.  In general, notes  
are linked as "Discussion Trail" to the img website

http://www-leland/~xinwei/pub/img/img.html

so check it out when you get a chance.

Please forgive me for so freely and clumsily paraphrasing you in my  
notes.   These are just a way for me to tack down a few of the ideas  
that we floated in the seminar, so I can recall them later.   By  
putting words in your mouths, I can make a pseudo-conversation so I  
can reconstruct more pleasurably some threads of ideas.  If you mail  
me your observations with permission,I'll include them in the  
discussion trail.


Gregory brought in photos of groups of objects (spools, pile of  
chairs, heap of, as Decker put it, pushable things with handles).     
Remarked that, in response to Lakoff's taxonomy of categories, it  
seemed that people often grouped things in heaps.  (but heaps which  
are thematically coherent, as suggested in photos?)

[include Greg's explanation.]

Also, relevant to the discussion of modeling desire, most software  
pays no attention at all to intent or desire, only to technique-- eg   
Illustrator is a complex set of menus and tools, which takes a while  
to learn.  At first it can seem like a jumble of functions.  But  
after mastering Illustrator, you don't have to think of the menus and  
tools anymore, only of what you want to do.

Decker:  Looking at Gregory's photographs, it's interesting how I  
categorize the objects in one photograph as things with handles that  
I can push. 


There's Polanyi's example of a man using a cane.  At first he's  
feelung the tip of the cane, tapping against the ground, but after  
habituation, he forgets the cane and is feeling the ground.    
Similarly, children must learn to feel their fingers, and distinguish  
their body boundary from what it touches.

Ben: Maybe starting out with the category is already making a fateful  
choice or restriction or tautology.   Favors a systems approach from  
which one may or may draw categories.   Questions the body-based  
approach to meaning.   What is the "body"?   One might think of  
culture as that regime to which the body is subject.   That is, body  
may be a function of culture.   From this perspective, we can then  
ask, what are the systems of culture?    An interesting aspect of  
Freudian or Lacanian approaches is that they provide narratives out  
of which one can stabilize a notion of body, which distinguishes them  
from Lakoff's taxonomic approach.  [ACH! poor wording - xw]

In the context of writing about writing (Albert Lord, Walter Ong).   
There's the distinction drawn between oral and "literate" culture.    
In a culture possessing the technology of writing, communication  
models are based on communicating agents (nodes) who exchange  
messages along arcs (dyadic relationships).   [ Or maybe n-adic. Each  
communication is a point to point transaction. - xw]  

In pre-oral culture, where people couldn't record communications in  
marks or exchange/keep marks, people existed in an aural field which  
surounded them.

Pain - In the Iliad algos was assoc. not with war injuries, but with  
pain of separation from kin/home.

Judy:  I need to relate these theories to how I work.   There's quite  
a different feel to working with a computer and working with  
something like watercolor or pastels.   I choose different media for  
different effects [on me as well as "on paper" - xw].  But when I  
work with a medium, I have to let it go its own way.  I don't feel  
this with the computer.   But on the other hand, I realize that I  
couldn't have done my dissertation without the computer: undo  
radically changed my work.  


Trace: pointed out the implications of infinite undo of any sequence  
of gestures
Xavier:  I tell the museums [Louvre, ...] with whom I'm working to  
set aside issues of content and interface, and think about the  
visitor's experience.

Xin Wei:  So what are systems?  What advantages are there to taking  
systems as somehow prior to the stabilization of the body, as Ben put  
it?  (I feel that there are advantages.)

Can we really characterize computer media as media?  Is erasure,  
infinite undo-ability, or provisionality a defining attribute of the  
medium?   I'm intrigued by Judy's description of letting a medium "go  
its own way."   Compare this with Brenda Laurel's remarks about how  
necessary constraints are for desiging human experience (ch 4,  
Computers As Theater). There may be a subtle play here between  
diction (choice of color/words) and narrative flow (effect).

Interesting that Decker uses kinesthetic characterization.   I do  
believe that there are indeed kinesthetic schemas, only that Lakoff's  
examples are not convincing.  For example, listening to a Bach sonata  
for solo violin, I can remember the pleasure in the muscles of my  
right arm as I bowed the passages.

Greg, Judy and Decker's remarks are redolent of Heideggerian  
language. All this discussion of things ready-to-hand is most  
elegantly captured by ZhuangZi's Butcher Ding parable.  [qv Suggested  
Readings for excerpt - xw]

Ben's description of the speech era vs. language illustrates  
wonderfully the possibility of a communication model which is not  
based on a graph metaphor.   And just as we can have communication  
fields, we can have semantic fields. 


In  Saussure's Course In General Linguistics, he draws a vague figure  
containing the clouds of sign and of signified (meaning?).  He  
brushes past what I call the quantization problem.  Saussure cautions  
that a semantic theory cannot be word-based, suggests sentences, but  
retreats to words.  (Marc Davis says Saussure deals with it, and I  
should look for the keyword: diacritic.)  The quantization problem  
occurs in a huge spectrum of phenomena, including multimedia.  To  
leak a bit of the punchline, I suspect this is a root of all sorts of  
problems with architectures underlying media-rich software.

Fuzzy set theory illustrates how non-traditonal models can still  
admit an implementable formalism.   I'm not that interested in fuzzy  
sets.  Maybe a bit of point set topology would be useful.

I hope next time, as an exercise, people can begin to tie some of  
what we've discussed back to some design scenarios, such as a  
replacement for menu systems, and an examination of the "search and  
retrieval" gestures so intrinsic (dear?) to "Information Technology."    
For example, I think that even at the most vulgar :) and  
straightforward level, Lakoff et al's non-classical categories  
furnish tremendously useful alternatives for iconic  as well as  
text-based object/command user interfaces.  Imagine how one might  
design and implement UI's using fuzzy, radial, prototype,  
production-rule (algebraic) categories.   I'd leave aside metaphoric  
& metonymic extensions for later exercises, at least until we've  
explored other folks' notions of metaphor.

===================
Housekeeping:

Check out the scanned texts linked to "Suggested Readings"

For your convenience, I put a README annotating the scanned sections  
from Lakoff's book.   I tried to choose sections which seemed  
relevant to either categories or to semantics.


- - Xin Wei

------- End of Forwarded Message


[ 19
This email regards three photos taken by Greg:
http://www-leland.stanford.edu/~xinwei/pub/img/media/Gregory_photos.gif
- xw]

From: Gregory <zema@leland.Stanford.EDU>
Subject: Modelling Desire
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Date: Sat, 6 May 1995 17:04:26 -0700 (PDT)

Dear Xin Wei,

Thank you for your note. I hope my unfamiliarity with the seminar
format of discussion (which I find wonderful) does not disrupt the
course of discussion. I brought the photos because they show different
degrees or motivations to classify things. First to create order and
enable choice by overview (Order of the threads). Second to create
disorder and to enable choice by complusion (Storefront
display). Third by necessity: To put all the chairs on the table so
you can sweep the floor.

I am sure there are more reasons to create categories and I would like
to discuss those and bring them in relation to the experience they
provide.

...

Thanks again'
Gregory

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From: Barbara Tversky <bt@psych.stanford.edu>
Message-Id: <199603160208.SAA10061@psych.Stanford.EDU>
To: img-mail@lists.Stanford.EDU
Subject: interesting website
Cc: levy@psych.stanford.edu, schiano@interval.com, suwa@csli.Stanford.EDU,
        zacks@psych.stanford.edu
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

For those of you interested in diagrams, sketches, visual language, etc.,
check out the Electronic Cocktail Napkin, a sketching tool for architects
that isn't confining like current CAD-CAM programs, work of Mark Gross
and Ellen Do.  http://wallstreet.colorado.edu/napkin

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 20 Mar 96 11:20:20 -0800
To: img-mail@lists.Stanford.EDU
Subject: Daniel Potter on Documentary Film
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O

Dear img folk,

This Thursday, for the last seminar this quarter, Daniel Potter will
discuss documentary film and new media.   Please check the website

http://www-leland.stanford.edu/~xinwei/pub/img/

for links to Daniel's notes and bibliography.

- Xin Wei
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To: img-mail@lists.Stanford.EDU
Subject: Daniel Potter on Documentary Film
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

Dear img folk,

This Thursday, for the last seminar this quarter, Daniel Potter will
discuss documentary film and new media.   Please check the website

http://www-leland.stanford.edu/~xinwei/pub/img/

for links to Daniel's notes and bibliography.

- Xin Wei
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603211936.LAA10461@elaine42.Stanford.EDU>
Subject: Re: List of participants (fwd)
To: sue.dambrau@Forsythe.Stanford.EDU
Date: Thu, 21 Mar 1996 11:36:10 -0800 (PST)
Cc: keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199603211909.LAA28099@elaine20.Stanford.EDU> from "John Keeling" at Mar 21, 96 11:09:53 am
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Status: O

Dear Sue,

Here's a list of names, mostly as email addresses.   I also ran the
email addresses through the "finger" program to try to extract names.
 I attach the results below.   Apologies -- I couldn't take the
time to edit the results.

best regards,
Xin Wei
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________


-------------  Interactive Media Seminar participants ------------

Alan Bush <bush@team-prometheus.com>
Bill Verplank, Interval Research
John Keeling <keeling@leland.Stanford.EDU>
RFRANK@leland.stanford.edu
Sarah Sarojini Jain <ssjain@cats.ucsc.edu>
Tom Hare, Comparative Literature, Asian Languages
bobhorn@well.com
bt@psych.stanford.edu
clsalt@leland.stanford.edu
cnastro@leland.Stanford.EDU
curtis@roses.stanford.edu
decker@leland.Stanford.EDU
dolan@leland.stanford.edu
doug_felt@taligent.com
drewcb@leland.Stanford.EDU
dwm@leland.stanford.edu
eva@csli.Stanford.EDU
farabo@eworld.com
helga_wild@irl.org
hf.pvy@forsythe.stanford.edu
holeton@leland.stanford.edu
irmscher@Leland.stanford.edu
issac@mednet.Stanford.EDU
jamb@leland.Stanford.EDU
jamb@leland.stanford.edu
josslm@leland.Stanford.EDU
jross@leland.Stanford.EDU
karenl@cats.ucsc.edu
kernsc@leland.stanford.edu
larryf@leland.stanford.edu
leifer@cdr.stanford.edu
marcelo@leland.stanford.edu
mcarter@digipix.com
mcrane@leland.Stanford.EDU
mcyang@cdr.stanford.edu
meg@steam.stanford.edu
mqwang@pcd.stanford.edu
njj@cdr.stanford.edu
nolan@cs.stanford.edu
otto@leland.stanford.edu
paulc@leland.stanford.edu
potter@interval.com
rayner@leland.stanford.edu
reichard@leland.stanford.edu
rjfleck@ccrma.stanford.edu
sau@sandia.gov
schoch@leland.stanford.edu
weinstne@leland.stanford.edu
xinwei@leland.stanford.edu

-------------  more information about img folk  ------------

[leland.stanford.edu]
Login name: rfrank                      In real life: ross frank
Directory: /afs/ir/users/r/f/rfrank     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 21 08:29:35 on ttyq8 from tip-mp9-ncs.Stan
2 minutes 48 seconds Idle Time
Mail last read Thu Mar 21 11:14:13 1996
Plan:
Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 21 09:06:39 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com]
[leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Sun Mar  3 13:37 on ttyp1 from zorro.ucsd.edu
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
Directory: /meta-x-user/neuberg     	Shell: /bin/frozen
Never logged in.
No unread mail
No Plan.
unknown host: eworld.com
unknown host: irl.org
[forsythe.stanford.edu]
User hf.pvy  (Patience Young)  not logged on.
Last logoff was Wed, 20 Mar 96 17:14:21 PST
[leland.stanford.edu]
Login name: holeton                     In real life: Richard Holeton
Directory: /afs/ir/users/h/o/holeton    Shell: /bin/tcsh
No unread mail
[Leland.stanford.edu]
Login name: irmscher                    In real life: Michael Wolf Irmscher
Directory: /afs/ir/users/i/r/irmscher   Shell: /bin/tcsh
No unread mail
[mednet.Stanford.EDU]
finger: issac: no such user
[leland.Stanford.EDU]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: josslm                      In real life: Jocelyn l Marsh
Directory: /afs/ir/users/j/o/josslm     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.Stanford.EDU]
Login name: jross                       In real life: Janice Lynn Ross
Directory: /afs/ir/users/j/r/jross      Shell: /bin/tcsh
No unread mail
[cats.ucsc.edu]
Login name: karenl                      In real life: Karen Lee                 
Nickname:                               Home phone:                             
Office:                                 Office phone:                           
Electronic mail address: karenl@CATS.UCSC.EDU

[leland.stanford.edu]
Login name: kernsc                      In real life: Charles Kerns
Directory: /afs/ir/users/k/e/kernsc     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: larryf                      In real life: Larry Friedlander
Directory: /afs/ir/users/l/a/larryf     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: leifer    			In real life: Larry Leifer
Office:  CDR
Directory: /home/leifer             	Shell: /bin/tcsh
Last login Mon Feb 27, 1995 on ttyp1 from rm507mac.Stanfor
No Plan.
[leland.stanford.edu]
Login name: marcelo                     In real life: Marcelo Clerici-Arias
Directory: /afs/ir/users/m/a/marcelo    Shell: /bin/tcsh
No unread mail
Project: Family and economics (in that order).
Plan:

Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305                      
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres, 
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

[digipix.com]
[leland.Stanford.EDU]
Login name: mcrane                      In real life: Margaret Franklin Crane
Directory: /afs/ir/users/m/c/mcrane     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: mcyang    			In real life: Maria Yang
Office:  MRC
Directory: /home/mcyang             	Shell: /bin/tcsh
Last login Fri Apr  1, 1994 on :0
Project: 
Plan:
Graduate Research Assistant 

Center for Design Research, Room 214
560 Panama Street
Stanford, CA  94305-2232

Home (ans machine)	(415) 322-0657
Office (ans machine)	(415) 723-7909
CDR Computer room   	(415) 725-0163
CDR FAX			(415) 725-8475

Pay no attention to the man behind the curtain!

			-- The Wizard, "The Wizard of Oz"
[steam.stanford.edu]
Login       Name               TTY         Idle    When    Where
meg      Meg Worley            pts/28       <Mar 21 08:47> tip-mp6-ncs.Stan    
[pcd.stanford.edu]
finger: /usr/adm/lastlog open error
Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:03:43 on ttyp0 from Oi.Stanford.EDU:
5 minutes 49 seconds Idle Time
No unread mail
Project: CS Ph.D. (Advisor: Terry Winograd)
Plan:

Address:	Gates Building 3B
		Stanford University
         	Stanford, CA  94305

Phone:   	(415) 723-7784

URL:	 	http://www-pcd.stanford.edu/michelle/

Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:04:35 on ttyp1 from Oi.Stanford.EDU:
22 hours Idle Time
[cdr.stanford.edu]
Login name: njj       			In real life: Natalie Jeremijenko
Office:  LJL
Directory: /home/njj                	Shell: /bin/tcsh
Last login Thu Oct 19 18:25 on ttyp0 from scts3.harvard.ed
Project: No project specified.
Plan:
No plan provided.
[cs.stanford.edu]
fingerd:  connect call died in client
[leland.stanford.edu]
Login name: otto                        In real life: Greg Niemeyer
Directory: /afs/ir/users/o/t/otto       Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: paulc                       In real life: Paul Yung-Wei Chong
Directory: /afs/ir/users/p/a/paulc      Shell: /bin/tcsh
No unread mail
[interval.com]
[leland.stanford.edu]
Login name: rayner                      In real life: Alice Rayner
Directory: /afs/ir/users/r/a/rayner     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: reichard                    In real life: Claude M Reichard
Directory: /s17/r/reichard              Shell: /bin/tcsh
No unread mail
[ccrma.stanford.edu]
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
R. J. Fleck (rjfleck) is not presently logged in.
Last seen at cmn8 on Thu Feb 29 13:52:25 1996 from Terminal Corridor
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
[sandia.gov]

[leland.stanford.edu]
Login name: schoch                      In real life: Richard Walter Schoch
Directory: /afs/ir/users/s/c/schoch     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: weinstne                    In real life: Ann Weinstone
Directory: /afs/ir/users/w/e/weinstne   Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: xinwei                      In real life: Xin-Wei Sha
Directory: /afs/ir/users/x/i/xinwei     Shell: /bin/tcsh
No unread mail
Plan:
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________
Return-Path: xinwei@leland.Stanford.EDU
Received: from elaine42.Stanford.EDU (elaine42.Stanford.EDU [36.218.0.90]) by popserver.Stanford.EDU (8.7.5/8.7.3) with ESMTP id LAA06818 for <xinwei@popserver.Stanford.EDU>; Thu, 21 Mar 1996 11:36:15 -0800 (PST)
Received: (from xinwei@localhost) by elaine42.Stanford.EDU (8.7.5/8.7.3) id LAA10461; Thu, 21 Mar 1996 11:36:10 -0800 (PST)
From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603211936.LAA10461@elaine42.Stanford.EDU>
Subject: Re: List of participants (fwd)
To: sue.dambrau@Forsythe.Stanford.EDU
Date: Thu, 21 Mar 1996 11:36:10 -0800 (PST)
Cc: keeling@leland.Stanford.EDU (John Keeling),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199603211909.LAA28099@elaine20.Stanford.EDU> from "John Keeling" at Mar 21, 96 11:09:53 am
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Status: O

Dear Sue,

Here's a list of names, mostly as email addresses.   I also ran the
email addresses through the "finger" program to try to extract names.
 I attach the results below.   Apologies -- I couldn't take the
time to edit the results.

best regards,
Xin Wei
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________


-------------  Interactive Media Seminar participants ------------

Alan Bush <bush@team-prometheus.com>
Bill Verplank, Interval Research
John Keeling <keeling@leland.Stanford.EDU>
RFRANK@leland.stanford.edu
Sarah Sarojini Jain <ssjain@cats.ucsc.edu>
Tom Hare, Comparative Literature, Asian Languages
bobhorn@well.com
bt@psych.stanford.edu
clsalt@leland.stanford.edu
cnastro@leland.Stanford.EDU
curtis@roses.stanford.edu
decker@leland.Stanford.EDU
dolan@leland.stanford.edu
doug_felt@taligent.com
drewcb@leland.Stanford.EDU
dwm@leland.stanford.edu
eva@csli.Stanford.EDU
farabo@eworld.com
helga_wild@irl.org
hf.pvy@forsythe.stanford.edu
holeton@leland.stanford.edu
irmscher@Leland.stanford.edu
issac@mednet.Stanford.EDU
jamb@leland.Stanford.EDU
jamb@leland.stanford.edu
josslm@leland.Stanford.EDU
jross@leland.Stanford.EDU
karenl@cats.ucsc.edu
kernsc@leland.stanford.edu
larryf@leland.stanford.edu
leifer@cdr.stanford.edu
marcelo@leland.stanford.edu
mcarter@digipix.com
mcrane@leland.Stanford.EDU
mcyang@cdr.stanford.edu
meg@steam.stanford.edu
mqwang@pcd.stanford.edu
njj@cdr.stanford.edu
nolan@cs.stanford.edu
otto@leland.stanford.edu
paulc@leland.stanford.edu
potter@interval.com
rayner@leland.stanford.edu
reichard@leland.stanford.edu
rjfleck@ccrma.stanford.edu
sau@sandia.gov
schoch@leland.stanford.edu
weinstne@leland.stanford.edu
xinwei@leland.stanford.edu

-------------  more information about img folk  ------------

[leland.stanford.edu]
Login name: rfrank                      In real life: ross frank
Directory: /afs/ir/users/r/f/rfrank     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 21 08:29:35 on ttyq8 from tip-mp9-ncs.Stan
2 minutes 48 seconds Idle Time
Mail last read Thu Mar 21 11:14:13 1996
Plan:
Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 21 09:06:39 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com]
[leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Sun Mar  3 13:37 on ttyp1 from zorro.ucsd.edu
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
Directory: /meta-x-user/neuberg     	Shell: /bin/frozen
Never logged in.
No unread mail
No Plan.
unknown host: eworld.com
unknown host: irl.org
[forsythe.stanford.edu]
User hf.pvy  (Patience Young)  not logged on.
Last logoff was Wed, 20 Mar 96 17:14:21 PST
[leland.stanford.edu]
Login name: holeton                     In real life: Richard Holeton
Directory: /afs/ir/users/h/o/holeton    Shell: /bin/tcsh
No unread mail
[Leland.stanford.edu]
Login name: irmscher                    In real life: Michael Wolf Irmscher
Directory: /afs/ir/users/i/r/irmscher   Shell: /bin/tcsh
No unread mail
[mednet.Stanford.EDU]
finger: issac: no such user
[leland.Stanford.EDU]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: jamb                        In real life: Benjamin Butt Robinson
Directory: /afs/ir/users/j/a/jamb       Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: josslm                      In real life: Jocelyn l Marsh
Directory: /afs/ir/users/j/o/josslm     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.Stanford.EDU]
Login name: jross                       In real life: Janice Lynn Ross
Directory: /afs/ir/users/j/r/jross      Shell: /bin/tcsh
No unread mail
[cats.ucsc.edu]
Login name: karenl                      In real life: Karen Lee                 
Nickname:                               Home phone:                             
Office:                                 Office phone:                           
Electronic mail address: karenl@CATS.UCSC.EDU

[leland.stanford.edu]
Login name: kernsc                      In real life: Charles Kerns
Directory: /afs/ir/users/k/e/kernsc     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: larryf                      In real life: Larry Friedlander
Directory: /afs/ir/users/l/a/larryf     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: leifer    			In real life: Larry Leifer
Office:  CDR
Directory: /home/leifer             	Shell: /bin/tcsh
Last login Mon Feb 27, 1995 on ttyp1 from rm507mac.Stanfor
No Plan.
[leland.stanford.edu]
Login name: marcelo                     In real life: Marcelo Clerici-Arias
Directory: /afs/ir/users/m/a/marcelo    Shell: /bin/tcsh
No unread mail
Project: Family and economics (in that order).
Plan:

Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305                      
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres, 
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

[digipix.com]
[leland.Stanford.EDU]
Login name: mcrane                      In real life: Margaret Franklin Crane
Directory: /afs/ir/users/m/c/mcrane     Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[cdr.stanford.edu]
Login name: mcyang    			In real life: Maria Yang
Office:  MRC
Directory: /home/mcyang             	Shell: /bin/tcsh
Last login Fri Apr  1, 1994 on :0
Project: 
Plan:
Graduate Research Assistant 

Center for Design Research, Room 214
560 Panama Street
Stanford, CA  94305-2232

Home (ans machine)	(415) 322-0657
Office (ans machine)	(415) 723-7909
CDR Computer room   	(415) 725-0163
CDR FAX			(415) 725-8475

Pay no attention to the man behind the curtain!

			-- The Wizard, "The Wizard of Oz"
[steam.stanford.edu]
Login       Name               TTY         Idle    When    Where
meg      Meg Worley            pts/28       <Mar 21 08:47> tip-mp6-ncs.Stan    
[pcd.stanford.edu]
finger: /usr/adm/lastlog open error
Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:03:43 on ttyp0 from Oi.Stanford.EDU:
5 minutes 49 seconds Idle Time
No unread mail
Project: CS Ph.D. (Advisor: Terry Winograd)
Plan:

Address:	Gates Building 3B
		Stanford University
         	Stanford, CA  94305

Phone:   	(415) 723-7784

URL:	 	http://www-pcd.stanford.edu/michelle/

Login name: mqwang    			In real life: Michelle Q Wang Baldonado
Directory: /u/mqwang                	Shell: /bin/tcsh
On since Mar 20 09:04:35 on ttyp1 from Oi.Stanford.EDU:
22 hours Idle Time
[cdr.stanford.edu]
Login name: njj       			In real life: Natalie Jeremijenko
Office:  LJL
Directory: /home/njj                	Shell: /bin/tcsh
Last login Thu Oct 19 18:25 on ttyp0 from scts3.harvard.ed
Project: No project specified.
Plan:
No plan provided.
[cs.stanford.edu]
fingerd:  connect call died in client
[leland.stanford.edu]
Login name: otto                        In real life: Greg Niemeyer
Directory: /afs/ir/users/o/t/otto       Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: paulc                       In real life: Paul Yung-Wei Chong
Directory: /afs/ir/users/p/a/paulc      Shell: /bin/tcsh
No unread mail
[interval.com]
[leland.stanford.edu]
Login name: rayner                      In real life: Alice Rayner
Directory: /afs/ir/users/r/a/rayner     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: reichard                    In real life: Claude M Reichard
Directory: /s17/r/reichard              Shell: /bin/tcsh
No unread mail
[ccrma.stanford.edu]
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
Login name: rjfleck                     In real life: R. J. Fleck
Directory: /Net/ccrma/user/r/rjfleck    Shell: /bin/csh
R. J. Fleck (rjfleck) is not presently logged in.
Last seen at cmn8 on Thu Feb 29 13:52:25 1996 from Terminal Corridor
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
No unread mail.
Plan:
R.J. Fleck
105 Coleridge Street
San Francisco, CA 94110

(415) 642-8120

rjfleck@ccrma.stanford.edu
[sandia.gov]

[leland.stanford.edu]
Login name: schoch                      In real life: Richard Walter Schoch
Directory: /afs/ir/users/s/c/schoch     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: weinstne                    In real life: Ann Weinstone
Directory: /afs/ir/users/w/e/weinstne   Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[leland.stanford.edu]
Login name: xinwei                      In real life: Xin-Wei Sha
Directory: /afs/ir/users/x/i/xinwei     Shell: /bin/tcsh
No unread mail
Plan:
__________________________________________________________________________
Sha Xin Wei                             e-mail: xinwei@leland.stanford.edu
                                    http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:  (415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090 
__________________________________________________________________________
Return-Path: potter@interval.com
Received: from leland.Stanford.EDU (leland.Stanford.EDU [36.21.0.69]) by popserver.Stanford.EDU (8.7.5/8.7.3) with ESMTP id LAA04557 for <xinwei@popserver.Stanford.EDU>; Wed, 20 Mar 1996 11:50:53 -0800 (PST)
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Received: by interval.interval.com id LAA23608; Wed, 20 Mar 1996 11:50:44 -0800
Message-Id: <v02130504ad752f270854@[192.203.7.144]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Date: Wed, 20 Mar 1996 11:53:44 +0800
To: Sha Xin Wei <xinwei@leland.stanford.edu>
From: potter@interval.com (Daniel Potter)
Subject: DocuMemory abstract
Status: RO

DocuMemory:  Mnemonics and the Mutations of Documentary

A talk for the IMG, March 21, 1996, 5pm
Humanities Annex
Stanford University

Daniel Potter

I attempt in this presentation to locate what might be considered
*aberrations* of documentary film form and practice.  To initiate this move
outside of traditional documentary forms, production, and scholarship, I
look toward dual historical horizons -- back to the days of rhetorical
invention and the art of memory, and forward into emerging realms of
digital archives, distributed media, and spectator-side authorship.  First
I will set out several issues that have intrigued and plagued the
theoretical scholarship on documentary film; from there, I will sketch the
connection of essay film to the art of memory, and finally look at the
notion and evolving reality of digital audio-visual archives that signal
the advent of new media forms.  Of special interest will be the archival or
compilation film as it moves into multimedia authoring scenarios.



Return-Path: potter@interval.com
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Content-Type: multipart/mixed; boundary="============_-1384832608==_============"
Date: Wed, 20 Mar 1996 10:44:48 +0800
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: potter@interval.com (Daniel Potter)
Subject: DocuMemory Bibliography
Status: RO



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Xin-Wei:
Attached is my bibliography in word form and html.  Abstract to follow in
an hour.  Sorry about the delay.
daniel

>will check my email tonight and tomorrow morn.
>see you...xinwei



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<html><head><!-- This document was created from RTF source by rtftohtml version
2.7.5 --><title>DocuMemory Bibliography</title></head>
<BODY BGCOLOR="#222222" TEXT="#EEEEEE" LINK="#DDDDDD"
ALINK="#BBBBBB" VLINK="#BBBBBB">
<center><font size=+2><b>DocuMemory
Bibliography</b><p></font>
<font size=+1>
<b>Daniel Potter</b><p></font>
<hr size=8 width=8>
</center>
<p>
<font size=+1>A.  Documentary Film<p></font>
<i>100 Ann&eacute;es Lumi&egrave;re.  Retrosp&eacute;ctive de l'oeuvre
documentaire des grands cin&eacute;astes fran&ccedil;ais de Louis
Lumi&egrave;re jusqu'&agrave; nos jours</i>.  Paris:  Minist&egrave;re des
affaires &eacute;trang&egrave;res, 1991.<p>
Barnouw, Eric.  <i>Documentary:  A History of the Non-Fiction Film</i>.
London:  Oxford, 1974.<p>
Barsam, Richard Meran.  <i>Nonfiction Film:  A Critical History</i>.  New York:
Dutton, 1973.<p>
Burton, Juliane, ed.  <i>The Social Documentary in Latin America</i>.
Pittsburg: Univ. of Pittsburg Press, 1990.<p>
Guynn, William.  <i>A Cinema of Nonfiction</i>.  Rutherford:  Fairleigh
Dickinson Univ. Press / London:  Associated Univ. Presses, 1990.<p>
Lovell, Alan and Jim Hillier.  <i>Studies in Documentary</i>.  New York:
Viking, 1972.<p>
Mamber, Steven.  <i>Cinema Verite in America.:  Studies in Uncontrolled
Documentary</i>.  Cambridge, Mass:  MIT Press, 1974.<p>
Renov, Michael, ed.  <i>Theorizing Documentary</i>.  New York:  Routledge,
1993.<p>
Rosenthal, Alan.  <i>New Challenges for Documentary</i>.  Berkeley:  Univ. of
California, 1988.<p>
Roth, Wilhelm.  <i>Der Dokumentarfilm seit 1960</i>.  M&uuml;nchen:  Bucher,
1982.<p>
Trinh, T. Minh-ha.  "Documentary Is/Not a Name."  <i>October</i> 52 (Spring
1990), 76-98.<p>
Vertov, Dziga.  <i>Kino-Eye:  The Writings of Dziga Vertov</i>.  Ed. Annette
Michelson. Trans. Kevin O'Brien.  Berkeley:  Univ. of California Press, 1984.<p>
Winston, Brian.  <i>Claiming the Real:  The Documentary Film Revisited</i>.
London:  BFI, 1995.<p>
Zagaglia, Paolo et al, eds.  <i>Cin&eacute;ma et r&eacute;alit&eacute;</i>.
Bruxelles:  Vie Ouvri&egrave;re / Centre de l'audio-visuel, 1982.<p>
<br>
<hr size=8 width=8>
<font size=+1>
B.  Ethnographic Film / Visual Anthropology<p></font>
Clifford, James.  <i>The Predicament of Culture:  Twentieth Century
Ethnography, Literature and Art</i>.  Cambridge:  Harvard Univ. Press, 1988.<p>
Crawford, Peter, ed.  <i>Film as Ethnography</i>.  Manchester:  Manchester
Univ. Press, 1992.<p>
Heider, Karl G.  <i>Ethnographic Film</i>.  Austin:  University of Texas Press,
1976.<p>
Hockings, Paul, ed.  <i>Principles of Visual Anthropology</i>.  2nd ed.
Berlin/New York:  Mouton de Gruyter, 1995.<p>
Loizos, Peter. <i> Innovation in ethnographic film:  From innocence to
self-consciousness, 1955-1985</i>.  Chicago:  Univ. of Chicago, 1993.<p>
Stoller, Paul.  <i>The Cinematic Griot:  The Ethnography of Jean Rouch</i>.
Chicago:  Univ. of Chicago Press, 1992.<p>
Taylor, Lucien, ed.  <i>Visualizing Theory:  Selected Essays from V.A.R.,
1990-1994</i>.  New York:  Routledge, 1994.<p>
Trinh T., Minh-ha.  <i>When the Moon Waxes Red:  Representation, Gender and
Cultural Politics</i>.  New York:  Routledge, 1991.<p>
<br>
<hr size=8 width=8>
<font size=+1>
C.  Archives and Archival Film<p></font>
Chartier, Roger. <i> The Order of Books:  Readers, Authors, and Libraries in
Europe between the Fourteenth and Eighteenth Centuries</i>.  Trans.  Lydia G.
Cochrane.  Stanford:  Stanford Univ. Press, 1994.<p>
Delage, Christian, ed.  <i>Ecrits, images et sons dans la Biblioth&egrave;que
de France</i>.  Paris:  IMEC / Biblioth&egrave;que de France, 1991.<p>
Houston, Penelope.  <i>Keepers of the Frame:  The Film Archives</i>.  London:
BFI, 1994.<p>
Leyda, Jay.  <i>Films Beget Films:  A Study of the Compilation Film</i>.  New
York:  Hill and Wang, 1964.<p>
<i>Representations</i> 42 (Spring 1993)  "Future Libraries."<p>
Roud, Richard.  <i>A Passion for Films:  Henri Langlois and the
Cin&eacute;mat&egrave;que Fran&ccedil;aise</i>.  New York:  Viking Press,
1983.<p>
<br>
<hr size=8 width=8>
<font size=+1>
D.  Video and Self-Portrait Media<p></font>
Beaujour, Michel.  <i>Miroirs d'encre:  Rh&eacute;torique de
l'autoportrait</i>.  Paris:  Seuil, 1980.  [<i>Poetics of the Literary
Self-Portrait</i>.  Trans. Yara Milos.  New York:  NYU Press, 1991].<p>
Bellour, Raymond. <i> L'Entre-Images.  Photo. Cin&eacute;ma. Vid&eacute;o</i>.
Paris:  La Diff&eacute;rence, 1990.<p>
_______, ed.  <i>Eye for I:  Video Self-Portraits, A Traveling Exhibition</i>.
New York:  Independent Curators Inc. [ICI], 1989.<p>
Hall, Doug and Sally Jo Fifer. <i> Illuminating Video:  An Essential Guide to
Video Art</i>.  New York:  Aperture/BAVC, 1990.<p>
Renov, Michael and Erika Suderburg, eds.  <i>Resolutions:  Contemporary Video
Practices</i>.  Minneapolis:  Univ. of Minnesota Press, 1996.<p>
<br>
<hr size=8 width=8>
<font size=+1>
E.  Rhetoric and the Art of Memory<p></font>
Barilli, Renato.  <i>Rhetoric</i>.  Trans.  Giuliana Menozzi.  Minneapolis:
Univ. of Minnesota Press, 1989.<p>
Beaujour, Michel.  <i>Miroirs d'encre:  Rh&eacute;torique de
l'autoportrait</i>.  Paris:  Seuil, 1980.  [<i>Poetics of the Literary
Self-Portrait</i>.  Trans. Yara Milos.  New York:  NYU Press, 1991].<p>
Bonner, Anthony, ed.  <i>Doctor Illuminatus:  A Ramon Llull Reader</i>.
Princeton:  Princeton Univ. Press, 1993.<p>
Bruno, Giordano.  <i>On the Composition of Images, Signs &amp; Ideas</i>.
Trans.  Charles Doria.  Ed. Dick Higgins.  New York:  Willis, Locker &amp;
Owens, 1991.<p>
Conley, Thomas M.  <i>Rhetoric in the European Tradition</i>.  Chicago:  Univ.
of Chicago Press, 1990.<p>
Ong, Walter J.  <i>Ramus, Method, and the Decay of Dialogue</i>.  Cambridge,
Mass.:  Harvard Univ. Press, 1958.<p>
_______.  <i>Orality and Literacy:  The Technologizing of the Word</i>.
London:  Routledge, 1982.<p>
Yates, Francis.  <i>The Art of Memory</i>.  Chicago:  Univ. of Chicago Press,
1966.<p>
<br>
<hr size=8 width=8>
<font size=+1>
F.  Genre Evolution<p></font>
Bensma&iuml;a, Reda.  <i>The Barthes Effect:  The Essay as Reflective Text</i>.
<p>
Trans. Pat Fedkiew.  Minneapolis:  Univ. of Minnesota Press, 1987.<p>
Deleuze, Gilles.  "The Powers of the False."  <i>Cinema 2: The Time-Image</i>.
Minneapolis:  Univ. of Minnesota Press, 1989, 126-155.<p>
Marker, Chris.  <i>Commentaires 1</i>.  Paris:  Seuil, 1961.<p>
_______.  <i>Commentaires 2</i>.  Paris:  Seuil, 1967.<p>
Renov, Michael.  "Lost, Lost, Lost:  Mekas as Essayist."  <i>To Free the
Cinema:  Jonas Mekas and the New York Underground</i>.  Princeton:  Princeton
Univ. Press, 1992, 215-239.<p>
Silverman, Kaja.  <i>The Threshold of the Visible World</i>.  New York:
Routledge, 1996.<p>
Bl&uuml;minger, Christa and Constantin Wulff, ed.  <i>Schreiben Bilder
Sprechen:  Text zum essayistischen Film</i>.  Vienna:  Sonderzahl, 1992.<p>
Lanham, Richard A.  <i>The Electronic Word:  Democracy, Technology, and the
Arts</i>.  Chicago:  Univ. of Chicago Press, 1993.<p>
Ulmer, Gregory.  <i>Teletheory:  Grammatology in the Age of Video</i>.  New
York:  Routledge, 1989.<p>
Hattendorf, Manfred.  <i>Closeup:  Dokumentarfilm und Authentizit&auml;t:
&Auml;sthetik und Pragmatik einer Gattung</i>.  Konstanz:  Haus des
Dokumentarfilms, 1994.<p>
<hr>
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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!$eI3!!:


--============_-1384832608==_============--

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Date: Wed, 20 Mar 1996 09:44:43 -0800 (PST)
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199603201744.JAA12621@psych.Stanford.EDU>
To: bobhorn@well.com
Subject: pictures
Cc: bt@psych.Stanford.EDU, xinwei@leland.Stanford.EDU
Status: RO

Bob--

Again, I was sorry I couldn't stay longer for last week's discussion; it
was fun.

A number of people in philosophy, CS, and computer science have been
thinking about the role of diagrams in thinking and communication.  Some
of it gets technical and esoteric, and it hasn't coalesced into a
discipline.  Here are a few of those sources:

Writings of C. S. Pierce.

Goodman, N. (1968).  Languages of Art.  Indianopolis:  Bobbs-Merrill.

Stenning, K. and Oberlander, J. (1995). A cognitive theory of graphical
and linguistic reasoning:  Logic and implementation.  Cognitive
Science, 19, 97-140.

Walton, Ken.  A book with Mimetics in the title.

Notes from a 1992 AAAI session on diagrammatic reasoning, some of which
got turned into an MIT press (?) book edited by Hari Narayanan and
others.

Here's part of the issue.  Languages for the most part are symbolic,
with arbitrary relations between the symbols and the things they
signify.  Diagrams, pictures, and the like capitalize on the
non-arbitrariness of the relations between symbols (pictures) and the
things they signify, that is part of their power (Goodman argues that
pictures are symbolic, but many don't agree; his criteria for a symbol
system are very restrictive).  Now clearly there are instances of
pictorics that are arbitrary, like the symbols for notes in musical
notation, but the mapping of higher notes to higher on the page does not
feel arbitrary.  In spoken language, there are examples that don't feel
arbitrary, either, and seem to occur cross-culturally, irrespective of
language, e. g., raising the voice in anger, lowering it in sadness.
Many gestures have similar qualities.  In fact, gesture in spoken speech
seems to me to be a close comparison to diagrams in written (or spoken)
speech; they clearly carry meaning and can supplement and even override
the words.  Gestures and depictions do different things well, gestures
are better at animation and depictions at static concepts on the whole.
(Randi Engle, a grad student in education, is looking at how people use
gesture and diagrams in explaning locks.)  A number of people have been
thinking about these issues on campus, as you probably know, among them
John Etchemendy, John Perry, Betsy Macken, Herb Clark, and others,
though all of this may be more philosophical than what you have in mind.

To be continued...

Barbara
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Date: Sat, 23 Mar 1996 15:39:15 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Re: Request for approval of Sophomore Dialogue Seminar
Status: RO

What does this mean: > But sure, if I'm around, I'd love to be
>involved.  > Where are you going???? Staying I hope!

I would like to be involved in the interactive media group. Making it the
forum for working out the ideas on the media conference sounds good too.

T


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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199603242140.NAA17875@elaine18.Stanford.EDU>
Subject: SoundCulture 96
To: img-mail@lists.Stanford.EDU, douge@cs.berkeley.edu, doug_felt@taligent.com,
        as.lll@forsythe.stanford.edu, thurtle@leland.stanford.edu,
        kernsc@leland.stanford.edu, niklas@leland.stanford.edu,
        helga_wild@irl.org, shenly@leland.stanford.edu, trogu@netcom.com,
        rocha@jupiter.SJSU.EDU, JOE.MARHOUL.syntex.com@leland.stanford.edu,
        mackey@hpl.hp.com
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Status: O

Amici,

This sounds like a fabulous set of performances and conferences on
sound culture.  See the WWWebsite: http://www.lns.com/sc96.html for
details.  Below I attach the blurb, plus a list of some events that
Rosanna and I would like to attend. Please tell me if you'd like to go
together to some events.

Xin Wei
phone: 327-8533 , 725-3152

--------------- About SoundCulture 96  ------------
J

April 3-13, 1996


about...

April 3-13, 1996, the San Francisco Bay Area will host SoundCulture 96, the third
transpacific festival of contemporary sound practices. It follows two highly successful
SoundCulture events presented in Sydney in 1991 and Tokyo in 1993. Participants will
include artists, researchers, cultural theorists, presenting organizations, academic
institutions, and others working with sound. Events will include performances, exhibitions,
symposia, radio transmissions, experimental and indigenous musics, and new media arts.
As well, listening rooms will provide an opportunity to hear a wide variety of recorded
sound works in an informal setting. SoundCulture 96 will bring together local and
international sound practitioners of the Pacific to explore the varieties of culture that are
perceived through our ears. 

SoundCulture is the only festival of its kind to be held in the United States; no other art or
music festival in this country has focused on the sonic arts with this kind of scope and
format. Due to its ephemeral nature, sonic art work does not fit well into the structures that
support the presentation and discussion of either visual art or music. While the influence of
sound work can be found in everything from film to installation to the media arts, the form
itself has not been accorded the kind of attention its influence warrants. SoundCulture's
unique focus on this kind of activity presents an opportunity to expose experimental sound
work well beyond Eurocentric cultural boundaries, and to demonstrate links, crosscurrents,
and diversity in the sonic arts of the Pacific Region. history 

SoundCulture was initiated by artists and arts organizers in Australia working with the
Performance Space, the Listening Room at the Australia Broadcast Corporation, and the
Sound Studies Program at the University of Technology-Sydney. A festival composed of
exhibitions, performances, radio broadcasts, and symposia was held in October, 1991 under
the name of Invisible Cities/Impossible Objects. Representatives from Japan, New Zealand,
and the United States were invited to attend. Events included installations by Paul DeMarinis
(USA), Minoru Sato (Japan), performances by Anna Sabiel (Australia), Rodney Berry
(Australia), a sonic taxi ride through Sydney, and a piece by Alvin Curran (USA) for ship
horns in Sydney Harbor. 

This was followed in November, 1993 by the second festival, SoundCulture Japan '93,
held in Tokyo. Events took place at several sites including Theatre X, Kiryu Yurin-kan, the
Kawasaki City Museum, Art Forum Yanaka, and the Tokyo Bunka Kakikan. It included
works by Mamoru Fujieda (Japan), Douglas Kahn and Frances Dyson (USA/Australia),
Chris Mann (Australia), Phil Dadson (NZ), and Mineko Grimmer (Japan/USA). 

SoundCulture 96 was made possiible possible through the support and participation of a
large number of local and international institutions.

sponsors 
host committee 
credits 
contact information



sponsors

This festival was assisted by the Government of Australia through the Embassy of Australia,
Washington, D.C. Generous support for SoundCulture 96 was provided by the California
Tamarack Foundation, the Goethe Institute, Meyer Sound, Late Nite Software, and
Vanderbyl & Associates. Trimpin's exhibition at the Exploratorium was made possible by
AT&T: New Experiments in Art & Technology. Ed Osborn's exhibition at the Center for the
Arts at Yerba Buena Gardens was supported in part by Atlas Model Railroad Company and
Builders In Scale. 




host committee

The Host Committee consists of representatives from the organizing institutions, the
International SoundCulture Committee, and others. Members of the Host Committee
include Steve Anker (SF Cinematheque), John Bischoff (Mills College), Laura Brun (The
LAB), Joe Catalano, Mitchell Clark, Paul DeMarinis, Larnie Fox (23-5, Inc.), Rich Gold
(Xerox PARC), Brenda Hutchinson, Scot Jenerik (23-5, Inc.), Miya Masaoka, Susan Miller
(New Langton Arts), Ed Osborn (SoundCulture 96 Director), Tim Perkis, Jeannie
Weiffenbach (San Francisco Art Institute), Pamela Z, and Victor Zaballa. 

director: Ed Osborn 
panel coordinator: Natalie Jeremijenko


contact information

SoundCulture 96 
Box 731 
Oakland, CA 94604 

(510)848-0124 x623 
(510)430-3314 fax

Email: sc96@kumr.lns.com

http://www.lns.com/sc96.html

-------------------------- We're interested in -------------------------- 

3 April 12 noon
Harbor Symphony (for ships in Oakland Bay)

Wed 4 - Thu 5 April 12-5:00
Yerba Buena
Symposia on Sound Art and Aural Culture
	

6 April 12 noon
San Rafael Cultural Center
K. Mizushima

6 April 8 pm
Fairfield Arc Tec
The Dactyls

8 April 8:00 pm
SF Cinematique
Richard Lerman

10 April 7:30 
Pacific Film Archive
films, video (Arnold, Conner, Dye, Rankus, Rose, Dactyls...)

10 April 8:00
Archeology of Stones (Dadson, From Scratch, N. Zealand)

11 April 8:00
Parts of Speech (Pamela Z)

12 April 8:00
Mills College Concert Hall
Mori, Rosenfield, Center for Contemporary Music

12 April 8:00 (repeated Saturday)
SF The LAB
MacMurtrie, human+robot performance

13 April 8:00
Custer, PHFFFT

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Message-Id: <199505221912.MAA17029@jessica.Stanford.EDU>
To: xinwei@leland.stanford.edu
Subject: Media Lab, Theme Parks
Date: Mon, 22 May 1995 12:11:54 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O

[
Amici, I'm forwarding a particularly intriguing set of references from
the MIT Media Lab's narrative intelligence group, our elder sister.

This brings up a direction I'd like to pursue in the future --
spatially-based systems of meaning, and critiques of ocularcentrism. 


- - Xin Wei
] 


Date: 22 May 95 14:17:33 U
From: "strohecker" <stro@merl.com>
Subject: 25 May mtg: theme park themes
To: narr-int@media.mit.edu

Much of our work involves interfaces that rely on spatial metaphors. 

Office-style applications as well as text-based and image/sound/text-based VR's
are raising questions about the meaning and techniques of "place-making."  Set
designers, architects, and urban planners make professions of dealing with such
questions, and perhaps we could benefit from studying their perspectives.  


Thursday's discussion will focus on some current thinking about cities and
"themed spaces."  The two readings come from _Theme Parks, Leisure Centres,
Zoos, and Aquaria_, by Wilson and Wilson, and _Variations on a Theme Park: The
New American City and the End of Public Space_, edited by Michael Sorkin. 

(Thanks to Amy, these readings are now available in the usual place at the
Media Lab.)

_Theme Parks_ outlines the design and concept of specific heritage parks,
biosphere reserves, etc.  In the foreword, David Bellamy describes it as "a
timely handbook which not only investigates the history of the phenomenon of
turnstile leisure but looks on the bright side of its social track."  This
bright side, in Bellamy's view, has to do with "safeguard[ing] the master works
of people and nature" and "teach[ing] the masses about the importance of the
real thing." 


_Variations on a Theme Park_ is an anthology of essays that look critically at
another aspect of this social track.  This aspect becomes apparent as the
compartmentalization that is a necessary element in the design of theme parks
becomes adopted in the design of cities.  


I suggest these readings with double intent:  On the one hand, _Theme Parks_ is
a useful design manual for those developing spatial representations for online
places.  The book presents considerations of organization, circulation, and
access thoughtfully and in detail.  On the other hand, as Sorkin implicitly
suggests in both his essay and his introduction to _Variations on a Theme
Park_, our efforts may exacerbate the already distressing trend toward creating
"cities" without places attached to them. 


This concern raises, of course, the question of what is a "place," which will
be among the questions for discussion on Thursday.  As we create VR spaces,
will we be able to move something of the traditional notion of "city" online? 

Sorkin asserts that media have already had an impact on the design of cities. 

Will cities, in turn, influence the design of new media, or new media places? 

What kinds of places, new sorts of cities, will we create?  Given the evidence
that we carry to our online experiences many of our assumptions and behaviors
from the "real world," two organizing questions for Thursday's discussion could
be:  What are we creating?  What are we re-creating? 


- -Carol

===================================
Date: 22 May 95 14:20:09 U
From: "strohecker" <stro@merl.com>
Subject: more details about Th'day's readings
To: narr-int@media.mit.edu

Thursday's presentation and discussion will be based on the two handouts, but
also on other aspects of the books from which they are excerpted.  Here are
further details:

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

1.  _Theme Parks, Leisure Centres, Zoos, and Aquaria_.  

Wilson, Anthony & Patricia.  1994.  

(Essex UK: Longman Scientific and Technical, copublisher John Wiley & Sons,
NY).

Thursday's reading includes the introduction and excerpts from the chapter on
theme parks and leisure centres.  Here are the complete contents:


Introduction

Theme Parks and Leisure Centres

     Urban renewal
     Fun and fantasy
     Visitor attractions - scientific, cultural, and historic
     Activity centres

Zoos

     The city zoo
     Specialist zoos
     A context for education

Animal Enclosures

     Particular enclosures

Marine Animal Parks and Aquaria

     Aquaria
     Marine mammals

Planning, Facilities and Techniques

     Project development
     Transportation and rides
     Techniques

Summary

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

2.  _Variations on a Theme Park: The New American City and the End of Public
Space_.  Sorkin, Michael, ed.  1992.  (NY: Hill & Wang).

Thursday's reading is the final essay by Michael Sorkin, "See You in
Disneyland."  Here are the complete contents:


Introduction: Variations on a Theme Park - Michael Sorkin


The World in a Shopping Mall - Margaret Crawford

     The Science of Malling
     The Utopia of Consumption
     Retail Magic
     Public Life in a Pleasure Dome
     Hyperconsumption: Specialization and Proliferation
     The World as a Shopping Mall
     


Silicon Valley Mystery House - Langdon Winner

     A Very Clean Orchard
     A Paradise for Engineers
     The Electronics Race
     A Divided Culture
     Technopolis or the Digital City?
     Place and Hyperspace
     


New City, New Frontier: The Lower East Side as Wild, Wild West - Neil Smith

     Building the Frontier Myth
     Selling Loisaida
     Pioneering for Profit
     "Another Wave More Savage than the First": The New (Global) Indian Wars?
     


Inside Exopolis: Scenes from Orange County - Edward W. Soja

     Scene 1: "Toto, I've Got a Feeling We're Not in Kansas Anymore"
     Scene 2:  The Origins of Exopolis
     Scene 3:  Iconic Emplacements
     Scene 4:  A Campus by Design
     Scene 5:  Spotting the Spotless in Irvin
     Scene 6:  Roots and Wings
     Scene 7:  It's a Mall World After All
     Scene 8:  Cities That Are Doubles of Themselves
     Scene 9:  On the Little Tactics of the Habitat
     Scene 10: Scamscape: On the Habitactics of Make-Believe
     Closing/Opening
     


Underground and Overhead: Building the Analogous City - Trevor Buddy

     A Short History of the Analogous City
     Inside the Analogous City I: The Skyways of Minneapolis
      Inside the Analogous City II: Calgary's Plus Fifteen
     Inside the Analogous City III: Montreal's Underground
     Resisting the Analogous City 



Fortress Los Angeles: The Militarization of Urban Space - Mike Davis

     The Destruction of Public Space
     Forbidden City
     Mean Streets
     Sequestering the Poor
     Security by Design
     The Panopticon Mall
     High-Rent Security
     The LAPD as Space Police
     The Carceral City
     The Fear of Crowds
     


Cities for Sale: Merchandising History at South Street Seaport - M. Christine
Boyer

     The History of the Tableau
     The Types of City Tableaux
     Picture-Writing
     A Landscape of Perfect Projects
     Brokering Desire
     


See You in Disneyland - Michael Sorkin
===================================
Date: 22 May 95 14:25:21 U
From: "strohecker" <stro@merl.com>
Subject: add'l. ref's.  re: Th'day's topic
To: narr-int@media.mit.edu

Those interested in related reading may want to check out:


Umberto Eco, _Travels in Hyper-reality_.  1983.  Trans. William Weaver.  San
Diego: Harcourt Brace Jovanovitch.  


Jonathan Franzen, "The Reader in Exile."  The New Yorker, 6 March 1995.
[A review of Nicholas Negroponte's _Being Digital_ and Sven Birkerts's _The
Gutenberg Elegies: The Fate of Reading in the Electronic Age_.]

Kevin Lynch, _The Image of the City_.  1960.  MIT Press.  




------- End of Forwarded Message

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Date: Fri, 22 Mar 1996 17:25:17 +0800
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: potter@interval.com (Daniel Potter)
Subject: Re: DocuMemory abstract
Status: RO



--============_-1384635779==_============
Content-Type: text/plain; charset="us-ascii"

Xin Wei:
Here's an outline in html w/ two images included (one gif ruler and one
image of llull's memory tree). They're stuffed in an .sit archive.  The
images should rest at the same level as the html file.
Netscape doesn't seem to interpret the underlining of book/film titles
(<u></u>), plus I should have made the bullets lists in html, but no biggy,
as they say...
best,
daniel
ps if you want a word file of this, let me know

>Dear Daniel,
>
>Thanks for a most enticing talk.  I'm only sorry we didn't have time
>to get to more of your talk.
>
>Would you like to post an outline of the topics we touched on?  It's
>not crucial, but it would help me a lot when I try to write up some
>notes sans the rhetorician's art of memory.
>
>Xin Wei



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Subject: Stoll @ MSRI April 2
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              Mathematical Sciences Research Institute
                          Empennage Seminar
            2 PM, Tuesday April 2, 1996
		MSRI Lecture Hall

                          Silicon Snake Oil

        Why computers are irrelevant to learning Mathematics
        and How to make money from low dimensional topology

                             Cliff Stoll

(MSRI is the Mathematical Sciences Research Institute
at1000 Centennial Drive, Berkeley.
directions to MSRI are available at the URL:
http://www.msri.org/housing/info/howtoget.html)

Involved with computer networks since their inception, Cliff Stoll is
widely known both online and off -- as astronomer, computer security
expert, and network maven.  In 1987, he tracked down a group of
computer hackers operating over the Internet who turned out to be
spies, working for the Soviet KGB.  He told this story in his
best-selling book, The Cuckoo's Egg.

Despite this, Cliff admits to being deeply ambivalent about computers,
and today is having second thoughts about the the role of networks in
our culture.  In his latest book, Silicon Snake Oil, Cliff questions
our infatuation with the Internet and the overselling of the
information highway.

Rather than bringing us together, might our online obsession be
isolating us from each other?  Do computers belong in classrooms -- or
might they get in the way of learning?  Why do libraries spend money
on multimedia gizmos rather than books, journals and librarians?  If
computers are so great for efficiency, how come American business
productivity has been essentially flat over the past two decades?
Most of all, what's lost when we plop down in front of our keyboard?

About Empennage

        As part of our effort to build bridges between Mathematics  
and the
larger world, the Mathematical Sciences Research Institute is sponsoring
a seminar where mathematicians can meet adventurers on the technological
frontier. The Empennage Seminar will meet in the MSRI lecture hall
Tuesday afternoons from 2 to 3.

        The seminar is intended to bring together not only scientists
from the Bay Area involved directly with mathematical computing, but
also people involved in envisioning and implementing new technologies,
people concerned with the social and political ramifications of the
development of information technology, and people working on problems,
the formal nature of which brings them close to mathematics. The
seminar is aimed at breaking down the walls which in this century
have isolated mathematics from intellectual life outside of its own
tradition.

        While the Empennage seminar is still in its infancy, we have
begun to attract an audience beyond MSRI, including scientists from
other institutions and disciplines, both within and without academe.
If you have any recommendations for possible speakers, please let me
know: Joe Christy, joe@msri.org, (510)643-6069.

        There is a majordomo mailing list for the Empennage seminar.
To subscribe, send email to majordomo@msri.org with body:
    subscribe empennage

About MSRI

        The Mathematical Sciences Research Institute (MSRI) is an
independently funded research institute located on the UC Berkeley
campus, high above the Lawrence Hall of Science. At any given time,
MSRI is host to 50 to 100 post-doctoral fellows and more senior
researchers who come from all over the world for periods of a week to
a year. Most of them participate in one of two topical programs which
change from year to year, with a smaller group in "Area III", our
catch-all. Currently the programs are Holomorphic Spaces and
Several Complex Variables.

        MSRI is aiming to become a model site for the integration of
computing into mathematical research. In practical terms this means
not only the development and use of software for numerical
calculation, symbolic manipulation, and geometric visualization, but
also exploration of the uses of technology in other areas of scholarly
life. This includes network access and distribution of structured
information, new modes of scholarly communication (incorporating Email,
formatted and illustrated mathematical text, and shared interactive
software for experimental mathematics), and the development of software
engineering tools necessary to put the creation of useful, shareable
special purpose software within the reach of the average individual
scientist.

...
About the word "empennage"

Empennage is the French word for fletching - the act of putting
feathers on the tail of an arrow. This makes the arrow fly straighter
by giving it a spin.
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Date: Mon, 25 Mar 1996 01:43:43 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>, img-mail@lists.Stanford.EDU,
        douge@cs.berkeley.edu, doug_felt@taligent.com,
        as.lll@forsythe.stanford.edu, thurtle@leland.stanford.edu,
        kernsc@leland.stanford.edu, niklas@leland.stanford.edu,
        helga_wild@irl.org, shenly@leland.stanford.edu, trogu@netcom.com,
        rocha@jupiter.SJSU.EDU, JOE.MARHOUL.syntex.com@leland.stanford.edu,
        mackey@hpl.hp.com
From: njj@cdr.stanford.edu (Natalie H. M.  Jeremijenko)
Subject: Re: SoundCulture 96
Sender: owner-img-mail@lists.Stanford.EDU
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Status: RO

Xin-Wei Sha

Wonderful to get this bit of excitement sent to me and not the reverse!
I second the motion, it will be grand.... though I have vested interest in
papers and panels(having chaired them).
Recommend the exhibition at Blasthaus, Ultasound...that launches the online
sperm bank
Also the SFbay foghorn opera.

regards
natalie
At 1:40 PM 3/24/96, Xin-Wei Sha wrote:
>Amici,
>
>This sounds like a fabulous set of performances and conferences on
>sound culture.  See the WWWebsite: http://www.lns.com/sc96.html for
>details.  Below I attach the blurb, plus a list of some events that
>Rosanna and I would like to attend. Please tell me if you'd like to go
>together to some events.
>
>Xin Wei
>phone: 327-8533 , 725-3152
>
>--------------- About SoundCulture 96  ------------
>J
>
>April 3-13, 1996
>
>
>about...
>
>April 3-13, 1996, the San Francisco Bay Area will host SoundCulture 96,
>the third
>transpacific festival of contemporary sound practices. It follows two
>highly successful
>SoundCulture events presented in Sydney in 1991 and Tokyo in 1993.
>Participants will
>include artists, researchers, cultural theorists, presenting
>organizations, academic
>institutions, and others working with sound. Events will include
>performances, exhibitions,
>symposia, radio transmissions, experimental and indigenous musics, and new
>media arts.
>As well, listening rooms will provide an opportunity to hear a wide
>variety of recorded
>sound works in an informal setting. SoundCulture 96 will bring together
>local and
>international sound practitioners of the Pacific to explore the varieties
>of culture that are
>perceived through our ears.
>
>SoundCulture is the only festival of its kind to be held in the United
>States; no other art or
>music festival in this country has focused on the sonic arts with this
>kind of scope and
>format. Due to its ephemeral nature, sonic art work does not fit well into
>the structures that
>support the presentation and discussion of either visual art or music.
>While the influence of
>sound work can be found in everything from film to installation to the
>media arts, the form
>itself has not been accorded the kind of attention its influence warrants.
>SoundCulture's
>unique focus on this kind of activity presents an opportunity to expose
>experimental sound
>work well beyond Eurocentric cultural boundaries, and to demonstrate
>links, crosscurrents,
>and diversity in the sonic arts of the Pacific Region. history
>
>SoundCulture was initiated by artists and arts organizers in Australia
>working with the
>Performance Space, the Listening Room at the Australia Broadcast
>Corporation, and the
>Sound Studies Program at the University of Technology-Sydney. A festival
>composed of
>exhibitions, performances, radio broadcasts, and symposia was held in
>October, 1991 under
>the name of Invisible Cities/Impossible Objects. Representatives from
>Japan, New Zealand,
>and the United States were invited to attend. Events included
>installations by Paul DeMarinis
>(USA), Minoru Sato (Japan), performances by Anna Sabiel (Australia),
>Rodney Berry
>(Australia), a sonic taxi ride through Sydney, and a piece by Alvin Curran
>(USA) for ship
>horns in Sydney Harbor.
>
>This was followed in November, 1993 by the second festival, SoundCulture
>Japan '93,
>held in Tokyo. Events took place at several sites including Theatre X,
>Kiryu Yurin-kan, the
>Kawasaki City Museum, Art Forum Yanaka, and the Tokyo Bunka Kakikan. It
>included
>works by Mamoru Fujieda (Japan), Douglas Kahn and Frances Dyson
>(USA/Australia),
>Chris Mann (Australia), Phil Dadson (NZ), and Mineko Grimmer (Japan/USA).
>
>SoundCulture 96 was made possiible possible through the support and
>participation of a
>large number of local and international institutions.
>
>sponsors
>host committee
>credits
>contact information
>
>
>
>sponsors
>
>This festival was assisted by the Government of Australia through the
>Embassy of Australia,
>Washington, D.C. Generous support for SoundCulture 96 was provided by the
>California
>Tamarack Foundation, the Goethe Institute, Meyer Sound, Late Nite Software, and
>Vanderbyl & Associates. Trimpin's exhibition at the Exploratorium was made
>possible by
>AT&T: New Experiments in Art & Technology. Ed Osborn's exhibition at the
>Center for the
>Arts at Yerba Buena Gardens was supported in part by Atlas Model Railroad
>Company and
>Builders In Scale.
>
>
>
>
>host committee
>
>The Host Committee consists of representatives from the organizing
>institutions, the
>International SoundCulture Committee, and others. Members of the Host Committee
>include Steve Anker (SF Cinematheque), John Bischoff (Mills College),
>Laura Brun (The
>LAB), Joe Catalano, Mitchell Clark, Paul DeMarinis, Larnie Fox (23-5,
>Inc.), Rich Gold
>(Xerox PARC), Brenda Hutchinson, Scot Jenerik (23-5, Inc.), Miya Masaoka,
>Susan Miller
>(New Langton Arts), Ed Osborn (SoundCulture 96 Director), Tim Perkis, Jeannie
>Weiffenbach (San Francisco Art Institute), Pamela Z, and Victor Zaballa.
>
>director: Ed Osborn
>panel coordinator: Natalie Jeremijenko
>
>
>contact information
>
>SoundCulture 96
>Box 731
>Oakland, CA 94604
>
>(510)848-0124 x623
>(510)430-3314 fax
>
>Email: sc96@kumr.lns.com
>
>http://www.lns.com/sc96.html
>
>-------------------------- We're interested in --------------------------
>
>3 April 12 noon
>Harbor Symphony (for ships in Oakland Bay)
>
>Wed 4 - Thu 5 April 12-5:00
>Yerba Buena
>Symposia on Sound Art and Aural Culture
>
>
>6 April 12 noon
>San Rafael Cultural Center
>K. Mizushima
>
>6 April 8 pm
>Fairfield Arc Tec
>The Dactyls
>
>8 April 8:00 pm
>SF Cinematique
>Richard Lerman
>
>10 April 7:30
>Pacific Film Archive
>films, video (Arnold, Conner, Dye, Rankus, Rose, Dactyls...)
>
>10 April 8:00
>Archeology of Stones (Dadson, From Scratch, N. Zealand)
>
>11 April 8:00
>Parts of Speech (Pamela Z)
>
>12 April 8:00
>Mills College Concert Hall
>Mori, Rosenfield, Center for Contemporary Music
>
>12 April 8:00 (repeated Saturday)
>SF The LAB
>MacMurtrie, human+robot performance
>
>13 April 8:00
>Custer, PHFFFT


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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199603260117.RAA14642@elaine26.Stanford.EDU>
Subject: Spring
To: potter@interval.com (Daniel Potter)
Date: Mon, 25 Mar 1996 17:17:25 -0800 (PST)
Cc: jamb@leland.Stanford.EDU (Benjamin Butt Robinson),
        xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <v02130500ad7c079d558d@[192.203.7.144]> from "Daniel Potter" at Mar 25, 96 04:23:10 pm
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Status: RO

Hi Daniel & Ben,

(Ben, until we snag a modem, forgive my indirection...)

How about these two themes?

1.  socio-politics of cyber-architecture

	the last two chapters in R. Coyne
	What else? (Ann Weinstone has an article on the
	metaphysics of addiction and VR)

2. the  ontological status of "digital (interactive) media"

	selections from M. Jay that summarize various critiques of
	ocularcentrism & logocentrism. What else?  (Tom Hare
	gave me a chapter of his about Egyptian hieroglyphs.)

Let's plot!  Michael Irmscher suggested that img jointly put together a
multi-faceted document this quarter,  a concrete summary report of
this year's thoughts.

Let's talk ... can we get together for dinner this week?  maybe with
Michael?

> 
> Thanks Xin Wei for putting the page together.  It's nice to have a toehold
> in the "real" web, outside our ever-vigilant firewall...
> Ben and I had an idea for some future meeting:  that we read Martin Jay's
> _Downcast Eyes_ (selected sections at least) and meet to discuss it.  I
> noticed that you have that on the IMG bibliography already.  Have you
> discussed it yet?  What do you think?
> 
> daniel
> 
> >Dear Daniel,
> >
> >I got your html + 2 gifs, and posted them on the IMG site.
> >
> >Thanks!
> >Xin Wei
> 
> 
> 

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Message-Id: <199603271945.LAA18957@lists.Stanford.EDU>
Date:     Wed, 27 Mar 96 11:45:36 PST
From: "Patience Young"  <Patience.Young@forsythe.stanford.edu>
To: "Betsy Fryberger" <Betsy.Fryberger@forsythe.stanford.edu>,
        "Bernard Barryte" <Bernard.Barryte@forsythe.stanford.edu>,
        "Diana Strazdes"  <Diana.Strazdes@forsythe.stanford.edu>,
        "Hilarie Faberman"  <Hilarie.Faberman@forsythe.stanford.edu>,
        "Mona Duggan"     <Mona.Duggan@forsythe.stanford.edu>,
        "Susan Roberts Mangan"  <Susan.Roberts.Manganelli@forsythe.stanford.edu>,
        "Thomas Seligman" <Thomas.Seligman@forsythe.stanford.edu>,
        jleivick@LELAND.stanford.edu, lesliej@LELAND.stanford.edu,
        maveety@LELAND.stanford.edu, ruthf@LELAND.stanford.edu,
        sati@lists.Stanford.EDU, strazdes@LELAND.stanford.edu
Subject:  Performance Art symposium in November
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FYI:  Penn State will host a symposim on performance art,
culture, and pedagogy November 13-16 (1996).  "The first of its
kind, this symposium will examine the historical, theoretical, and
experiential significance of performance art in order to distinguish
its pedagogy as an emerging form of art education."

The list of presenters is extensive and impressive; they're bringing
in the major movers and shakers in performance, criticism, and
education.

Further information: call 1-800-PSU-TODAY or check their website:

http://www.cde.psu.edu/C&I/PACP.html

-py

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     Susan.Roberts.Manganelli, Thomas.Seligman, JLEIVICK@LELAND,
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 28 Mar 96 12:04:05 -0800
To: keeling@leland.Stanford.EDU
Subject: names
Cc: xinwei@leland.Stanford.EDU, larryf@leland.Stanford.EDU
Status: O

Hi John,

could you please help me out with some drudgery?   Here's a file of  
 info I got by
running finger across most of the img-mail  list.    Some (the  
off-campus addresses)
may not show any useful info.  In order to get affiliation, I'm  
afriad you'll
have to run whois on the full names.

Could you please make up a simple list of attendees:
	name, affiliation, email
from this info?   We'll need it by this weekend in order
to re-apply for Hum center support.

Thanks,
Xin Wei

-------------- img attendees (full info) ---------
John Keeling	English	<keeling@leland.Stanford.EDU>
Alan Bush	Philosophy	<bush@team-prometheus.com>
Sarah Sarojini Jain History of Consciousness, UCSC	 
<ssjain@cats.ucsc.edu>

Tom Hare	Asian Studies and Comparative Literature	 
thare@leland

-------------- img attendees (email) ---------
finger bobhorn@well.com > fingers
finger bt@psych.stanford.edu >> fingers
finger clsalt@leland.stanford.edu >> fingers
finger cnastro@leland.Stanford.EDU >> fingers
finger curtis@roses.stanford.edu >> fingers
finger decker@leland.Stanford.EDU >> fingers
finger dolan@leland.stanford.edu >> fingers
finger doug_felt@taligent.com >> fingers
finger drewcb@leland.Stanford.EDU >> fingers
finger dwm@leland.stanford.edu >> fingers
finger eva@csli.Stanford.EDU >> fingers
finger farabo@eworld.com >> fingers
finger helga_wild@irl.org >> fingers
finger hf.pvy@forsythe.stanford.edu >> fingers
finger holeton@leland.stanford.edu >> fingers
finger irmscher@Leland.stanford.edu >> fingers
finger issac@mednet.Stanford.EDU >> fingers
finger jamb@leland.Stanford.EDU >> fingers
finger jamb@leland.stanford.edu >> fingers
finger josslm@leland.Stanford.EDU >> fingers
finger jross@leland.Stanford.EDU >> fingers
finger karenl@cats.ucsc.edu >> fingers
finger kernsc@leland.stanford.edu >> fingers
finger larryf@leland.stanford.edu >> fingers
finger leifer@cdr.stanford.edu >> fingers
finger marcelo@leland.stanford.edu >> fingers
finger mcarter@digipix.com >> fingers
finger mcrane@leland.Stanford.EDU >> fingers
finger mcyang@cdr.stanford.edu >> fingers
finger meg@steam.stanford.edu >> fingers
finger mqwang@pcd.stanford.edu >> fingers
finger njj@cdr.stanford.edu >> fingers
finger nolan@cs.stanford.edu >> fingers
finger otto@leland.stanford.edu >> fingers
finger paulc@leland.stanford.edu >> fingers
finger potter@interval.com >> fingers
finger rayner@leland.stanford.edu >> fingers
finger reichard@leland.stanford.edu >> fingers
finger RFRANK@leland.stanford.edu >> fingers
finger rjfleck@ccrma.stanford.edu >> fingers
finger sau@sandia.gov >> fingers
finger schoch@leland.stanford.edu >> fingers
finger weinstne@leland.stanford.edu >> fingers
finger xinwei@leland.stanford.edu >> fingers


-------------- img attendees (finger info) ---------
[well.com]
finger: bobhorn: no such user.
The following includes information on only those WELL users who have
specifically chosen to make information about themselves publicly
available.  For help contact <support@well.sf.ca.us>.

[psych.stanford.edu]
Login name: bt        			In real life: Barbara Tversky
Directory: /user/bt                 	Shell: /bin/tcsh
On since Mar 28 10:56:38 on ttyqa from tip-mp7-ncs.Stan
7 minutes 3 seconds Idle Time
Mail last read Thu Mar 28 11:27:15 1996
Plan:
Out of town:  March 22-24
Conference:   March 25-27

Office:  336 Jordan  (415) 725-2440  Fax (415) 725-5699
	 Department of Psychology Bldg 420
	 Stanford University
	 Stanford, CA 94305-2130
Office
Hour:    Fridays 2-3

Sec'y:   Jenifer Cullen 725-2441 (messages)
	 342 Jordan

Home:    972 Mears Court (415) 857-1356
	 Stanford, CA 94305
[leland.stanford.edu]
Login name: clsalt                      In real life: Christopher  
Lloyd Salter
Directory: /s15/c/clsalt                Shell: /bin/tcsh
No unread mail
[leland.Stanford.EDU]
Login name: cnastro                     In real life: caroline nastro
Directory: /afs/ir/users/c/n/cnastro    Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[roses.stanford.edu]
Login name: curtis    			In real life: Gayle Curtis
Directory: /gig5d/users/curtis      	Shell: /bin/tcsh
Never logged in.
New mail received Thu Mar 28 11:08:46 1996;
  unread since Sat Mar 16 08:36:35 1996
Plan:
Gayle Curtis

Sometimes at Stanford CDR: Bldg 560 Rm 203 (415-725-0217, if there)
Sometimes at VA RR&D Center: Bldg 51

Messages at:
	RR&D Center office:	(415) 493-5000 x 4482 	(OK)	
	Redwoods office:	(415) 856-4956  	(Better)

Email:
	curtis@roses.stanford.edu	(Best)

URL:	http://cdr.stanford.edu/~curtis		
[leland.Stanford.EDU]
Login name: decker                      In real life: Decker Walker
Directory: /afs/ir/users/d/e/decker     Shell: /bin/tcsh
No unread mail
[leland.stanford.edu]
Login name: dolan                       In real life: Judith Anne Dolan
Directory: /s14/d/dolan                 Shell: /bin/tcsh
No unread mail
[taligent.com][leland.Stanford.EDU]
Login name: drewcb                      In real life: Drew Calvin Bamford
Directory: /afs/ir/users/d/r/drewcb     Shell: /bin/tcsh
No unread mail
Project: yes


Plan:
Check-out my web site at http://www-leland.stanford.edu/~drewcb for
details on past and present projects.  I am currently working on exercise
toys to combat RSI in the digital workplace, modular foam seating for
children, human-scale computer interfaces for airline check-in, and this
year's Interval Research workshop on "computer mediated fun."
[leland.stanford.edu]
Login name: dwm                         In real life: Diane W Middlebrook
Directory: /afs/ir/users/d/w/dwm        Shell: /bin/tcsh
No unread mail
Project: Sorry, I don't have a project description yet.
[csli.Stanford.EDU]
Login name: adele     			In real life: Adele Eva Goldberg
Directory: /user/adele              	Shell: /bin/csh
Last login Mon Mar 25 15:43 on ttyp0 from Turing.Stanford.
No unread mail
Plan:

Assistant Professor of Linguistics, UCSD

Work: 619 534-6239
Home: 619 294-2626


Login name: eva       			In real life: Eva Prionas
Directory: /user/eva                	Shell: /bin/tcsh
Last login Wed Mar 20 23:59 on ttyp6 from Csli.Stanford.ED
No unread mail
No Plan.

Login name: neuberg   			In real life: Eva Neuberg
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Marcelo Clerici-Arias

Office: Department of Economics           Mail: P.O. Box 9447
        Stanford University                     Stanford, CA 94309
        Stanford, CA 94305
        (415) 725-8921                          (415) 497-4221
	Office 355A

Spring 1996: finish dissertation

Summer 1996: instructor Econ 1 and Econ 51, Stanford University

Fall 1996: assistant professor, Universidad de San Andres,
Vito Dumas 284, (1644) Victoria - Buenos Aires, Argentina


Research:
- bounded rationality
- evolutionary game theory
- applications of evolutionary computation to economics
- theory of the firm and industrial organization

:) Proud father of Federico, born on November 2, 1994 :)
:) Future father of Andrea, to be born around June 20, 1996 :)

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__________________________________________________________________________
Sha Xin Wei                             e-mail:  
xinwei@leland.stanford.edu
                                     
http://www-leland.stanford.edu/~xinwei

SULAIR Human-Computer Systems Architect          Telephone:   
(415)725-3152
Mathematics and Scientific Visualization
Stanford University
Stanford, CA 94305-3090
__________________________________________________________________________

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu, 28 Mar 96 14:44:51 -0800
To: xinwei@leland.Stanford.EDU
Subject: Tom Hare: invitation to img seminar
Status: O



Begin forwarded message:

Date: Wed, 13 Mar 1996 10:12:15 -0800 (PST)
X-Sender: thare@popserver.stanford.edu
To: Sha Xin Wei <xinwei@truffaut.Stanford.EDU>
From: thare@leland.Stanford.EDU (Tom Hare)
Subject: Re: invitation to img seminar

Dear Xin Wei-

Sorry for the deathly silence from my side.  I had no intention to ignore
your request for references to my articles.  It's just that the  
meetings I
was involved in last week took up nearly every moment of my time on  
campus.
I'll tell you what, though.  I'll bring some things along with me  
tomorrow
for you.  I have a short published article on Japanese writing which is
relevant in some ways to what I think you're looking for.  I haven't
actually published anything on Egyptian yet, but am in the throes of
preparing a fairly long manuscript on various aspects of Egyptian  
culture.
I'll make a copy of the chapter most closely related to Egyptian writing
and bring it too.

I'm looking forward to the seminar.

Best,
Tom Hare

_________________________________________________________________
Thomas Hare                     e-mail: thare@leland.stanford.edu

Department of Comparative Literature    Telephone:  (415)725-8228
Chair, Department of Asian Languages
Stanford University
Stanford, CA 94305-2034
_________________________________________________________________


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Date: Thu, 28 Mar 1996 16:41:08 +0000
From: John Keeling <keeling@leland.stanford.edu>
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Status: RO

This is a multi-part message in MIME format.

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oops, this time attached as a .sit file to preserve
formatting.  source is a word 5 file.

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From: xinwei@otter.stanford.edu (Sha Xin Wei)
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To: media@otter.stanford.edu, chips@otter.Stanford.EDU
Subject: img futures
Cc: arayner@Leland.stanford.edu, winograd@cs.stanford.edu,
        jc@Ccrma.stanford.edu, davis@interval.com, roscheis@pcd.stanford.edu,
        steve@pcd.stanford.edu, franchi@Csli.stanford.edu,
        uxmal@Leland.stanford.edu, bomberry@Leland.stanford.edu,
        karenl@cats.ucsc.edu, cas@riverview.com, steveit@aol.com
X-Status: 
Status: O

Dear folk interested in interactive media,

The interactive media group (img) will not meet this week due to exams and summer fever.

I propose that we start afresh
 

	Thursday July 6, 12:15
	Sweet Hall 303
	Stanford University

Map = http://www-pcd.stanford.edu/cgi-bin/map/map.html?sweet+hall

This is a chance for some new folk and new interests to join the
discussion.   Please visit the img website

	http://www-leland/~xinwei/pub/img/img.html

for a description of where we started, and where we've been.   Note the
bibliography and the discussion trail.   Possible futures include systems
theories, ocularcentric systems, architecture, urban design, music and
"continuous" performance arts.

Larry Friedlander would like to submit a research seminar proposal to
Charlie Junkerman of the Humanities Center which may support this seminar
next year.   If you're interested in participating in this seminar, please
email me THIS WEEK, and tell me what you'd like to discuss under the rubric of
"constructive interactive media theory."  



- Xin Wei
http://www-leland.stanford.edu/~xinwei/


PS	Next time, we'll take up the thread of systems theory that Ben contextualized last week.

Many questions came up that I think can be tied together in an exploration of
topology and dynamical systems, which provide models underlying the
cybernetic theories that seem to be enjoying a critical revival.   I'll try
to prepare a few lectures on topology (aka analysis situs), and dynamical
systems which will follow from the discussion of Luhmann, Parsons et al..  I
hope to convince you that there's a natural bridge between these theories
which may help us understand them.   Beyond this, one of my goals is to work
toward a reconceptualization of media and action using continuous models
or metaphors. 

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To: davis@interval.com
cc: xinwei@elaine26.Stanford.EDU
Subject: Personal Narrative Spaces panel for ACM 95
Date: Sun, 13 Aug 1995 00:33:35 -0700
From: Xin-Wei Sha <xinwei@leland.stanford.edu>
X-Status: 
Status: RO


------- Forwarded Message

  ----- Original message follows -----
To: FRIEDLAND.L@applelink.apple.com, marc.davis@interval.com,
        gid@media.mit.edu
cc: xinwei@jessica.Stanford.EDU
Subject: Personal Narrative Spaces panel for ACM 95
Date: Fri, 11 Aug 1995 17:48:41 -0700
From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>

Dear Glorianna, Marc, Larry,

Good news -- ACM 95 accepted our panel proposal.   Now the Panels co-chair
needs our final draft of the panel.  So could you please send me 

(1) A couple of biographical sentences.
(2) A paragraph about what you'd like to address in the panel.

My mailer broke Monday, so my email from early this week may have
vanished.   Could you please resend your remarks to me at

xinwei@leland.stanford.edu

I attach our original panel Proposal below.

Thanks,
Sha Xin Wei
415-725-3152, 415-725-8240 (fax)

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

From: xinwei (Sha Xin Wei)
Full-Name: Sha Xin Wei
To: makedon@tenaya.cs.dartmouth.edu (Fillia Makedon)
Subject: panel proposal for ACM Multimedia
Cc: xinwei, xinwei@jessica

[Dear Fillia,

        Here's my proposal for a panel on "Personal Narrative Spaces"
and interactive media, involving Larry Friedlander (Stanford English
Dept.), Glorianna Davenport (MIT Media Lab), Marc Davis (Interval
Research), and myself.  All the named folk have enthusiastically
committed to the concept.

        Hope it flies,  please give me suggestions on strengthening it, if you like.

regards,
Xin Wei
- ------------
Sha Xin Wei
mathematics and scientific simulations
distributed media

mail:           ASD/LIR
                Sweet Hall 415
                Stanford University
                Stanford CA  94305-3090
                USA

telephone:      415/725-3152 (work,msg)
                415/725-8240 (fax)

internet:       xinwei@jessica.stanford.edu
www url:        http://www-leland.stanford.edu/~xinwei

]

Personal Narrative Spaces

Emerging multimedia technologies have blurred the lines between
classically distinct categories of theater and narrative: stage-spaces
in which humans and artifacts interact, and spaces of symbols like a
page of text or a digital video to be interpreted by an observer.
This panel brings together practitioners to take stock of the state of
the art and point out some exciting lines of work in the field of
interactive media.

What will we face do when we freely inter-mix computational artifacts
with human agents in our living, writing or performance spaces?  How
will we make sense of such hybrid spaces and how will we share these
interpretations?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues.  How should media models evolve to
meet the needs of these personal narrative spaces?  What are some
design limitations of our tools or frameworks?  What are some
potential functions that inhabitants, browsers, composers, and
architects can tap in emerging frameworks?  What are some worthy
challenges for researchers and developers interested in interactive
mulitmedia?

Glorianna Davenport is associate professor of media technology in
MIT's Media Arts and Sciences Program.  She directs the Interactive
Cinema group at the MIT Media Laboratory, a research program which
focuses on researching narrative models for interactive media and
digital production tools.  Recently she has concentrated on a story
about urban change in boston and community memory.

Davenport has also produced interactive fiction and theatrical work.
In 1992 she co-directed Wheel of Life: a Transformational Environment
with Larry Friedlander.  Davenport holds the Asahi Broadcasting
Corporation career development chair. She received the Gyorgy Kepes
Fellowship for excellence in the Arts in 1991 and is currently
finishing abook on digital media systems and the art of storytelling.

Larry Friedlander, a professor of Literature and Theater at Stanford
has worked with multimedia since 1983. He developed a series of
experimental applications on Shakespeaere and on French theater, and
then began investigating the use of technology in public spaces. He
has designed works for several museums (including upcoming information
and exhibit designs for the Musee d'Orsay and the National Museum of
Scotland), has worked at the Apple Multimedia Lab, The Mitsubishi
Electronic Research Lab, and was visitng professor at the MIT Media
Lab where he worked on a theater piece with Glorianna Davenport and on
other projects. He is collaborating at Stanford now on a "Virtual
Theater" that uses intelligent agents, and is a visiting scholar at
the Exploratorium Museum in SF.


Marc Davis is a member of Interval Research in Palo Alto.  He recently
completed his Ph.D. at the MIT Media Lab where he worked on
MediaStreams, a system for annotating video using iconic language.
Davis brings also a background in philosophy, literary studies and
film theory.

Sha Xin Wei is a member of Stanford University's Academic Software
Development group, specializing in mathematics -- differential
geometry and geometric visualization, simulations of physical and
human systems, and distributed media.  After graduate studies in
mathematics, he joined a Stanford-Apple software innovation project in
1984.  Recently, Sha has designed and built a distributed media
framework for composing richly modelled spaces. To inform this work,
he is studying issues related to structured media, interactive spaces
and the representation of topological and geometric structures.



------- End of Forwarded Message

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Date: 12 Aug 95 17:31 GMT
From: FRIEDLAND.L@AppleLink.Apple.COM (Friedlander, Larry,VCA)
Subject: Re: Personal Narrative Spaces
To: XINWEI@LELAND.STANFORD.EDU
Message-Id: <808248759.9282220@AppleLink.Apple.COM>
X-Status: 
Status: RO

 
Great news. By the way, what does ACM stand for?
 
What do you need from me? A shorter version of bio? Will this do?
 
Larry Friedlander is a professor of English and Theater ant Stanford and has
worked in multimedia design for the last fifteen years. He has done numerous
applications for theater related topics, worked for museums here and abroad
designing interactive exhibits, has developed projects at The Apple Multimedia
Lab, MIT's Media Lab, Mitsubishi Electronic Lab. He is currently leading an
effort at Stanford to develop a Center for Innovation in Technology and
Education
 
TOPIC Con-fusing Spaces. Taking the experience 'out of the box' by creating
spaces that are both real and virtual, private and public, analytic and
symbolic.
 
Larry
 

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Date: Thu, 17 Aug 1995 09:33:17 -0700
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: Personal Narrative Spaces panel for ACM 95
Cc: xinwei@elaine26.Stanford.EDU
X-Status: 
Status: RO

>Good news -- ACM 95 accepted our panel proposal.   Now the Panels co-chair
>needs our final draft of the panel.  So could you please send me
>
>(1) A couple of biographical sentences.

Here is a short bio:

Marc Davis is a Member of the Research Staff at Interval Research
Corporation and a Lecturer at Stanford University in Palo Alto, CA.  He
recently received his doctorate from the Machine Understanding Group of the
Learning and Common Sense Section at the Massachusetts Institute of
Technology Media Laboratory.  With a diverse background in literary theory,
media technology, and artificial intelligence, he researched and developed
Media Streams, a prototype system for annotating, retrieving, and
repurposing digital video.  Marc Davis' research is about creating
technologies which will put the power of a Hollywood studio, a network
television station, and a vast film archive on everyone's desk and in every
kid's garage.


Here is my more complete bio:

Marc Davis is currently a Member of the Research Staff at Interval Research
Corporation and a Lecturer at Stanford University in Palo Alto, CA.  He
recently received his doctorate from the Machine Understanding Group of the
Learning and Common Sense Section at the Massachusetts Institute of
Technology Media Laboratory.  With a diverse background in literary theory,
media technology, and artificial intelligence, he researched and developed
Media Streams, a prototype system for annotating, retrieving, and
repurposing digital video.  Marc Davis' research is about creating
technologies which will put the power of a Hollywood studio, a network
television station, and a vast film archive on everyone's desk and in every
kid's garage.

Though working on research in artificial intelligence and multimedia, Marc
Davis' education has been predominantly in the humanities.  In 1984, he
received a B.A. with high honors in College of Letters (an
interdisciplinary program in history, literature, philosophy and language)
from Wesleyan University in Connecticut.  After completing a two-year
research fellowship from the German Academic Exchange Service, he received
an M.A. in literary theory and philosophy from the University of Konstanz
in Germany.  At the Media Laboratory, Marc Davis co-founded (with Mike
Travers) the Narrative Intelligence Reading Group-a weekly seminar which
explores issues at the intersection of literary theory, artificial
intelligence, and media technology.  Marc Davis has published papers and
given talks on video representation, multimedia, virtual reality, interface
agents, and user interface design.  In 1992, he spent the summer interning
at Mitsubishi Electric Research Labs in Cambridge, Massachusetts.  From the
summer of 1993 through January 1995, Marc Davis interned at Interval
Research Corporation in Palo Alto, California.



>(2) A paragraph about what you'd like to address in the panel.


The challenge for cinema studies in the next century is to transform the
insights of the founders of the film factory into the foundations for a
garage cinema.  Garage cinema is a cinema in which motion picture
production is no longer the protected practice of a small elite of trained
professionals for a mass audience, but is a daily activity of millions of
amateurs who have one another as a mass audience and a global digital
archive of materials to reuse.  The technologies of digital video, the Net,
and mass storage are not enough to make this vision a reality.  Theories
and technologies of cinematic representation, description, analysis, and
construction are also required.

Just as we often find it hard to imagine our own civilization before the
advent of widespread literacy in the 17th and 18th centuries, in the next
century our descendants will find it hard to understand that while everyone
watched movies, videos, and TV, so few had the tools to make them.
Technologies for representing, retrieving, and repurposing video content,
like Media Streams, will enable radical changes in video production,
distribution, and reuse.  It may be hard to conceptualize a world in which
you engage in a daily practice of making movies from parts of existing ones
to communicate and play with others-your grandchildren will not understand
how you ever lived without it.

Media Streams is a system for representing video content that enables
humans and machines to work together to annotate, browse, retrieve, and
repurpose digital video.

 Media Streams is a substrate for representing the minimal consensual
information about video content that enables it to be transformed into a
resource for the creation of new sequences.  It is a technology for
recycling video for reuse and repurposing.  In the near future, content
representation technologies will enable video to finally become a
computational medium such that every computer can be a TV station in a
world-not of 500, but-of 50,000,000 TV channels.


>Personal Narrative Spaces
>
>Emerging multimedia technologies have blurred the lines between
>classically distinct categories of theater and narrative: stage-spaces
>in which humans and artifacts interact, and spaces of symbols like a
>page of text or a digital video to be interpreted by an observer.
>This panel brings together practitioners to take stock of the state of
>the art and point out some exciting lines of work in the field of
>interactive media.
>
>What will we face do when we freely inter-mix computational artifacts
>with human agents in our living, writing or performance spaces?  How
>will we make sense of such hybrid spaces and how will we share these
>interpretations?
>
>These questions are intimately tied with techno-scientific issues as
>well as literary and social issues.  How should media models evolve to
>meet the needs of these personal narrative spaces?  What are some
>design limitations of our tools or frameworks?  What are some
>potential functions that inhabitants, browsers, composers, and
>architects can tap in emerging frameworks?  What are some worthy
>challenges for researchers and developers interested in interactive
>mulitmedia?


Yates, Frances A. The Art of Memory. Chicago: University of Chicago Press, 1966.




Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872




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Date: Thu, 17 Aug 1995 13:50:57 -0700
To: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: new mm95 blurb
Cc: xinwei@leland.stanford.edu
X-Status: 
Status: RO

I think the abstract is a bit choppy.  Here is a suggested rewrite:

Also, please change my phone number to: (415) 424-0722

Emerging multimedia technologies have blurred the lines between
classically distinct categories of performance and narrative. This
panel brings together practitioners from interactive cinema, video,
and distributed media to take stock of the state of the art and point
out some exciting lines of work in the field of interactive media.

Just as we often find it hard to imagine our own civilization before
the advent of widespread literacy in the 17th and 18th centuries, in
the next century our descendants will find it hard to understand that
while everyone watched movies, videos, and TV, so few had the tools to
make them. Technologies for representing, retrieving, and repurposing
video content will enable radical changes in media production,
distribution, and reuse. It may be hard to conceptualize a world in
which you engage in a daily practice of making media artifacts to
communicate and play with others-your grandchildren will not understand how
you ever lived without it.

The ability to hybridize personal media production with the products of
mass and popular culture, and to construct media artifacts and spaces that
blur distinctions between consumer and producer, high-end and low end, mass
media and personal record, will bring about, and require, new perspectives
in our theory and practice of multimedia.  What will we face when we freely
inter-mix computational artifacts
with human agents in our living, writing, viewing, or performance spaces? How
will we make sense of such hybrid spaces and how will we share these
interpretations?  What forms of research practice will support the creation
of these new technologies and media experiences?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues. How should media technologies
evolve to meet the needs of these personal narrative spaces? What are
some expressive limitations of our tools, frameworks and languages?
What are some potential functions that inhabitants, browsers,
composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?

Happy trails.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872




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From: FRIEDLAND.L@AppleLink.Apple.COM (Friedlander, Larry,VCA)
Subject: Re: Personal Narrative Spaces
To: XINWEI@LELAND.STANFORD.EDU
Message-Id: <808248759.9282220@AppleLink.Apple.COM>
X-Status: 
Status: RO

 
Great news. By the way, what does ACM stand for?
 
What do you need from me? A shorter version of bio? Will this do?
 
Larry Friedlander is a professor of English and Theater ant Stanford and has
worked in multimedia design for the last fifteen years. He has done numerous
applications for theater related topics, worked for museums here and abroad
designing interactive exhibits, has developed projects at The Apple Multimedia
Lab, MIT's Media Lab, Mitsubishi Electronic Lab. He is currently leading an
effort at Stanford to develop a Center for Innovation in Technology and
Education
 
TOPIC Con-fusing Spaces. Taking the experience 'out of the box' by creating
spaces that are both real and virtual, private and public, analytic and
symbolic.
 
Larry
 

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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199509122055.NAA29044@elaine48.Stanford.EDU>
Subject: Re: Panel on Personal Narrative Spaces
To: gid@media.mit.edu (Glorianna Davenport)
Date: Tue, 12 Sep 1995 13:55:09 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU, larryf@leland.Stanford.EDU, davis@interval.com
In-Reply-To: <9509102054.AA14479@media-lab.media.mit.edu> from "Glorianna Davenport" at Sep 10, 95 04:54:27 pm
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Dear Glorianna,

> 
> The description sounds fine.  It would be good if the page had
> a date and time on it, that is if it will be posted on your server....
> or will it be found on an ACM server which we all link to?  

It will be found in the ACM Multimedia online proceedings.  But
I'll date my copy.   Thanks for the suggestion.

> 
> Who is saying what so far?  I have a feeling Marc will talk about
> his work with tools.... What about you and larry.  I might start 

We could move from sweet to dry.  I'm not sure what Larry
has in mind, but I plan to bring up the rear and say something about
what media structures (logical, presentation languages, interaction
languages, continuous models of media and interaction) can underpin
more expressive multimedia writing instruments.   I may use
Mathematica as an example, and hope to play off of examples that the
other folk bring to the panel.   Marc will talk from his thesis,
which should form a nice bridge between your work, Larry's work
and my remarks.   (Marc, is this a fair statement?)

In a couple of weeks, let's circulate some notes.

> with Story and Audience participation - how does audience participation
> affect form?  Then spend a few minutes on the experimental premise
> of  the piece Larry and I directed.  Then look at 3 newer story spaces
> in which the audience dynamic affects content presentation.  
> 
> OK?  
> gid
> 

Sounds great.   Should be fun.
- Xin Wei


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To: mqwang@pcd.stanford.edu, jamb@leland.stanford.edu,
        roscheis@pcd.stanford.edu, steve@pcd.stanford.edu,
        decker.walker@forsythe.stanford.edu, kernsc@leland.stanford.edu,
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        marc_davis@interval.com
Subject: interactive media reading group
Date: Thu, 06 Apr 1995 01:53:06 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O


Dear Michelle, Ben, Martin, Steve, Decker, Charles, Chris, Abie,

would you like to join a reading group oriented toward constructive
theories of interactive media (IM)?  We can interpret "interactive"
and "media" as expansively as necessary to include participants'
needs.  The motivation should be our desires to work out readings and
ideas relevant to our own research that we might otherwise have to let
pass under the pressures of "daily" work.

My own agenda is to think through some issues in literary theory,
philosophy, critical theory and mathematics that I encountered too
briefly in Decker Walker's private seminar on interactive media
spaces, and in Terry Winograd and Marc Davis' class on Phenomenology,
Cognition and Computers last quarter.  In particular, I've been toying
with some ideas at several levels: media structures (eg. algebraic
video, structured text, continuous models as alternatives to
traditional 1D or graph topologies), symbolic architecture (the design
of cyberspaces), and distributed models of cognition and consequences
in socio-political and communication theories.  But these are not
mandatory topics by any means, nor do I expect to dive into more than
a fraction of these topics!  I'm far more interested at this stage in
establishing an informal circle of people near Stanford who would like
to think critically about the narrative spaces being formed out of new
media and new modalities.

This invitation is being sent to some graduate students in Terry
Winograd's People, Computers and Design group, Modern Thought and
Literature, and to members of Decker Walker's seminar.  I may try to
maintain some loose connections with a few people off-campus, such as
Marc Davis (Interval Research), Warren Sack (and the narrative
intelligence group, MIT Media Lab), and Adrian Chan (an alumnus of the
undergrad MTLprogram and multimedia designer in SF who would like to
start his own reading group on similar lines).  This group is
independent of the "multimedia club" being formed by trace@ccrma and
Jocelyn@cs (?) of CS378.  In my view, the IM group will gather people
who aleady have a fair amount of background knowledge in some relevant
fields, whereas the multimedia club should serve as a sort of survey
function and as a lightning rod for extra-curricular undergraduate
creativity in art+technology.

Below, I include some readings suggested by Michelle Q Wang Baldonado,
Ben Robinson and myself.  Perhaps we could meet in early next week to
hash out our interests?  If you're interested, RSVP with your
*impossible* times next week Tuesday or Wednesday or Thursday.  My
proposal is to meet Tuesday at 12 noon or at 6:00PM in Sweet Hall room
415 (my office).

Let's make this fun, energizing and worth our while.   

Xin Wei
phone: 415-725-3152
http://www-leland.stanford.edu/~xinwei

PS	pass this along to friends who may profit from this.

Xin Wei's suggestions  (would enjoy help with these):

George Lakoff.  Women, Fire and Dangerous Things: What Categories Reveal About 
the Mind.   Chicago 1987.  (Part I is a good intro for me on categorization, selections 
form Part II.)

Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth Century French 
Thought.   (much less "relevant" than Lakoff, but a wonderful survey.  I'm particularly 
looking for alternatives to and critiques of visual representations of information 
spaces, before embarking on my own 3D stuff.)

Hilary Putnam.  Philosophical Papers v. 2 (Mind, Language and Reason), and v. 3  
(Realism and Reason).  (linked to Lakoff; certain essays may be relevant to Michelle's 
concerns with semantics, representation and identity in fluid documents.)

JŸrgen Habermas.  The Structural Transformation of the Public Sphere, parts of 
sections I,II,III,V,VI?   (I'll defer to Ben's judgment on this.)  English tr. MIT 1991.

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



From: Michelle Q Wang Baldonado <mqwang@pcd.Stanford.EDU>
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Subject: Re: laissez faire; reading
In-Reply-To: Your message of Fri, 17 Mar 95 17:22:59 -0800


Xin Wei,

I like your ideas of reading Lakoff and perhaps Putnam.
I might also be interested in reading (in some cases, I haven't
checked the reference to see how good it looks):

1) Bradley Goodman, "Reference identification and reference identification
failure," Computational Linguistics, 12(4): 273-305, 1986.

2) Amichai Kronfeld, "Donnellan's distinction and a computational
model
of reference," Proc. of 24th ACL, 1986.

or

3) Amichai Kronfeld, _Reference and computation: an essay in
applied philosophy of language_. 1990.

4) Nelson Goodman, _Languages of art_. 1976.

5) Carla Hesse, _Publishing and Cultural Politics in
Revolutionary Paris_. 1993.

6) Doug Appelt, "Some pragmatic issues in the planning of
definite and indefinite noun phrases," Proc. of 23th ACL, 1985.

or

7) Doug Appelt, _Planning English Sentences_. 1985.

8) Barwise and Perry, _Situations and Attitudes+. 1983.

9) Merleau-Ponty (don't know the rest of the reference, but
Marc recommends highly).

10) Any philosophical works on sameness of type vs. sameness
of token, identity, designation, etc.

-mqwb

---------------------------------------------
From: Benjamin Butt Robinson <jamb@leland.Stanford.EDU>
Subject: Re: interactive media reading group
To: xinwei@otter.stanford.edu (Sha Xin Wei)
Date: Tue, 4 Apr 1995 02:38:56 -0700 (PDT)
...
Xin Wei,
...
 I did get your note, and am still enthusiastica about doing the group.  The Lakoff 
sounds interesting.  It was his other book, Metaphors We Live By that I had looked 
through before and found a little disapointing.  But I'm not sure what I had been 
looking for at the time.  I haven't had a chance to look through Women, Fire and 
Dangerous Things, but I'd certainly be willing to give it a try.  Putnam on reference 
would be great too.  A few books occur to me.  

Sheldon Sacks, ed., On Metaphor.  An anthology with articles by Donald Davidson, 
Paul de Man, Paul Ricoeur, Quine, Max Balck,etc.

Johnson, Mark, Philosophical Perspectives on Metaphor.  An anthology with some of 
the same articles as above, including a few by Lakoff, Nelson Goodman, Searle.

Derrida, Jacques, Margins.  "White Mythology: Metaphor in the text of Philosophy"

Althusser, Louis, "Contradiction and Overdetermination" in For Marx.

Goux, Jean-Joseph, "Numismatics" in Symbolic Economies.

Baudrillard, Jean, "Simulacra and Simulations" in Selected Writings.

Quine, Willard van Orman,Ontological Rrelativity

I'm sure I could think up of some more books/articles, but that is certainly enough for 
now.  My guess is that we won't be able to read all that many things, as none of this 
reading is particularly easy. ...
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To: xinwei@leland.stanford.edu
Subject: Re: Panel on Personal Narrative Spaces
Cc: bbrown@media.mit.edu, gid@media.mit.edu, larry@media.mit.edu
X-Status: 
Status: RO

The description sounds fine.  It would be good if the page had
a date and time on it, that is if it will be posted on your server....
or will it be found on an ACM server which we all link to?  

Who is saying what so far?  I have a feeling Marc will talk about
his work with tools.... What about you and larry.  I might start 
with Story and Audience participation - how does audience participation
affect form?  Then spend a few minutes on the experimental premise
of  the piece Larry and I directed.  Then look at 3 newer story spaces
in which the audience dynamic affects content presentation.  

OK?  
gid
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Date: Fri, 13 Oct 1995 09:43:53 -0700
To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: Faculty Seminar at Stanford on Interactive Media
X-Status: 
Status: RO

Xin-Wei,

I read your description.  This sounds very well thought out, inspiring, and
potentially of great interest to many theorists and practitioners.  You may
want to send mail to Warren Sack at the MIT Media Lab to set up some
virtual link  to the Narrative Intelligence Group (wsack@media.mit.edu).

I am swamped at Interval now (we are in project reviews this month).  I
doubt if I can make it on Oct 19.  I have reviews all day until 4 pm and it
is my birthday.  Would it be OK for me to pop in to the seminar from time
to time?

I wish you and Larry the best in this worthwhile and exciting venture you
are undertaking.  I wish that I could be more available to participate-I am
experiencing the costs of getting my ideas out as public artifacts.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872




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Date: Fri, 13 Oct 1995 10:59:13 +0000
To: xinwei@leland.stanford.edu
From: clj@leland.stanford.edu (Charlie Junkerman)
Subject: Research Workshop
X-Status: 
Status: RO

Dear Xin Wei,

I'd like to participate in the interactive media workshop, but will have to
miss the first meeting because I'll be out of twon.  Could you please send
me the time and place of the next meeting when you decide it.

Thanks,
Charlie Junkerman


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Date: Thu, 5 Oct 1995 12:55:23 -0700 (PDT)
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
To: bjm@leland.Stanford.EDU, larryf@leland.Stanford.EDU,
        hammer@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
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Status: RO

Nov 5-9, 1995
Hyatt Regency (Embarcadero)
 San Francisco ,  California


Wednesday, November 8
9:00 am - 10:30 am

 5P.  Personal Narrative Spaces
Chair: Sha Xin Wei, Stanford University

Emerging multimedia technologies have blurred the lines between classically
distinct categories of theater and narrative: stage-spaces in which humans and
artifacts interact, and spaces of symbols like a page of text or a digital
video to be interpreted by an observer. This panel brings together
practitioners to take stock of the state of the art and point out some
exciting lines of work in the field of interactive media.

What will we face do when we freely inter-mix computational artifacts with
human agents in our living, writing or performance spaces? How will we make
sense of such hybrid spaces and how will we share these interpretations?

These questions are intimately tied with techno-scientific issues as well as
literary and social issues. How should media models evolve to meet the needs
of these personal narrative spaces? What are some design limitations of our
tools or frameworks? What are some potential functions that inhabitants,
browsers, composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?


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Date: Thu, 17 Aug 1995 13:50:57 -0700
To: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
From: davis@interval.com (Marc Davis)
Subject: Re: new mm95 blurb
Cc: xinwei@leland.stanford.edu
X-Status: 
Status: RO

I think the abstract is a bit choppy.  Here is a suggested rewrite:

Also, please change my phone number to: (415) 424-0722

Emerging multimedia technologies have blurred the lines between
classically distinct categories of performance and narrative. This
panel brings together practitioners from interactive cinema, video,
and distributed media to take stock of the state of the art and point
out some exciting lines of work in the field of interactive media.

Just as we often find it hard to imagine our own civilization before
the advent of widespread literacy in the 17th and 18th centuries, in
the next century our descendants will find it hard to understand that
while everyone watched movies, videos, and TV, so few had the tools to
make them. Technologies for representing, retrieving, and repurposing
video content will enable radical changes in media production,
distribution, and reuse. It may be hard to conceptualize a world in
which you engage in a daily practice of making media artifacts to
communicate and play with others-your grandchildren will not understand how
you ever lived without it.

The ability to hybridize personal media production with the products of
mass and popular culture, and to construct media artifacts and spaces that
blur distinctions between consumer and producer, high-end and low end, mass
media and personal record, will bring about, and require, new perspectives
in our theory and practice of multimedia.  What will we face when we freely
inter-mix computational artifacts
with human agents in our living, writing, viewing, or performance spaces? How
will we make sense of such hybrid spaces and how will we share these
interpretations?  What forms of research practice will support the creation
of these new technologies and media experiences?

These questions are intimately tied with techno-scientific issues as
well as literary and social issues. How should media technologies
evolve to meet the needs of these personal narrative spaces? What are
some expressive limitations of our tools, frameworks and languages?
What are some potential functions that inhabitants, browsers,
composers, and architects can tap in emerging frameworks? What are
some worthy challenges for researchers and developers interested in
interactive multimedia?

Happy trails.

Marc



Marc Davis
Interval Research Corporation
1801-C Page Mill Road
Palo Alto, CA 94304
My NEW Tel: (415) 842-6128
Fax: (415) 354-0872




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Date: Thu, 19 Oct 1995 13:41:21 -0700 (PDT)
From: Alice Rayner <rayner@leland.Stanford.EDU>
To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Subject: Re: your mail
In-Reply-To: <MailManager.814057207.5731.xinwei@otter>
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Status: RO

Dear Xin Wei,

I am very sorry that I'm not going to be able to get to today's IMG 
meeting, but I want to be sure to remain with the group, so don't count 
me out. The time for the quarter is already filling with meetings, so let 
me know what the group decides.

Do you have any plans to continue with the topology work? I was just 
getting an inkling of what it was up to, but need a little 
reinforcement.  

Thanks --

Alice Rayner
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Date: Thu, 19 Oct 1995 08:08:37 -0700
From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510191508.IAA14301@psych.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject: Re: interactive media
Status: O

Xinwei--

Many thanks.  Yes, I should be able to come to other sessions, I
normally teach Thursdays 1-3.  The Symbolic Systems Forum meets
Thursdays at 4, but I can miss those.  So keep me posted.

Thanks.

Barbara
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199510190705.AAA07974@elaine21.Stanford.EDU>
Subject: Re: interactive media
To: bt@psych.Stanford.EDU (Barbara Tversky)
Date: Thu, 19 Oct 1995 00:05:06 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199510182309.QAA26067@psych.Stanford.EDU> from "Barbara Tversky" at Oct 18, 95 04:09:01 pm
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X-Status: 
Status: RO

Barbara,

Yes, Mathematica will do nicely.  I just made a little QuickTime
movie on my laptop directly in Mma.  When I come into campus
tomorrow, I'll post it on our Web server and tell you the URL
so you can pick it up the example.  (It's a plot of the curve
Sin[x] Cos[7x], alongwith a little animation.

I hope you can come to at least some of the img seminars this quarter.
We could certainly benefit a lot from a lecture or demonstration of your
work on visual representations.

Please tell me what times are not impossible for you this quarter.,
if you like.

regards,
- Xin Wei

> 
> Hi Xinwei,
> 
> I will be out of town tomorrow, hence miss the meeting.
> 
> A grad student and I are interested in checking the efficacy of
> animations in conveying conceptual information.  We'd need to
> compare animations with something, so that something would be
> traditional static displays.  We'd like to start simple (not
> delve directly into physics, etc.).  So one example would
> be a graph of a something that changes with time (as most
> x-y plots are) vs. an animation of this information, for
> example, a dot rising and falling to indicate change over
> time.
> 
> Do you have any thoughts on this?  Or do you know of software
> that tries to do this that we could adapt and test?  Thanks.
> 
> Barbara
> 

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Date: Wed, 18 Oct 1995 18:58:21 -0700
To: Sha Xin Wei <xinwei@leland.Stanford.EDU>
From: leifer@cdr.stanford.edu (Larry Leifer)
Subject: TIME:   "Interactive Media: Theory and Technologies of	 Representation,"
X-Status: 
Status: RO

Sha Xin,

        notification too late to attend this week,
        interest is definite,
        day of week and time are not good for me,
                i teach Tu.Th.3-5
Larry


At 4:00 PM 10/18/95, Sha Xin Wei wrote:
>[Pardon me if this reminder is redundant.
>The first meeting will be tomorrow, Thursday,
>at 4:00.   We can negotiate a different time if necessary.
>- xw]
>
>We want to invite those interested to particpate in a
>Faculty Seminar, "Interactive Media: Theory and Technologies of
>Representation," which is being sponsored by the Humanities Center.
>The first meeting will be on  October 19th Thursday, from 4-6PM,
>in Sweet Hall Conference Room 303.
>
>At the first  meeting we will work out an agenda and decide on suitable
>meeting times.  We append below an extract from our description of the
>seminar.
>
>If you have any questions or suggestions before the first meeting,
>please contact Xin Wei at xinwei@leland.stanford.edu, 415-725-3152.
>
>------------------------------------------
>
>The idea for this seminar flows directly from an informally organized
>discussion group that has been meeting every week since the Spring Quarter.
>The Interactive Media Group (IMG) was formed  by a group of faculty,
>students, and professionals interested in theoretical and practical aspects
>of interactive media.  The  group was inspired by some members' recent
>experiences in tackling these issues: Decker Walker's informal multimedia
>seminar; Larry Friedlander and Barbara Hayes-Roth's course on Interactive
>Narrative and Artificial Intelligence; and Terry Winograd and Marc Davis'
>course on Phenomenology, Cognition and Computers.
>
>We have been engaged in a preliminary study of issues relevant to
>interactive media, hoping to find our way toward a constructive theory of
>how people compose and inhabit interactive media. We are now ready to
>expand the focus of our discussions with more structured topics and with
>formats which include guest speakers, panels, debate topics, and special
>demonstrations. As an experiment, we have been recording the groups
>discussions, comments, and readings on the World Wide Web. We would like to
>explore further this use of the Web by creating a dynamically updated
>journal which will reflect our ongoing deliberations but which will also
>invite participation from both within and without the university.
>
>FOCUS
>
>Our approaches draw from a wide variety of fields: linguistics, artificial
>intelligence, literary theory, cognitive science, mathematics, performance
>art, music, and design. We plan to explore  a variety of theoretical topics
>that have important but not always obvious connections to the formation of
>new kinds of cyberspaces and narrative structures. In particular, we are
>interested in
>
>*  developing models of media representation (such as  algebraic video and
>structured texts) which offer alternatives to traditional time-based or
>graphic topologies;
>
>* articulating the dramatic and narrative theories embodied in emerging
>interface environments;
>
>* investigating the symbolic architecture  of cyberspaces and the influence
>of architecture and urban design on systems and interfaces;
>
>* tracing the connection of distributed models of cognition and other
>systems designs with current socio-political and communication theories.
>
>What seems most interesting to us is the way certain fields are yielding
>unexpected and fruitful clues for practical developments in technology. So,
>for example. theater may provide models for user-interface design, topology
>and geometry for media structures, and urban architecture for cyberspace
>design.
>
>The seminar will have two aspects: (1) regular weekly  sessions in which we
>will present and discuss prepared topics, and (2) a cybernetic space in the
>form of a shared website which will hold references and media contributed
>by local and remote participants.
>
>In a typical session, a speaker will discuss a theoretical issue and
>situate it with respect to some design problems.  We might have a series of
>prepared responses to the presentation, as well as some discussion of the
>practical implications of the theoretical approach for practical issues.
>The discussion will be presented on the Web and further responses from the
>community will be invited. The website will also contain a bibliography and
>selections from the readings.
>
>The website will be based on a World Wide Web location,
>http://www-leland/~xinwei/pub/img/img.html. This site may be browsed now,
>for those wishing to have a taste of our procedures. It currently contains,
>for each group meeting,
>
>(1) a Discussion trail -- transcripts of seminar discussion
>(2) a Bibliography -- a list of references with WWW links to multimedia
>(3) Sites -- WWW links to affiliate seminars and installations in other
>institutions
>
>--------------------------------------------
>
>Hope to see you all soon, one way or the other. Please feel free to send
>comments or questions.
>
>Best regards,
>
>Larry Friedlander
>English Department
>Stanford, CA 94305
>415 723-2635
>
>Sha Xin Wei
>SUL/AIR
>Sweet Hall 415
>Stanford, CA 94305
>415 725-3152


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From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510182309.QAA26067@psych.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject: interactive media
X-Status: 
Status: RO

Hi Xinwei,

I will be out of town tomorrow, hence miss the meeting.

A grad student and I are interested in checking the efficacy of
animations in conveying conceptual information.  We'd need to
compare animations with something, so that something would be
traditional static displays.  We'd like to start simple (not
delve directly into physics, etc.).  So one example would
be a graph of a something that changes with time (as most
x-y plots are) vs. an animation of this information, for
example, a dot rising and falling to indicate change over
time.

Do you have any thoughts on this?  Or do you know of software
that tries to do this that we could adapt and test?  Thanks.

Barbara
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Date: Thu, 13 Apr 95 19:58:23 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
Message-Id: <9504140258.AA00723@otter>
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Subject: Interactive Media Group logistic
X-Status: 
Status: O

Just a reminder -- the img (interactive media group) has a web site:

	http://www-leland/~xinwei/pub/img/img.html

Think of this as our home in between physical meetings, and group memory.

I've defined an afs group -- xinwei:img:
  xinwei
  abie
  larryf
  cousins
  mqwang
  rsieg
  kernsc
  cpr
  roscheis
  jamb

which means you can modify the web page (img.html) yourself, or even drop
(small) items into the img directory.   I encourage you to add references
to the img.html page using your favorite HTML editor.   You should be able to
do this from any kerberized machine on SUNet (yes, even a mac).   Tickle me
if I haven't set the right privileges..   I'll be glad to help you digitize material in 

advance of an img session.

In the future, we can try to post stuff directly on the website, and
reserve email just to point a finger at the web.

Next week, for lack of anything better, we'll look at the World Wide Web as our "concrete" object  
of discussion.   I hope that thereafter, we might take turns seeding or leavening a session.   Tell  
me or drop by with your idea!

- Xin Wei
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Date:     Wed, 18 Oct 95 16:27:38 PDT
From: "Michael Keller"  <Michael.Keller@Forsythe.Stanford.EDU>
To: xinwei@leland.stanford.edu
X-Status: 
Status: RO

REPLY TO 10/18/95 16:06 FROM xinwei@leland.Stanford.EDU "Sha Xin Wei"

Xin Wei,

  Fabulous.  congratulations.  Nice list of topics and ideas.
Pls keep me posted.

Mike

To:  xinwei@leland.Stanford.EDU
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To: xinwei@leland.stanford.edu
From: Majordomo@lists.stanford.edu
Subject: Welcome to img-mail
Reply-To: Majordomo@lists.stanford.edu
Status: RO

--

Welcome to the img-mail mailing list!

If you ever want to remove yourself from this mailing list, send the
following command in email to "Majordomo@lists.stanford.edu":

    unsubscribe img-mail xinwei@leland.stanford.edu

Here's the general information for the list you've subscribed to, in
case you don't already have it:

This is the info file for img-mail.  Further information
will be provided by the owner of this list who can be contacted at:

 img-mail-owner@lists.stanford.edu
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Subject: Interactive Media
To: img-mail@lists.Stanford.EDU
Date: Fri, 20 Oct 1995 18:53:31 -0700 (PDT)
Cc: moser@leland.Stanford.EDU, bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU,
        bt@psych.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.Stanford.EDU,
        mcyang@cdr.Stanford.EDU, englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
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Memo:  Interactive Media - Theory and Technologies of Representation
Subject:  First Meeting

ITEMS:

[For those of you who could not participate in the first meeting, we still
would like very much for you to participate; the group is in process of 
defining its interests and formats and we are very open to all options.
Below please find for your information a summary of what happened at 
our first meeeting.  The next meeting is tentatively scheduled for this
Wednesday, 5:00, in the new flexible classroom on the 2nd floor of 
Meyer.  We'll confirm the meeting time at the beginning of next week.]

1.  We held our first introductory meeting Thursday afternoon in which 
we considered potential seminar themes and formats.  The general 
consensus is that we use the fall quarter to provide the group with a
general overview of several key technology areas (e.g. VR, AI, etc.). 
Ideally, someone with a research interest in the topic for consideration 
will be responsible for leading a session's discussion, and, when 
possible, we'll look at representative work or prototypes in the 
technology area. The idea is that we'll develop a critical vocabulary that 
we can apply to work in the various technologies.  In the winter and 
spring, we can build on this knowledge base to take on a more 
systematic approach to emerging theoretical issues and perhaps more 
fully introduce individual/collaborative work-in-progress.

In the short term, we need to identify the key technology areas and 
theoretical issues we want to take on in the fall.  The following is a
condensed list of possible topics touched on in our first meeting:

TECHNOLOGIES				THEORIES

VR					Representation
AI					Rhetoric of technology
Interactive Narrative			Sociology of Technology
Compelling Multimedia			Multimedia Design
Time-based Events			Cognitive Science
World Wide Web				Systems Theory
					Language (alphanumeric, media 
						  scripts, machine, 
						  mark-up)

(Note:  There isn't meant to be a correlation between individual items
in the two columns; technology items can be considered in light of any
number of theoretical perspectives)

Please send me an e-mail (keeling@leland.stanford.edu) with a list of 
the topics that most interest you, including any topic I may have 
omitted.  Xin Wei provided the group with a handout of a much more 
extensive and integrated list of potential topics for consideration during 
the next 3 quarters.  For those unable to attend Thursday's meeting, I 
can send you electronic copies immediately, ocan pick up a 
hardcopy at the next meeting.

2.  The 4-6 Thursday biweekly meeting time is not engraved in stone.
Wednesdays 5-7 or 5-6:30 has also been put forward.  Please e-mail me
your preference or an alternate time--although these were the only two 
that seemed workable to those in attendance.  The next meeting is
tentatively scheduled for this Wednesday, 5:00, in the new flexible
classroom on the 2nd floor of Meyer.  I'll make an announcement the
first of next week to confirm the meeting time.  Let me know if this 
time is unworkable for you.

3.  I have set up a majordomo news group for the IMG seminar.
Feel free to sign up for this mailing list even if you can't attend the seminar
regularly.  Those who attended the first meeting have been
automatically enrolled.  To subscribe to the mailing list, send the
following message to majordomo@lists:

subscribe img-mail yourname

Replace "yourname" with your e-mail address.  Send all messages
for the group to:  img-mail@lists.stanford.edu

4.  IMG would like to put together an annotated bibliography of 
readings of interest to the group.  Please be thinking of possible 
resources and send me an annotated bibliography of your list
at your convenience.  Submissions will be updated regularly on 
the IMG webpage 
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

Xin Wei put together the web page last Spring to document the informal 
discussion group that led to the Interactive Media faculty seminar.  We 
will flesh out the website this year with an ongoing discussion trail 
documenting each seminar meeting, with postings of relevant reading 
material, and links to complementary internet resources.  Individual 
group members are encouraged to develop content for the website--such 
as work-in-progress, addendum to the discussion trail, bibliographic 
references, internet resources, and so on.  If there is enough interest, we 
can use the website to experiment with interface design, with the 
integration of various media, and to prototype various structural, 
interactive, media theories.

Regards,

John
keeling@leland.stanford.edu

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From: Barbara Tversky <bt@psych.Stanford.EDU>
Message-Id: <199510220141.SAA03128@psych.Stanford.EDU>
To: keeling@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
Subject: interactive media meeting
Status: RO


I was out of town last Thursday so couldn't attend the meeting.
For this quarter, Thursday 3-5 or 4-6 is good for me.  For any
quarter, Wednesday at 5 is bad; the psychology department has
its collquium series then (though not every week) and they 
often last until 6.

Barbara Tversky
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510211734.KAA23458@elaine15.Stanford.EDU>
Subject: Re: Interactive Media response
To: dwm@leland.Stanford.EDU (Diane W Middlebrook)
Date: Sat, 21 Oct 1995 10:34:37 -0700 (PDT)
Cc: xinwei@leland.Stanford.EDU
In-Reply-To: <Pine.SUN.3.91.951021052047.9766A-100000@elaine12.Stanford.EDU> from "Diane W Middlebrook" at Oct 21, 95 05:35:35 am
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Diane, 

Sorry to hear that you can't participate this quarter. I look forward
to your joining the group this winter.  Your work sounds terrific.  Would
you be interested in presenting the cdrom to the seminar sometime this
winter or spring?

> 	I regret that I'm on a long research trip and will be absent from 
> campus this quarter, but hope to join the seminar in winter.
> 	During the summer I had the help of a technician at the 
> University of Warwick (England) in putting together a multimedia 
> "showcase" (her word) of the archive of my biography of Billy Tipton, a 
> female jazz musician who lived as a man for 50 years.  I will presenting 
> this work at Warwick 3 November and will bring back a CD-ROM version.


I am forwarding this to Xin Wei so that he can send you an electronic 
copy of the proposed seminar topics.

> 	I would like to receive by e-mail a copy of the handout by Xin Wei.
> 	Thanks for the prompt and detailed minutes of the seminar.
> Yours, Diane Middlebrook dwm@leland.stanford.edu
> 

Regards,

John
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From: Marjorie Perloff <perloff@leland.Stanford.EDU>
To: John Keeling <keeling@leland.Stanford.EDU>
cc: img-mail@lists.Stanford.EDU, moser@leland.Stanford.EDU,
        bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU, bt@psych.Stanford.EDU,
        leifer@cdr.Stanford.EDU, marco@ccrma.Stanford.EDU,
        rayner@leland.Stanford.EDU, mcyang@cdr.Stanford.EDU,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
Subject: Re: Interactive Media
In-Reply-To: <199510210153.SAA01854@elaine25.Stanford.EDU>
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Status: RO

Oops--forgot to send list of topics.

I'm especially interested in how to supplement (in the Derridean sense of 
add to or replace) the poetry book with CD_Rom as well as the process of 
putting artist's books on CD-ROM as Johanna Drucker has done recently.  
The question, as Carolyn Forche just put it on the Buffalo Poetics 
Listserv, is whether this is actually an improvement or not.  Certainly 
books are now being produced that have tapes to accompany them (e.g., THE 
EXACT CHANGE YEARBOOK, ed. Peter Gizzi).  But can the CD-ROM do things 
the ordinary book can't?


Marjorie Perloff

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Date: Sat, 21 Oct 1995 05:35:35 -0700 (PDT)
From: Diane W Middlebrook <dwm@leland.Stanford.EDU>
To: John Keeling <keeling@leland.Stanford.EDU>
cc: img-mail@lists.Stanford.EDU, moser@leland.Stanford.EDU,
        bush@Csli.Stanford.EDU, meg@steam.Stanford.EDU, bt@psych.Stanford.EDU,
        leifer@cdr.Stanford.EDU, marco@ccrma.Stanford.EDU,
        rayner@leland.Stanford.EDU, mcyang@cdr.Stanford.EDU,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.EDU,
        winograd@cs.Stanford.EDU, jc@ccrma.Stanford.EDU
Subject: Re: Interactive Media
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Status: RO

Dear John & List:
	I regret that I'm on a long research trip and will be absent from 
campus this quarter, but hope to join the seminar in winter.
	During the summer I had the help of a technician at the 
University of Warwick (England) in putting together a multimedia 
"showcase" (her word) of the archive of my biography of Billy Tipton, a 
female jazz musician who lived as a man for 50 years.  I will presenting 
this work at Warwick 3 November and will bring back a CD-ROM version.  The title, 
"Finding the Girlfriends: The Biographer as Investiative 
Journalist": incorporates audio clips of interviews showing the 
biographer failing to understand what she is being told, plus images 
of various documents, and a snippet from a film about dance 
marathons-- Point is that the archive of this biography might become 
part of a hyprmedia version in a way never possible with print. The 
idea for this talk came directly from our June retreat, so thanks.  
Possibly it could become the basis of a seminar discussion of narrative 
in the context of hypermedia.
	I would like to receive by e-mail a copy of the handout by Xin Wei.
	Thanks for the prompt and detailed minutes of the seminar.
Yours, Diane Middlebrook dwm@leland.stanford.edu
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510201639.JAA09957@elaine9.Stanford.EDU>
Subject: IMG
To: xinwei@leland.Stanford.EDU
Date: Fri, 20 Oct 1995 09:39:37 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
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Larry and Xin Wei,

Below is a draft of the group mailing following meeting #1.  Please e-mail
me your suggestions and revisions.  In addition to the e-mails collected
at the meeting, should I use the list Xin Wei included in his mailing
about the Anthropology of Change conference?

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

Memo:  Interactive Media Group
Subject:  First Meeting

ITEMS:

1.  We held our first introductory meeting Thursday afternoon in which 
we considered potential seminar  themes and formats.  The general 
consensus is that we use the fall quarter to provide the group with a
general overview of several key technology areas (e.g. VR, AI, etc.). 
Ideally, someone with a research interest in the topic for consideration 
will be responsible for leading a session's discussion, and, when 
possible, we'll look at representative work or prototypes in the 
technology area. The idea is that we'll develop a critical vocabulary that 
we can apply to work in the various technologies.  In the winter and 
spring, we can build on this knowledge base to take on a more 
systematic approach to emerging theoretical issues and perhaps more 
fully introduce individual/collaborative work-in-progress.

In the short term, we need to identify the key technology areas and 
theoretical issues we want to take on in the fall.  The following is a
condensed list of possible topics touched on in our first meeting:

TECHNOLOGIES				THEORIES

VR					Representation
AI					Rhetoric of technology
Interactive Narrative			Sociology of Technology
Compelling Multimedia			Multimedia Design
Time-based Events			Cognitive Science
World Wide Web				Systems Theory
					Language (alphanumeric, media 
						  scripts, machine, 
						  mark-up)

(Note:  There isn't meant to be a correlation between individual items
in the two columns; technology items can be considered in light of any
number of theoretical perspectives)

Please send me an e-mail (keeling@leland.stanford.edu) with a list of 
the topics that most interest you, including any topic I may have 
omitted.  Xin Wei provided the group with a handout of a much more 
extensive and integrated list of potential topics for consideration during 
the next 3 quarters.  For those unable to attend Thursday's meeting, I 
can send you electronic copies immediately, or you can pick up a 
hardcopy at the next meeting.

2.  The 4-6 Thursday biweekly meeting time is not engraved in stone.
Wednesdays 5-7 or 5-6:30 has also been put forward.  Please e-mail me
your preference or an alternate time--although these were the only two 
that seemed workable to those in attendance.  The next meeting is tentatively 
scheduled for this Wednesday, 5:00, in the new flexible classroom on the 2nd 
floor of Meyer.  I'll make an announcement the first of next week to confirm 
the meeting time.  Let me know if this time is unworkable for you.

3.  I am setting up a majordomo news group for the IMG seminar 
which should be functional early next week.  Feel free to sign up for 
this mailing list even if you can't attend the seminar regularly.  Those 
who attended the first meeting will be automatically enrolled; 
newcomers will be given subscription instructions at the next meeting.

4.  IMG would like to put together an annotated bibliography of 
readings of interest to the group.  Please be thinking of possible 
resources and send me an annotated bibliography of your list
at your convenience.  Submissions will be updated regularly on 
the IMG webpage 
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

Xin Wei put together the web page last Spring to document the informal 
discussion group that led to the Interactive Media faculty seminar.  We 
will flesh out the website this year with an ongoing discussion trail 
documenting each seminar meeting, with postings of relevant reading 
material, and with links to complementary internet resources.  Individual 
group members are encouraged to develop content for the website--such 
as work-in-progress, addendum to the discussion trail, bibliographic 
references, internet resources, and so on.  If there is enough interest, we 
can use the website to experiment with interface design, with the 
integration of various media, and to prototype various structural, 
interactive, media theories.


Regards,

john
keeling@leland.stanford.edu
Fri Mar 29 18:36:00 PST 1996
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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510240217.TAA03833@elaine10.Stanford.EDU>
Subject: Wed. Meeting
To: img-mail@lists.Stanford.EDU
Date: Mon, 23 Oct 1995 19:17:09 -0700 (PDT)
Cc: moser@leland.Stanford.EDU, meg@steam.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.Stanford.EDU,
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        decker.walker@forsythe.stanford.edu, tlenoir@leland.Stanford.ED
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Status: RO

This is to announce that Interactive media seminar meeting for Wednesday, 
October 25th, is scheduled for 5:00 in Sweet Hall Room 303.  Larry Friedlander
will lead discussion and present work related to virtual reality and
telepresence.

Some topics that have been proposed in addition to the list in the last
mailing are:

	compelling cdrom fiction
	knowledge representation
	programming language design
	enviromental modeling


Since a few of you have requested the full list of topics from our first
meetings handout, I've appended it below.  See you Wednesday!

_______________________________________________________________________________

Some topics emerging from previous seminars.

        apparent dichotomies between design and theory, particularity and 
	abstraction:

        objects/artifacts
                design
                        theories or ideologies
                                rip. da capo...

        Performance
                Music performance (CCRMA  - Chafe?, Goldstein-McNabb?)
                Theatrical performance (Friedlander, Laurel)
                Multimedia art (Slayton)
                        Embodied theories of action and meaning (Maturana, 
			Varela, Rosch, M. Johnson)
        Meaning systems, 
                Systems theories
                        Topology
                        Dynamical systems 
        
        Symbolic  artifacts I: visual representations, meaning (Tversky?)
                Iconic/mimetic vs ideographic systems
                Visual sign languages (written-sign pidgins: Horn)
                Graphic design
                Musical notation

        Symbolic artifacts II: language
                Literature and literary theory (Schnapp?)
                Symbolic architecture and design
                        Sociology of design (Winograd,Star, Latour?)

        Symbolic artifacts III: computational artifacts
                Scientific visualization, modeling (Lenoir?, Edwards?)
                Design of data structures, tools vs languages
                        Ideologies:
                           Artificial languages: economics, animation - ScriptX
                           Models (Varian; a-life & complexity)
                           Graph metaphor in linguistics, hypermedia (Landow?),
			    AI (Winograd) 
                                Metric spaces and differential geometry (Sha)
                
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Date: Tue, 18 Apr 1995 16:42:18 -0800
To: jcats@otter.stanford.edu
From: brod@jessica.stanford.edu (Brodie Lockard)
Subject: Impressions from Spring Internet World 95
X-Status: 
Status: O

Hey, gang!  Here are my impressions from the Spring Internet World 95
conference, held 4/10-4/13 in San Jose:

Sessions:
*The Internet and Industry Shakeout, and A Response: The View from R&D
Rose Ann Giordano, DEC's Internet Business Group VP, showed cool Web
examples DEC has helped with.  These included the California elections
server DEC put up that showed a dynamic map of election results (300,000
hits per hour at its peak), the Palo Alto Weekly (PA was the very first
city to have a Web page), and the Future Fantasy Bookstore server, which
seems to have increased sales 20% and brought them a customer from
Slovenia.  Another example was FedEx, upon whose server you can absolutely,
positively track your very own lost package.  Customers thereby perform a
task previously required of FedEx personnel, and say "thank you."
   Giordano's message was that successful companies will change their way
of business to use the Internet.  She sees three primary uses of the net:
electronic info distribution, an electronic community, and electronic
collaboration.  Today's challenges--finding info, security and payment, and
customer attraction and retention--are tomorrow's opportunities:  search
tool products, directories and customer profiles; firewalls and secure
transaction products; and products for promoting local and global villages
and communities of interest.
   The product manager for SGI's WebForce browser and authoring software
("To Author and To Serve") predicted that WWW is just a step toward
interactive TV, but strongly advised against anyone waiting to jump aboard
the WWW bandwagon.  Other panel members agreed.

*Software Over the Internet
A remarkably boring presentation about a PD and commercial software
distribution site in Liverpool.  They have a wrapper that lets users try
your software for a limited time and nags them to buy it.

*Distance Learning
Another remarkably boring presentation, read directly from the written page
and unhampered by inflection, eye contact, or interesting content.  There's
a German teacher in Colorado who offers two-way video lessons to high
school students.

*Legal Issues Facing Providers and Subscribers
An entertaining but depressing discussion of legal pitfalls and Tales to
Come From The Legal Crypt by Neal Friedman, a Telecommunications Attorney
for the DC firm of Pepper & Corazzini.  Hire this guy as your attorney, but
don't invite him to dinner.  He thinks there aren't enough laws governing
net use, and looks forward to more of them, especially ones that will make
him money.  His basic message was CYA and don't even think of
electronically publishing anything you don't own.
   Prodigy is being sued big-time by an investment firm who was libelled in
a Prodigy discussion group by a Prodigy employee.  The employee is no
longer a defendant.  Friedman doubts this case will settle because the
plaintiff wants too much money.
   Corel held a contest for cool uses of Corel Draw and awarded the
Canadian winner $100,000.  They got all excited about the winning entry and
built an ad campaign around it.  The campaign attracted much attention,
including that of the photographer who took the original picture used in
the winning entry, who is now suing the Canadian and Corel for much more
than $100,000.
   America Online trashed a discussion group concerning Kurt Cobain's widow
after death threats appeared there.  Such action is completely within their
rights since they own the system used for sending the messages.  If they
don't like it, they can delete or prohibit it without any further
justification.  AOL also has filters in place for certain racial and
pedophiliac vocabulary.
   Another interesting point was domain name registration.  Some individual
registered mcdonalds.com, choosing the account name "ronald," and later
settled with a certain fast food chain after they donated certain computer
equipment to some worthy cause or other.  Friedman says there's only one
"official" place to register domain names, an outfit called "Internex"
(???).  Does anyone know who this is?

*Commercial Web Site:  Content
This session and the next focused on WWW issues for commercial companies.
The speaker, an ad exec, thinks that the three most important parts of a
Web page are content, content and content.  Keep your content fresh, says
he, and give people a reason to come back often.  Avoid large graphics, but
do use graphics where they explain better than words, as in describing
IBM's butterfly keyboard, which "lifts and separates."  Don't disappoint
surfers by promising cool stuff through a link a delivering reams of boring
text or (worse) pages "under construction."  Think customer service, not
sales.  Sales via the Internet are not very good yet, but it's a great way
to market.  He suggested www.ragu.com as a great example of a site that has
a personality, fun content, and a good approach to collecting demographic
info (fill out this form and you might win a trip to Italy).

*Commercial Web Site:  Interfaces
This speaker emphasized thinking globally.  Be sensitive, he advised, to
the different meanings of symbols, objects, colors and holidays in
different countries.  Your WWW site should be up 24 hours a day, since it's
business hours elsewhere in the world even when you're closed.  Have
realistic expectations--the Web has great potential, but don't expect it to
make your business skyrocket overnight.

*Online Publishing and Advertising: The Fine Line
Laura Fillmore of Online Bookstore, Inc. droned on about her online book
ordering service.  I learned to not use a Web browser for a presentation
and went to browse the exhibit floor.

*Real-Time International Collaboration Over The Internet
This was pretty cool.  David Clarke and Ariel Sella from Farallon showed a
product (in progress on the Mac!) that runs on your Web server as an
adjunct server.  It lets a group of users linked to your server jump aboard
a "magic carpet" so that they all see what you're browsing.  There's status
info so you can see when each of their screens are finished drawing and so
on, and a place for everyone to chat.  Pretty handy for distance demos,
tech support, real-time document sharing and collaboration.

Speakers:
*John Patrick, IBM's VP for Internet Applications, spoke at midday Tuesday.
He suggested that every company offer info, whois, support, and various
other services through the Internet.  His most interesting point was that
soon, if not already, giving your Visa card number and sending vital info
over the net will be safer than doing so in other ways.  Handing your card
to a perfect stranger in a store or hotel, he pointed out, or handing a
vital overnight package to a total stranger, is certainly risky compared to
emailing the equivalents to a known party.
*Gordon Bell, who designed DEC's PDP computer, spoke at midday Wednesday.
He showed lots of amusing graphs, all rising to near-vertical at the right
at various points:  rise of net-related lawsuits, rise of net use by
organized crime, and so on.  According to Bell, the number of Internet
users will surpass the number of living human beings somewhere around 2003.

Impressions from the 180 Booths:
*No Macs yet!  I went to about 35 booths and asked about Mac support in
maybe 25 of them.  Only two or three of these had products for Macs, but at
least two thirds of them said they were planning Mac support, generally by
1/1/96.  A few said they had no Mac product, but had gotten many inquiries
about one.  Clearly Windows is the commanding market, but Macs are seen as
an important secondary market.
*Many companies were there offering much the same services:  ISDN routers &
bridges ($995), ISDN access ($40 to install & $25/month), Internet access,
WWW access and filespace ($30/month includes 10MB personal space & 25MB WWW
space), domain name registration (a one-time $30 fee), Web page design, WWW
database-related software.  Most claimed to be Your Complete One-stop
Internet Solution or some other hyperbolic entity.
*Microsoft was showing their plug-in module for Word for Windows 6.0.
They've actually done a decent job on the design, incorporating a Web
browser into Word itself.  There are menu items for saving a document as a
Web page (Word converts styles and point sizes to the closest equivalent in
HTML); copying the URL of the page you're on (pasting it pastes the
document title with the URL embedded); and importing graphics, which appear
WYSIWYGly with the anchors hidden.  You can edit the Web page you're
viewing as if it were a regular Word document and save it on your local
disk.  You can even save your Word-formatted document (with multiple
columns or whatever) and create a link to it in an HTML document as if it
were an external data type like JPEG or AIFF.  Surfers who click on that
link will download the linked document and open it automatically, if they
have the new Word viewer app installed as a Helper App.  Microsoft is
giving away this viewer.
*SGI was showing their WebForce browser reading VRML (Virtual Reality
Modelling Language) documents.  VRML is "a universal description language
for multi-participant simulations."  As far as I understand it, it's text
files which describe a 3D world which is rendered on the local machine.
Links exist as visible objects in one's view of the world.  E.g., flying up
to a little Stonehenge-looking object and clicking it takes you to another
VRML "page" on Stonehenge.  Read all about it at http://www.eit.com/vrml/.
*The SJ Mercury News is selling a keyword-based news story
grazer/distiller/retriever service (for $20/month, I believe).  You can
change your keywords anytime by phone or email.
*NlightN by The Library Corporation searches multiple net-based
bibliographies at once and lets you search forever for free.  Only when you
actually locate something you think you want do you pay.  E.g., "500-word
story story on global warming in the April 9 New York Times.  Click here to
pay $0.50 to read this article."
*All the big online boys had booths:  AOL, CompuServe, and Prodigy, as well
as Apple, IBM, DEC, and Microsoft.  The DEC booth had two guys juggling
knives and apples atop a six-foot unicycle:  "Remember:  DEC (flip)
connects you to the Internet (bite) like no one else (wobble)!"

Other Impressions:
*Everyone at every session showed a steep graph of some sort.  One guy on
Wednesday showed an unlabelled graph, saying, "This is a graph of Internet
activity.  The labels...don't matter!  Could be number of new Web servers
this year, new Internet users this month, or new Web pages since
breakfast."
*The Web's the thing.  It's the fastest-growing part of the net, it'll
transform world business, don't-wait-sign-up-now, get your server up
_today_.  Netscape won the award for best Internet product; Yahoo the one
for best Internet service.
*The net, and especially WWW, are now big enough to draw in lawyers and
(perhaps soon) insurance companies for liability insurance.

Statistics & Predictions:
*SGI says the number of Web servers has grown from fewer than 1000 in 4/93
to 30,000 in 2/95, with the number doubling every two months.
*When Prodigy added Web service they got 200,000 new customers in three weeks.
*A recent CMU study estimates 25 million existing Web pages.
*Someone's slide showed 20 to 40 million Internet users.
*Windows 95 (aka "Windows 9X"), by providing easy WWW browsing and
authoring to the unwashed masses, will create 20 to 30 million new
Internetters.
*Secure payment methods will be widely used by 1/1/96, giving even more
momentum to WWW and net use.

-Brod



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From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
Subject: re: prerelease version of minutes
To: John Keeling <keeling@leland.Stanford.EDU>
Cc: xinwei@leland.Stanford.EDU
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John,

I like your commentary!   If you haven't put in the form, yet,
at bottom are two paragraphs that I'd like to register.

- Xin Wei

> From: John Keeling <keeling@leland.Stanford.EDU>
> Subject: minutes
> To: larryf@leland.Stanford.EDU
> Date: Thu, 26 Oct 1995 11:35:52 -0700 (PDT)
> X-Mailer: ELM [version 2.4 PL24]
> MIME-Version: 1.0
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>
> Hi Larry,
>
> I'll send off another query about meeting times today.  Thought I'd
establish
> a practice of running my summary of a seminar's discussion thread past the
> person who more or less lead the seminar for that day (assuming this person
> is a regular group member).  So below you'll find my summary.  Please
> send me any comments, criticisms, additions.  I can append the discussion
> trail to the e-mail as well as add it to the webpage.  On the webpage
> I'll put a form beneath the text that people can use to maker their own
> additions to my summary and thoughs.
>
> --------------------------------------------
> 10/25
>
> 10/25/95
>
> Larry Friedlander presented some his work on the development of
> theatrical spaces that use technology to structure visitors' participation
> and engagement with an exhibit.  Borrowing from architecture, theater,
> and interactive computing, Larry uses embedded technology to create
> transformational spaces that respond to visitors' interaction with them.
> For example, in a proposed model for a Renaissance Museum at the
> Globe theater, visitors act out a scene from one of Shakespeare's plays
> with the film actor of their choice.  Using blue screen technology,
> visitors can take home a copy of themselves acting along side, say, Sir
> Laurence Olivier (or even Larry Friedlander! how about Mel Gibson??).
>
> Larry also presented work from an installation developed at MIT  based
> on elements of the mandala and from an exhibit at the Exploratorium in
> which an individual enters into a virtual space in part controlled by
> fellow museum participants.  In the former, each installation space is
> controlled by a behind-the-scenes director who tries to focus
> participants attention and experience so that they engage with the
> language of the installation environment.  Participants progress through
> the installation only when they have changed the environment in some way.
> In the Exploratorium exhibit, narrative direction is given over to
> museum visitors who watch as someone dons a vr headset and enters
> into an animated graphical world.  As in the MIT installation, the
> museum visitors can exert control over the way the virtual world
> interacts with the person experiencing it.
>
> The seminar discussion addressed how notions of narrative and point-
> of-view can be applied to these kinds of interactive spaces.  Larry made
> the analogy to a Greek chorus that exists somewhere on the boundary
> between participation and witnessing.  He's trying to use technology to
> blur the distinction between actors and audience, narrative and life
> experience.
>
> How do we tweak our definitions of 1st, 2nd, and 3rd
> person participation for this kind of narrative experience?
>
> The group considered the frequency, range, and significance of the
> interactions in Larry's examples, as well as others brought up in
> conversation.  Clearly there is a tension between the amount of narrative
> structure provided by exhibition designer and how much the space
> allows for free flowing, purposeful actions.  Everyone agreed that any
> kind of branching structure determining a range of possible narrative
> paths and outcomes would "feel" forced and would not provide for a
> satisfactory narrative experience.  Nevertheless, it was agreed that there
> needs to be some kind of aesthetic criteria to embed the interactive space
> with meaning and latent narrative possibilities.  In short, gratuitous
> action is as much a turn off as clunky narrative structure.
>
> Brenda Laurel confronts this problem by distinguishing between
> "narrative" and "enactment"--arguing that the latter is more suitable
> for our subject at hand.  In her words:
>
> 	Enactment, meaning to act out rather than to read. Enacted
> 	representations involve direct sensing as well as cognition. To
> 	state it more simply, the stuff of narrative is description, while
> 	the stuff of drama is action. (Computers As Theater, 94-95)
>
> She goes on to say that the episodic structure of narrative is all about the
> extensification of time and experience, while enactment is about
> intensification and condensing time.  She then goes on to adapt
> Aristotle's four causes as a way to provide meaning for the actions
> and representations of immersive interactive environments (causa
> materialis, causa formalis, causa efficiens, causa finalis. . .ironically,
> Heidegger argued that these causes were insufficient explanations for
> technology that is also a "revealing").
>
> I'd propose turning to the  expressive forms of poetry as a means of
> complementing Laurel's  dramatic model.  Poetry as meaning system,
> or information system.  Can poetry's intensification of image, sound,
> rhythm provide a model for the design of interactive spaces?  Is there a
> similar "enactment" of  meaning (or "derangement of the senses"!) in
> the language of poetry as  in what Larry called the "nonordinary"
> language of his MIT installation?
>
> We also considered whether the very notion of Virtual Reality is
> encumbered by a kind of mimetic fallacy--what Xin Wei called "ocular
> centrism" (after Martin Jay?).  Xin Wei wanted to consider haptic and
> audial interfaces, while acknowledging that the same critique can be
> made about them as well.  Returning, I think, to our narrative/dramatic
> model, it was proposed that "selectivity" should guide interactive
> design, that projective completion of sensory realism is an important
> part of the narrative enactment.  In other words, there must be space
> for the participants to imaginatively extend (and be surprised by) the
> environment.  Larry encouraged us to think of the interactive experience
> as one of metaphor building:  where participants find correspondences
> for the significance of their interactions with the environment (again, I
> think this implies a poetics of technology).
>
> This lead to a discussion of the "embodiment of meaning" in interactive
> spaces which diverged into debate about whether or not we are
> transcending or atrophying our bodily selves in VR.  I don't have much
> to say here except that it seems to be more a complaint about clunky
> datagloves and headsets than anything else?  I mean nobody complains
> that book technology leaves our body-as-meat slumped over the text
> while our imagination parties down in a text-based virtual world. . . .
> We skirted around the mind-body problem, Cartesian epoches, and all
> that good stuff--hey, it was dinner time.
>
>
>

How can we make VR more expressive and compelling?   We can throw in chance,
or admit multiple agents or agencies.  Alan suggested a logic of multimedia
in which even aesthetic or emotional constraints could be derived from some
inference system.   All these approaches present alternatives to what Ann
called the flea-hopping characteristic of the WWW's version of hypermedia.
Alan suggested that "virtuality" could be characterized as a mapping between
spaces of representations.  (XW then suggested that one way to criticize
mimeticism is to see it as a "trivial" mapping in Alan's theory.)

Some issues shelved for future discussion included representation,
metaphor and model.  How meanings or affect are ascribed to, or inscribed in,
representations?  How do metaphors function?   What models lie under
certain representations?

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From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
Sender: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
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Status: RO

img folk,

Would anyone like to volunteer to present some
"artifacts", material or otherwise, the week of Nov. 22, or two weeks
after that?  This being an exploratory seminar, works and thoughts in
progress would be just fine.   I can imagine for example, a fruitful
continuation of our examination of immersive environments, contrasted
perhaps with, how shall we call it, embedded computer artifacts/PDA's/
pads, etc.  For the former, we could troop into the Silicon Graphics
lab in Sweet Hall (if I can find some software to run).  For the latter,
we could bring in the Apple Newton, and perhaps a laptop with some
video onboard.

Other possibilities raised in the first weeks included

- a performance by some ccrma folk
- a discussion of music notation
- presentation on interactive cinema
-    with connections to film, photography
- ...


volunteers?  nominations?  It would be most useful if a presenter
could provide John with some references or distributable material
at least a week in advance.

Xin Wei
725-3152

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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199510271841.LAA24595@elaine30.Stanford.EDU>
Subject: Re: discussion thread
To: xinwei@leland.Stanford.EDU (Sha Xin Wei)
Date: Fri, 27 Oct 1995 11:41:31 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
In-Reply-To: <MailManager.814815437.1403.xinwei@otter> from "Sha Xin Wei" at Oct 27, 95 10:37:17 am
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> Dear John, Larry,
> 
> 	Actually, this latest email exchange seems to me to be a great
> jumping off point for a discussion of how communication depends on the media,
> and on how social groupings are mediated by computer networks.  Would either
> of
> you object if I suggest this to img-mail?    This way, we can be good
> scientists (even Lacanian :).   I'd like to start by mentioning some studies
> of email-mediated conversation (of which there must be many*).

By all means.  My opinion?  I can see this going either way. The silence
probably does suggest some discomfort out there--I received another 
back-channel message to that effect.  There may be people out there in total
agreement with Ann who are sending the group or me messages beacause of the 
same unease. I can certainly see how you might turn
the tide and refocus the group.  But I can also see the possiblity that
this might prove even more of an irritant.  Which means that, in the
spirit of open communications, you should do whatever you want!

> * John, any suggestions, before I flip through Sociomedia?

 Center for the Study of Online Community - A collection of scholarly 
resources, reports, papers, and syllabi dealing with the emergence of 
community and other socialinstitutions in and through networks. 

http://www.sscnet.ucla.edu/soc/csoc


Smith, Marc. 1992. "Voices from the Well: The Logic of the Virtual Commons".

http://www.sscnet.ucla.edu/soc/csoc/virtcomm.htm


Kollock, Peter and Marc Smith. "Managing the Virtual Commons: Cooperation and
Conflict in Computer Communities." In press: Computer-Mediated Communication,
edited by S. Herring. Amsterdam: John Benjamins.

http://www.sscnet.ucla.edu/soc/csoc/vcommons.htm 


A more general web resource for communications/media theory:

http://www.aber.ac.uk/~dgc/media.html

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Date: Thu, 26 Oct 1995 20:57:45 -0700
From: Ann Weinstone <weinstone@igc.apc.org>
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To: img-mail@lists.Stanford.EDU
Subject: Re: response to minutes
X-Status: 
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I guess I misunderstood some of the history of the group--and of
course I've no objection to spending more text time describing the
speaker's comments.

My own opinion about what the minutes should be is maybe a few
generally descriptive paragraphs, or even a list of points/topics
covered. I think it is important to attribute main points to
speakers, mainly so that people who want to and who have bad
memories (like I do!) can follow up with individuals if so
desired. But, I would guess that detailed notes reflecting a large
number of attributed comments would be too onerous for anyone to
create.

Perhaps we could let the comments pile up and make some decisions
at the next meeting.

And I thought I was being gentle. :-)

Ann
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From: John Keeling <keeling@leland.stanford.edu>
Message-Id: <199510262224.PAA07251@elaine12.Stanford.EDU>
Subject: Interactive Media Group Schedule
To: img-mail@lists.Stanford.EDU
Date: Thu, 26 Oct 1995 15:24:57 -0700 (PDT)
Cc: moser@leland.stanford.edu, meg@steam.Stanford.EDU, leifer@cdr.Stanford.EDU,
        marco@ccrma.Stanford.EDU, rayner@leland.stanford.edu,
        englishfaculty@forsythe.stanford.edu,
        decker.walker@leland.stanford.edu
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The Interactive Media Group is still trying to work out a firm schedule
for the fall quarter.  There seems to be a general consensus that Thursdays,
4-6, works better than Wednesdays from 5-7.  But there's still time to
e-mail me your preference (keeling@leland.stanford.edu).

Our next meeting is tentatively scheduled for either Wed. 11/8 or Thu 11/9.
We hope to have Glorianna Davenport from MIT leading a discussion on 
interactive cinema.  Confirmation will follow.

If you have not signed up for the img-mail discussion group, you will 
no longer received updates about seminar events after the confirmation 
of next week's meeting.

Below you'll find the minutes from last night's meeting--with a few
additional reporter's comments.  I'll post the minutes on the web page
shortly (http://www-leland.stanford.edu/~xinwei/pub/img/img.html).  Following
the minutes on the webpage will be a form that you can use to append your
comments to my meeting notes.  In the meantime, or as an alternative, you
can mail your thoughts to img-mail@lists.stanford.edu.

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

10/25/95

Larry Friedlander presented some of his work on the development of 
theatrical spaces that use technology to structure visitors' participation 
and engagement with an exhibit.  Borrowing from architecture, theater, 
and interactive computing, Larry uses embedded technology to create
transformational spaces that respond to visitors' interaction with them.
For example, in a proposed model for a museum at the 
Globe theater, visitors act out a scene from one of Shakespeare's plays
with the film actor of their choice.  Using blue screen technology, 
visitors can take home a copy of themselves acting along side, say, Sir
Laurence Olivier (or even Larry Friedlander! how about Mel Gibson??).

Larry also presented work from an installation developed at MIT  based 
on elements of the mandala and from an exhibit designed by Tinsley Galyean 
at the Chicago Museum of Science and Industry in which an individual enters 
into a virtual space in part controlled by fellow museum participants.  In 
the former each installation space is controlled by a behind-the-scenes 
director who tries to structure  participants attention and experience so that
they engage with the  language of the installation environment.  Participants 
progress through the installation only when they have changed the environment 
in some way.  In the Exploratorium exhibit, narrative direction is given over 
to museum visitors who watch as someone dons a vr headset and enters  into an 
animated graphical world.  As in the MIT installation, the museum visitors can
exert control over the way the virtual world interacts with the person 
experiencing it.

The seminar discussion addressed how notions of narrative and point-
of-view can be applied to these kinds of interactive spaces.  Larry made 
the analogy to a Greek chorus that exists somewhere on the boundary 
between participation and witnessing.  He's trying to use technology to
blur the distinction between actors and audience, narrative and life 
experience.  

How do we tweak our definitions of 1st, 2nd, and 3rd 
person participation for this kind of narrative experience?

The group considered the frequency, range, and significance of the 
interactions in Larry's examples, as well as others brought up in 
conversation.  Clearly there is a tension between the amount of narrative 
structure provided by an exhibition designer and how much the space 
allows for free flowing, purposeful actions.  Everyone agreed that any 
kind of branching structure determining a range of possible narrative
paths and outcomes would "feel" forced and would not provide for a 
satisfactory narrative experience.  Nevertheless, it was agreed that there 
needs to be some kind of aesthetic criteria to embed the interactive space
with meaning and latent narrative possibilities.  In short, gratuitous 
action is as much a turn off as clunky narrative structure.

Brenda Laurel confronts this problem by distinguishing between 
"narrative" and "enactment"--arguing that the latter is more suitable
for our subject at hand.  In her words:

	Enactment, meaning to act out rather than to read. Enacted 
	representations involve direct sensing as well as cognition. To 
	state it more simply, the stuff of narrative is description, while 
	the stuff of drama is action. (Computers As Theater, 94-95)

She goes on to say that the episodic structure of narrative is all about the
extensification of time and experience, while enactment is about 
intensification and condensing time.  She then goes on to adapt 
Aristotle's four causes as a way to provide meaning for the actions 
and representations of immersive interactive environments (causa 
materialis, causa formalis, causa efficiens, causa finalis. . .ironically, 
Heidegger argued that these causes were insufficient explanations for
technology that is also a "revealing"). 

I'd propose turning to the  expressive forms of poetry as a means of 
complementing Laurel's  dramatic model.  Poetry as meaning system, 
or information system.  Can poetry's intensification of image, sound, 
rhythm provide a model for the design of interactive spaces?  Is there a 
similar "enactment" of  meaning (or "derangement of the senses"!) in 
the language of poetry as  in what Larry called the "nonordinary" 
language of his MIT installation?

We also considered whether the very notion of Virtual Reality is 
encumbered by a kind of mimetic fallacy--what Xin Wei called "ocular
centrism" (after Martin Jay?).  Xin Wei wanted to consider haptic and 
audial interfaces, while acknowledging that the same critique can be 
made about them as well.  Returning, I think, to our narrative/dramatic 
model, it was proposed that "selectivity" should guide interactive 
design, that projective completion of sensory realism is an important 
part of the narrative enactment.  In other words, there must be space
for the participants to imaginatively extend (and be surprised by) the
environment.  Larry encouraged us to think of the interactive experience 
as one of metaphor building:  where participants find correspondences 
for the significance of their interactions with the environment (again, I 
think this implies a poetics of technology).

This lead to a discussion of the "embodiment of meaning" in interactive 
spaces which diverged into debate about whether or not we are 
transcending or atrophying our bodily selves in VR.  I don't have much 
to say here except that it seems to be more a complaint about clunky 
datagloves and headsets than anything else?  I mean nobody complains 
that book technology leaves our body-as-meat slumped over the text
while our imagination parties down in a text-based virtual world. . . .
We skirted around the mind-body problem, Cartesian epoches, and all
that good stuff--hey, it was dinner time.

p.s.  speaking of a poetics of technology, i came across a most peculiar 
technology white paper on the web today.  The paper was on 
Macromedia's ShockWave extension to the Director
authoring system and Lingo scripting language.  Each section of the 
paper was preceded by a quote from T. S. Eliot--either from Prufrock 
or 4 Quartets.  The paper exhibits no sense of irony about this 
juxtaposition.  I can think of no better way to describe the "technology 
area formally known as VR" than as existing somewhere between the 
mysticism of the Quartets and  the alienation/absurdity embodied in 
Prufrock!

		in the room the programmers come and go
		talking of Macromedia's Lingo
		
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From: John Keeling <keeling@leland.Stanford.EDU>
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Subject: web summary up
To: xinwei@leland.Stanford.EDU
Date: Fri, 27 Oct 1995 21:59:32 -0700 (PDT)
Cc: larryf@leland.Stanford.EDU
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Hi guys,

I put my summary on the webpage with a link to a form that will
automatically update the page with a user's comments.  The comments
just get appended to the bottom of the page.  

I'm a bit rushed so I didn't tinker with the form to make it real
personable with a tailored reply-thank you response, etc.  But its functional
and all that. . . .

have a good weekend,

john

p.s. at some point will take a good look at the entire web site and maybe
restructure to better reflect the new beginning, while maintaining an 
archive the stuff from previous quarters.

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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199510310558.VAA27957@Steam.Stanford.EDU>
Subject: Re: misc ruminations
To: xinwei@leland.Stanford.EDU (Sha Xin Wei)
Date: Mon, 30 Oct 1995 21:58:43 -0800 (PST)
In-Reply-To: <MailManager.814762571.1133.xinwei@otter> from "Sha Xin Wei" at Oct 26, 95 07:56:11 pm
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   Hi Meg,
   
Sorry to take so long to reply.  It's been a wild w.e.... we
had out of town company, which devolved into a 12-hour emergency
room visit saturday midnight, and subsequent catatonia.  I haven't
had a cogent thought since thursday, I think.

I ran into Ann Weinstone today and she mentioned some tart
exchanges on the IMG list.  I must not be on the list proper;
I got JK's minutes, but nothing else.  I tried majardomo but
I have either the wrong address or the wrong name.  How do
I get on?

   > By separating them this way, I might be able to play around a little
   > with the palimpsesting idea... Maybe as soon as a reader clicks on
   > a "make correx" icon, the last layer greys out and her additions
   > get added in black.  Then, when the next reader looks at the top
   > layer of correx, the most recent ones are in black and the next-most-
   > recent ones in grey.  If the second reader chooses to make correx,
   > the grey layer disappears and the black layer goes grey.  (Does
   > this make sense?)
   
   I still wonder if it wouldn't be easier to simply
   do up the essay in Hypercard.   

Trying to give me nightmares, aren't you?  Surely you have
sussed me out well enough to know that *easier* is not much
of an appeal for me.

   HotJava is not quite here yet, and

You're quite right about that.  I'm prepared to jettison Java
if/when necessary.  The rest of plans will survive intact in
plain old html.  And there's always vrml... (just kidding!)

   we lack the proper GUI authoring tools and widgets above the Java language.
   (One should be able to even hack a HC stack to NetScape so that it might
   massage the HTML's and the user clicks on the client side.)
   
Really?  Wow.  I didn't realize anyone had been doing this with
hc.  Anything you recommend I look at, where they have done
something along these lines with hc?

   > We've only just gotten Netscape 2.0 (the java-compatible version)
   > installed on steam, and so far it seems to crash every couple
   > of minutes.  Do you have it (are you on a Sun or a Mac?), and
   > are you finding the same thing?
   
   No , we have no Sparcs and no Java yet.  You're ahead of us.
   
I'm not sure "ahead" is the apt adjective here, given what
a bloody mess it is. The more I play with it, the more I
roll my eyes back in my head.

Another stray idea for a web'page' (I can't use "page" with any
less sarcasm than that with which I use "trope"):  One composed
entirely of gifs -- gifs of handwritten pages.  Maybe even 
post-it notes.

   Well, there's a whole morass of hypertext theory -- have you
   slogged through much of it?   You know, Intermedia (Landow),
   Hyper-G (Maurer), the annual Proceedings of the ACM Hypertext
   conferences, etc. etc.   One issue in particular : reading for
   closure goes out the window.  Should we worry?
   
I haven't slogged through *any* of it, truth be told.  Too
busy getting an ug degree, stuffing around on usenet, all 
that stuff.  But no, I'm convinced we should not worry.  We
should grin broadly (as of course we already do).  Closure
is highly overrated, imnsho.  

   behind the front lines,
   
Calling the plays, no doubt...


meg

   
   

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Subject: img-mail pwd
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pswd jeyk

beneath the subscribe img-mail foo@leland
type:  approve jeyk subscribe img-mail foo@leland
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11/6/95

The next meeting of the Interactive Media Seminar will be 
Thursday,  November 11, 4:00 pm in 303 Sweet Hall. Glorianna
Davenport of MIT's Media Lab will be our guest speaker.  She
will discuss her research in Interactive Cinema.  More on 
Glorianna Davenport below.

This confirmation is the last message you will receive
from the Interactive Media Group if you are not subscribed
to img-mail@lists.  You are not subscribed if you have not
attended any meetings or subscribed to the list on your own.

Email:  img-mail@lists.stanford.edu
Web:    http://www-leland/~xinwei/pub/img/img.html

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

Glorianna Davenport is associate professor of media technology in 
MIT's Media Arts and Sciences Program. She directs the Interactive 
Cinema group at the MIT Media Laboratory, a research program which 
focuses on researching narrative models for interactive media and
digital production tools. Recently she has concentrated on a story about 
urban change in Boston and community memory. 

Davenport has also produced interactive fiction and theatrical work. In 
1992 she co-directed Wheel of Life: a Transformational Environment 
with Larry Friedlander. Davenport holds the Asahi Broadcasting 
Corporation career development chair. She received the Gyorgy Kepes
Fellowship for excellence in the Arts in 1991 and is currently finishing 
abook on digital media systems and the art of storytelling.
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Subject: new URL
To: ssjain@cafs.ucsc.edu, schnapp@leland.Stanford.EDU,
        sjohnson@leland.Stanford.EDU, richb@leland.Stanford.EDU,
        egabara@leland.Stanford.EDU, alanjp@leland.Stanford.EDU,
        jobst@leland.Stanford.EDU, weinstne@leland.Stanford.EDU,
        toddszp@leland.Stanford.EDU, ntinsley@leland.Stanford.EDU,
        marco@ocram.Stanford.EDU, bmreed@leland.Stanford.EDU,
        lroman@leland.Stanford.EDU, xinwei@leland.Stanford.EDU,
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An astute member of our class pointed out to me that I gave out
a nonfunctioning URL (address) for my web-paper.  Sorry about
that -- I hope no one besides me threw her monitor through a
window in frustration.

Okay, here's the new address, and this time I have checked
it from outside my own system!

http://steam.stanford.edu/meg/paperless


Appy polly loggies for the confusion.


Rage away,

meg

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Subject: Carol Strohecker: 2 design references
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Begin forwarded message:

Organization: Mitsubishi Electric Research Laboratories, Inc.
	Cambridge, Massachusetts, USA
Date: 19 Apr 95 14:07:40 U
From: "strohecker" <stro@merl.com>
Subject: 2 design references
To: narr-int@media.mit.edu

Those interested in issues of place-making, spatial metaphors, and virtual
environments may find these sources interesting/useful:

Wilson, Anthony & Patricia.  1994.  _Theme Parks, Leisure Centres, Zoos, and
Aquaria_.  (Essex UK: Longman Scientific and Technical, copublished with John
Wiley & Sons, NY).

And, on a contra-note,

Sorkin, Michael, ed.  1992.  _Variations on a Theme Park: The New American City
and the End of Public Space_.  (NY: Hill & Wang).

-Carol

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From: John Keeling <keeling@leland.Stanford.EDU>
Message-Id: <199511102051.MAA00455@elaine22.Stanford.EDU>
Subject: 11/09/95 Summary
To: img-mail@lists.Stanford.EDU
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Subject:  11/09/95 Seminar Summary

We didn't get to discuss the procedural issue of what form
these summaries should take--whether they should be minutes, a summary,
a collaboration, etc.  I'm open to suggestions.  If anyone would like
to take turns at typing up summaries, that would be great.  Or we
can come up with ways to annotate my summaries prior to their posting
on the web page--once on the page, you can use the form provided to
automatically append notes to the bottom of the posted summary.  If we're
worried about any one viewpoint dominating, maybe we can just not have
any one person take notes, but somehow collage together discussion on
the img-mail list that follows after a particular seminar and put that
text on the page as a summary.

Below you'll find my summary of last night's meeting.  I won't post it 
on the webpage for at least a week to give us time to consider different 
approaches.  

Our next meeting topic, day and time is not yet firmed up: TBA

cheers, john

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

Glorianna Davenport led our discussion of interactive cinema, focusing 
in particular on the form she calls the "evolving documentary."  
Traditional documentary film-makers combine repurposed footage with 
new film and audio into narrative sequences (shots and scenes).  The 
"evolving documentary" takes on new dimensions as the media is 
sequenced  and resequenced for each "participatory viewer" (Glorianna's 
term for the audience member who takes on some kind of authorial 
function).  Glorianna demo'd an evolving documentary about the public 
works project in Boston which aims to improve transportation and to 
give the urban landscape a facelift by tearing down Boston's Central 
Artery, an iron behemoth highway structure from the 1950's that 
separates Boston's commercial and historic districts.

The documentary examines the community, environmental and political 
issues surrounding the replacement of the "green monster" artery with 
an underground roadway.  Begun in 1980, the project is slated to 
develop through 2004.  M.I.T.'s evolving documentary of this project (a 
collaborative effort sponsored by Glorianna and Michael Murtaugh) is 
designed to allow for a flexible means of annotating documentary 
content.  In short, new content can be integrated into the documentaries 
multiple narrative threads.  The process, as I understood it, is threefold:

	1.  Indexing Media Content:  Glorianna calls these content types
	"narrative descriptors."  The Boston documentary classifies 
	media after journalism's "who, what, when, and where," or
	"character, time, location, and theme."

	2.  Turning description and database relations into interactive
	narratives--what Glorianna called "story vectors."  The Boston
	documentary weights each descriptor according to its association
	or relationship to other descriptors.  If I understand correctly, the
	descriptors are just that (key word classifications), the strength
	of association or weight of relationship is determined by the 
	participant viewers responses to the documentary.  So narrative 
	progression is determined by the aggregate of a viewer's 
	responses--the relative strength of relationships and thus a 
	narrative thread accumulate.

	3.  Maintaining the system of description so that new content 
	can be seamlessly integrated throughout all points of the 
	narrative database--as opposed to being tacked on the end of a 
	linear film. 

The documentary interface has four axes corresponding to the character, 
time, location, and theme descriptors.  This creates a field of latent 
narrative possibilities in which viewers position the mouse at different 
points over the grid and are given textual and visual feedback as to the
story coordinates (or story vectors) available to them.  By pausing over 
a  set of coordinates, viewers launch a short film clip.  The clip is 
chosen at random based on the set of possible media corresponding to
the chosen coordinates.  As the viewer interacts with the system, she 
exerts more influence over narrative direction as her interests are 
reflected in the weighting of relationships among available media.
Pictures or frames of invoked descriptors accumulate and are layered on 
the screen.  Launched video obviously takes center stage while other 
descriptors fade in and out of view based on the thematic development 
of the narrative.

The discussion that followed focused primarily on the authoring and 
editing functions of the evolving documentary's 'meta-authors' 
(Davenport, Murtaugh, et.al) as they are shared by participant viewers. 
Joyce Moser, I believe, first touched on the conflict between 
"immersion" and interactivity" specifically as they relate to cinema.  By 
"immersion" I'm guessing we mean, generally, if not a loss of critical
consciousness then a sense of 'losing one's self' in a fictional world.  
Interactive cinema, like the telepresence environments we discussed last 
time, shuttle us back and forth  between the immersive world of 
participant-viewer and interactive world of author-editor.  Glorianna 
noted the Sony interactive film experiments which asked viewers to 
vote on narrative development at key branching points (echoing our 
discussion of branching narrative structures from last seminar).  Ben 
Robinson emphasized that the break up of narrative continuity in the 
Sony film experience was amplified because the film experience was 
too dependent on traditional cinematic models (linear plot lines albeit
with branching points, darkened theater, except for voting largely 
passive audience....).  The question is how to make interactive 
experiences that don't make one like a rat in a maze.

Ann emphasized the ontological problems associated with "slowing 
down" engagement to get people to take on more of an authoring 
function--i.e. can the episodic movement of narrative translate into an 
experience of point-click-immerse-point-click-immerse?  How does this 
relate to art forms that engage us while pointing up their fictionality
and materiality?  Ann's question perhaps ties notions of "authoring" and 
"editing" to what we mean by "interactivity."--where "authoring" 
perhaps encompasses a more continuous engagement as one moves 
from viewer to participant author.  I think this is what Glorianna meant 
by thinking of evolving documentary less as an editing tool and more
as a "conceptual framework."  The editing function, however, does seem to be 
amplified for the 'meta-authors' whose editorial choices and constructs 
plant seeds for the plot lines of participant viewers. 

Meg opened the discussion up to consider specifically how interface is 
related to the immersive experience.  She and Glorianna made 
connections to the complex spatial organization of meaning/interactivity
in collage in contrast to more linear narratives.  Meg noted that the 
Boston documentary created a sense of depth with its layered graphics 
but that sense of depth was lost on the world wide web version of the 
project--in which the graphics are aligned more as in a table.  Glorianna 
noted how this is a problem in many cdroms as well.  Perhaps the 
problem here is that the interface overemphasizes the systems 
navigational paths or maps to such an extent that the system's material 
surface never merges the developing narrative with its material forms--while 
constantly calling attention to navigational topography. In other words, our 
point-and-click interactivity (Ann's "flea hopping") is always distinct from 
our experience of narrative immersion.  Less obtrusive interfaces perhaps 
more successfully merge these two experience functions.

p.s. Glorianna gave a delightful recounting of her biographical history
as a documentary film maker!

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From: Meg Worley <meg@Steam.Stanford.EDU>
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Subject: Re: 11/09/95 Summary
To: keeling@leland.Stanford.EDU (John Keeling)
Date: Tue, 14 Nov 1995 00:15:22 -0800 (PST)
Cc: weinstne@leland.Stanford.EDU, xinwei@leland.Stanford.EDU
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John, Ann, & Xin Wei:
   
   Below you'll find my summary of last night's meeting.  I won't post it 
   on the webpage for at least a week to give us time to consider different 
   approaches.  
   
I'm sending this to the three of you only, since I'm not
convinced that the whole parcel of IMGers gives a hoot.

I just wanted to clear up the question of what I said and
what I meant, since I don't seem to have matched them up
very well in thursday's confab.  Towit, John records:

   Meg opened the discussion up to consider specifically how interface is 
   related to the immersive experience.  She and Glorianna made 
   connections to the complex spatial organization of meaning/interactivity
   in collage in contrast to more linear narratives.  Meg noted that the 
   Boston documentary created a sense of depth with its layered graphics 

This was a guy behind me, actually... I don't know his name,
but he had dark curly hair and was kinda cute (that helps a
lot, doesn't it?).

   but that sense of depth was lost on the world wide web version of the 
   project--in which the graphics are aligned more as in a table.  

I didn't draw any distinction between the web version and
the documentary version.

   Glorianna 
   noted how this is a problem in many cdroms as well.  Perhaps the 
   problem here is that the interface overemphasizes the systems 
   navigational paths or maps to such an extent that the system's material 
   surface never merges the developing narrative with its material forms--while 
   constantly calling attention to navigational topography. In other words, our 
   point-and-click interactivity (Ann's "flea hopping") is always distinct from 
   our experience of narrative immersion.  Less obtrusive interfaces perhaps 
   more successfully merge these two experience functions.
   
This doesn't sound like either of the issues I raised or prompted
Glorianna to address.

What I did bring up, or at least *mean* to, is the following:

1. I observed that the who-what-when-where format was like a
game of Clue, in that it dictated pretty conventional axes
and didn't permit much divergence.  Note that the two key
interrogatives omitted from the scheme are the most complex,
how & why.  A more experimental structure would allow the
curious witness to follow bizarre strands dictated by personal
interests -- "The role of dental floss in the construction 
and demise of Boston's Whatchamacallit Artery," and so forth.

2. The part of the presentation that I saw (admittedly, I
missed the first part) had all the graphic finesse of a
4th-grade poster project -- images cut out and whapped onto
a dark background.  Everything nice and rectangular.  I
suggested playing around with textures to play up the montage
feel that Glorianna had been talking about earlier, perhaps
have images fade into one another (not that hard a task).

Just thought you'd want to know ;-)


Rage away,

meg

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To: img-mail@lists.Stanford.EDU
Subject: Bruce Conner films Sun, Tue.
Date: Sat, 18 Nov 1995 09:49:27 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: O

[hi img folk,

If you're in an archeological mood Sunday or Tuesday, you might check
out the Bruce Conner films in SF and Berkeley.  The descriptions are
lifted from today's SF Chronicle. I don't know his work, btw...
so godspeed usw.

-xw ]

Bruce Conner is the beat-era "San Francisco artist whose classic
collage films of the late 1950's and 60's pioneered the popping
fast-cut editing style used on countless commercials and MTV clips."

There will be two retrospectives:

Sunday Nov 19, AMC KabukiB Theaters, 1881 Post St. SF "The San
Francisco Cinematique presents nine films [including] the fast-cut
shorts 'A Movie' and 'Cosmic Ray,' ...'The White Rose,' 'Report,' ...a
reflection on the Kennedy assassination, perception and mass media
manipulation; and the premier of 'Television Assassination,' [wih
footage filmed off the TV screen]."

Tuesday Nov 21, Pacific Flm archive, 2625 Durant Ave., Berkeley "Six
Conner movies [including] 'Television Assassination,' 'Ten Second
Print,' and ...'Crossroads,' a meditation on the ...first underwater
atomic bomb test at Bikini in 1946."

"Conner, who found it cheaper to buy stock footage and splice it
together than shoot his own, calls his movies 'poverty films.  I made
movies without a movie camera.  ... I wanted to retrain the way in
which people view film by creating a langauge of film that would
convey information in short bursts of information.'"
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199511181835.KAA24870@elaine17.Stanford.EDU>
Subject: Re: Next Meeting
To: img-mail@lists.Stanford.EDU
Date: Sat, 18 Nov 1995 10:35:48 -0800 (PST)
In-Reply-To: <199511181728.JAA03060@Steam.Stanford.EDU> from "Meg Worley" at Nov 18, 95 09:28:10 am
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Status: RO

What do people think of as narrative?   What's NOT a narrative?
Examples?   If you go to our img website, you'll find Brenda Laurel's
rough and ready distinction between narrative and theatrical performance
(text, linked to the Readings page).

Of the top of my head, which is the only mode in which one composes
Real Email, some qualities that may distinguish narrative from
non-narrative may be reflexivity, embodiment, time-elasticity,
iterability.   And what do _those_ terms mean?
(See refs: Iser, M. Johnson, B. Laurel, Derrida in the img website.)

Meg asks if narrative must be linear.  what's "linear"?   The first
notion that comes to my mind can be defined in terms of dimension,
which for geometric objects can be tested by a scaling thought experiment.

(There's a related notion which can be defined without recourse to a
geometric interpretation, but this fuunctional interpretation, though
it seems to avoid a geometrization so feared by some folk, is also
much harder to apply, I think.)  Using this notion of linearity,
meaning something that's "one-dimensional" like a curve, then we have
to ask, at what level of description are we speaking?  I think it's
hopeless to say much about the (non)linearity of reader reception, or
perception, though we might be able to talk about the (non)linearity
of various sorts of time (reader, narrative, personaggi, cosmological,
etc.).  If we restrict ourselves to media structures, then I'd say,
narrative certainly doesn't have to be a one-dimensional stream of
*memes.  That should open the field to much more than hypertext.

A room full of furniture, with no one in it, is not a narrative, is it?
A room full of furniture, filled with people gabbing ad libitum in
a party, is not a narrative, is it?

Xin Wei

> 
>  John writes:
>    
>    It has also been suggested that we consider the units of meaning
>    for the kinds of "narrative" we have been looking at and discussing.
>    What are the semantic primitives and how do they fit in with some type
>    of narrative structure?  Should we be placing so much emphasis on narrative
>    at all?
>     
>    
> I'd like to back up a half-step more and ask what it is that
> folks have in mind when they say "narrative."  Sometimes it
> strikes me that the differences in people's conceptions of
> narrative are not minor but vast, and those differences don't
> always get acknowledged (to the detriment of all and the
> confusion of some).
> 
> For example, does "narrative" entail linearity?
> 
> 
> Rage away,
> 
> meg
> 
>    
> 
> 

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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199511181728.JAA03060@Steam.Stanford.EDU>
Subject: Re: Next Meeting
To: keeling@leland.stanford.edu (John Keeling)
Date: Sat, 18 Nov 1995 09:28:10 -0800 (PST)
Cc: img-mail@lists.Stanford.EDU
In-Reply-To: <199511180217.SAA15780@elaine11.Stanford.EDU> from "John Keeling" at Nov 17, 95 06:17:06 pm
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Status: RO

 John writes:
   
   It has also been suggested that we consider the units of meaning
   for the kinds of "narrative" we have been looking at and discussing.
   What are the semantic primitives and how do they fit in with some type
   of narrative structure?  Should we be placing so much emphasis on narrative
   at all?
    
   
I'd like to back up a half-step more and ask what it is that
folks have in mind when they say "narrative."  Sometimes it
strikes me that the differences in people's conceptions of
narrative are not minor but vast, and those differences don't
always get acknowledged (to the detriment of all and the
confusion of some).

For example, does "narrative" entail linearity?


Rage away,

meg

   

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Date: Mon, 11 Dec 95 11:57:47 -0800
From: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
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To: img-mail@lists.Stanford.EDU
Subject: 5Cyberconf, Madrid, June 95
Cc: schnapp@leland.stanford.edu, tlenoir@leland.stanford.edu,
        pedwards@pcd.stanford.edu, ssjain@cafs.ucsc.edu,
        marco@ccrma.stanford.edu
Status: O

[For your amusement. - Xin Wei]

Subject: 5Cyberconf
Date: Mon, 11 Dec 95 14:01:51 -0500


------- Forwarded Message
From: 5cyberconf@ceai.telefonica.es (Rafael Lozano-Hemmer)
Subject: 5CYBERCONF call for participation

Please distribute the following information among people who might be 

interested. Sorry if you receive more than one call :> 



========================================================================
*                         Call for Participation                       *
========================================================================

                                5CYBERCONF
                Fifth International Conference on Cyberspace
                --------------------------------------------
                      June 6th to 9th, 1996. Madrid, Spain
          Hosted by "Fundacion Arte y Tecnologia de Telefonica"


5CYBERCONF is an international conference that addresses the social, 

political and cultural implications of cyberspace from a critical 

standpoint and encourages discussion between theoreticians and 

practitioners. Hosted for the first time in Europe, this fifth edition 

of CYBERCONF considers computer-human interface breakthroughs, our 

fascination and weariness with disobedient technology, the role of 

synthetic behaviour in virtual design, and the increasing importance of 

cross-cultural contributions to the electronic community.

In the 90s cyberspace has reached a critical mass. The tools to 

construct and navigate virtual worlds are becoming increasingly 

affordable, intuitive and widespread. The rise in bandwidth and dropping 

prices have provoked the exponential growth of the online population (or 

is it the other way around?). As the net becomes a mainstream hit, how 

has the transition from science fiction to reality changed cyberspace?


=================================
*      CONFERENCE FORMAT        *
=================================

5CYBERCONF is scheduled to start on Thursday afternoon, June 6th and 

take place over three and a half days. There will be 8 keynote speakers, 

18 plenary sessions, special events, a videoconference link-up and a 

banquet dinner on Sunday June 9th. All sessions are designed to foster 

discussion. Presentations will be in English and Spanish with 

simultaneous translation. The six themes are:

INTER-FACE LIFT
How are the boundaries of the computer-human interface disappearing? Is 

the "window onto the world" metaphor exhausted? Can we unframe our 

synthetic worlds? What can replace the cartesian grid as a reference for 

non-linear worlds?

CYBER SICK-AND-TIRED
Who is leaving cyberspace and why? What are the different forms of 

cyber-sickness? Is the body rejecting interfaces that ignore it? What 

are the old and new psychological disorders manifested in or caused by 

cyberspace? What are the different forms of cyber-tiredness? How can we 

counteract the disenchantment brought about by the unfulfilled promises 

of the cyber-hype industry? Who is buying the media's portrayal of 

cyberspace as dirty and dangerous? Who is winning the battles to control 

or dominate access?

TECHNOLOGY GOOD, PEOPLE BAD (Virtual Perversions)
When will the predicted death of "outmoded" dualisms finally happen? Is 

accepting our own cyborgness the only way to explore post-humanism, or 

are there other, as-yet-unimagined, ways? How do we create new languages 

to describe unprecedented experiences? How has the language of 

cyberspace changed since the first CYBERCONF?

DIGITAL THIRD WORLDS
Are there digital ethnic groups? How can ceremony and language be used 

in the retro-colonization of cyberspace? Can the international economic 

system be de-virtualized? What kinds of non-digital virtuality are 

there? What are the experiences of new online communities in countries 

where access is relatively recent, and how are their contributions 

changing the time and space of cyberspace? Who are the new marginals? 

The "Global Village" and other myths.

CRASH TECHNOLOGY
What is seductive about technology out-of-control? What would be the 

uses of a "personal dis-organizer"? What is technological correctness? 

How will our ethics be transformed by the ability to "undo" our virtual 

actions? Will artificial intelligence finally deliver an automaton that 

disobeys? What is cyber-pain? (and where to find it).

SYNTHETIC BEHAVIOUR (Recombinart)
Can cyberspace behaviour be "rendered" (as in designer-behaviour)? What 

constitutes interesting behaviour? Will synthetic behaviour change what 

we mean by normal behaviour? What is the virtual equivalent of the 

Undead? What proposals challenge the dead/alive binary (videogames, 

military simulators, etc.) as the primary paradigm of virtual 

interaction?


=================================
*      CALL FOR ABSTRACTS       *
=================================

To submit an abstract for the potential inclusion of your paper in the 

5CYBERCONF programme, please follow these format guidelines:

Title of the paper
Author(s)
Institutional affiliation, if any
Chosen 5CYBERCONF theme (from the list above)
Abstract, 500 words maximum
Brief biography, 100 words maximum
Audiovisual equipment requirements
Contact information (email preferred)

There are two ways to submit: 1) Email 5cyberconf@ceai.telefonica.es 

with the subject "5CYBERCONF Submission" or 2) mail both a printed copy 

and a PC or MAC diskette to the address given below. 


The selection will be done by an international and a local committee 

made up of academics, theorists, artists and technicians in the field. 

Submission of an abstract indicates the submitter's intention and 

capability to write and present the corresponding, full length paper, if 

chosen. Papers will be alloted a half hour for presentation and may be 

in English or Spanish. Please be advised that the selection committees 

will not consider abstracts that are not formatted as stated above nor 

papers that have been previously published. 


All papers will be published in a bilingual edition of the proceedings, 

which will be available in late 1996.


=================================
*           DEADLINES           *
=================================

Deadline for reception of abstracts: February 15, 1996
Notification of selection for presentation: March 15, 1996
Deadline for registration: May 1, 1996


=================================
*     FINANCIAL ASSISTANCE      *
=================================

The registration fee will be waived for those presenting a paper in 

5CYBERCONF. In addition, a limited number of grants are available to 

those presenters who demonstrate financial need. These grants cover the 

costs of travel, accommodation and a per diem.


=================================
*      FEES & REGISTRATION      *
=================================

The registration fee for attending 5CYBERCONF is US$200 (US$100 for 

students). For detailed information on how to register and information 

on travel and accommodation, please contact Susie Ramsay at 

5cyberconf@ceai.telefonica.es or at the address given below. Please note 

that registration is on a first-come, first serve basis and attendance 

is limited to 140. Late registration will be available as space permits 

and at an extra charge.


=================================
*           LOCATION            *
=================================

5CYBERCONF will take place in the comfortable, modern auditorium of the 

Art and Technology Foundation situated in the heart of Madrid. The 

historic building that houses the Foundation is within walking distance 

of sites of interest such as the Plaza Mayor, la Puerta del Sol and the 

Prado Museum. Madrid has a lively street life and is famous for its tapa 

bars, Flamenco scene, sidewalk cafes and all night festivities. June is 

usually warm, sunny and dry.


=================================
*  CONFIRMED KEYNOTE SPEAKERS   *
=================================

Carolina Cruz Neira (Spain)
Manuel de Landa (Mexico-USA)
Antoni Muntadas (Spain-USA)
Avital Ronell (USA)
Allucquere Rosanne Stone (USA)
Florian Roetzer (Germany)


=================================
* SPECIAL EVENTS TO BE CONFIRMED*
=================================

Performance by Guillermo Gomez-Pena.
Private screening of David Cronenberg's new film "Crash" based on the 

J.G. Ballard novel.

The list of keynote speakers and special events is preliminary; more to 

be added. Please visit our Web site for more information and updates on 

5Cyberconf.


=================================
*     5CYBERCONF ORGANIZERS     *
=================================

Rafael Lozano-Hemmer, Chair
Susie Ramsay, Coordinator
Allucquere Rosanne Stone, Goddess of Cyberspace


=================================
*     5CYBERCONF PRODUCTION     *
=================================

Fundacion Arte y Tecnologia de Telefonica
Candido Velazquez-Gaztelu, Chair
Roberto Velazquez Martin, Manager 

L. Ishi-Kawa, Curator and Assistant Manager.


=================================
*    INTERNATIONAL COMMITTEE    *
=================================

Alex Adriaansens, V2 (Netherlands)
Roy Ascott, CAIIA (UK)
Annick Bureaud, Art-El, ASTN (France)
Andrea Di Castro, CNA (Mexico)
Lorne Falk, Independent (USA)
Monika Fleischmann, GMD (Germany)       

Eduardo Kac, U. of Kentucky (Brazil)
Derrick de Kerckhove, McLuhan Institute (Canada)
Machiko Kusahara, GCL, NTT (Japan)
J. Seijdel & G. Strengholt, Mediamatic (Netherlands)
Roger Malina, Leonardo, ISAST (USA)
Marcos Novak, U. of Texas (USA)
Allucquere Rosanne Stone, U. of Texas (USA)
Jeffrey Shaw, ZKM (Australia)
Gerfried Stocker, Ars Electronica (Austria)
Christine Tamblyn, Florida International U. (USA)


=================================
*        LOCAL COMMITTEE        *
=================================

Montxo Algora, Art Futura
Carlota Alvarez Basso, Reina Sofia Museum
Xavier Berenguer, U. Pompeu Fabra 

Daniel Canogar, Independent
Fernando Castro, Instituto de Estetica y Teoria de las Artes
Estrella de Diego, U. Complutense
Javier Echeverria, U. del Pais Vasco
Pedro Garhel, Espacio "P"
Antonio Golderos, Telefonica I+D
Francisco Jarauta, U. de Murcia
Jose Jimenez, Instituto de Estetica y Teoria de las Artes
Emilio Lopez-Galiacho, Arquimedia
Jose Antonio Mayo, Realidad Virtual S. L.
Karin Ohlenschlaeger, Proyectos Culturales
Maria Pallier, Independent


=================================
*    FOR FURTHER INFORMATION    *
=================================

5CYBERCONF
Fundacion Arte y Tecnologia
Gran Via, 28. 2 planta
28013 Madrid, Espana
Tel. 34-1-542-9380
Fax. 34-1-521-0041 

Email 5cyberconf@ceai.telefonica.es
http://www.telefonica.es/fat/




------- End of Forwarded Message


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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512080247.SAA18826@Steam.Stanford.EDU>
Subject: Re: img
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Thu, 7 Dec 1995 18:47:14 -0800 (PST)
In-Reply-To: <199511030224.SAA13157@elaine16.Stanford.EDU> from "Xin-Wei Sha" at Nov 2, 95 06:24:48 pm
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Status: RO

Sorry I didn't make it to IMG today -- my philosophy
class ran way over time (and it was going *well*, so
I was hardly in a position to complain).  I hope the
meeting went well.  Anything interesting come up?

I checked, and you're right, Tamara's party is on
saturday.  Usually she has her parties on fridays,
so I guess I was committing the Humean fallacy.  So,
will the three of you be there?  I hope so.

The address of SRL:
http://robotics.eecs.berkeley.edu

I enjoyed lunch.  We'll have to do it again soon --
we've got a lot of markers out!  (But I prefer to
think of them as bookmarks: Having markers out sounds
too much like mafia machinations.)

have a good w.e.

meg

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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512080247.SAA18826@Steam.Stanford.EDU>
Subject: Re: img
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Thu, 7 Dec 1995 18:47:14 -0800 (PST)
In-Reply-To: <199511030224.SAA13157@elaine16.Stanford.EDU> from "Xin-Wei Sha" at Nov 2, 95 06:24:48 pm
X-Mailer: ELM [version 2.4 PL25]
MIME-Version: 1.0
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Status: RO

Sorry I didn't make it to IMG today -- my philosophy
class ran way over time (and it was going *well*, so
I was hardly in a position to complain).  I hope the
meeting went well.  Anything interesting come up?

I checked, and you're right, Tamara's party is on
saturday.  Usually she has her parties on fridays,
so I guess I was committing the Humean fallacy.  So,
will the three of you be there?  I hope so.

The address of SRL:
http://robotics.eecs.berkeley.edu

I enjoyed lunch.  We'll have to do it again soon --
we've got a lot of markers out!  (But I prefer to
think of them as bookmarks: Having markers out sounds
too much like mafia machinations.)

have a good w.e.

meg

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From: Meg Worley <meg@Steam.Stanford.EDU>
Message-Id: <199512040606.WAA24909@Steam.Stanford.EDU>
Subject: Re: Next Meeting
To: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
Date: Sun, 3 Dec 1995 22:06:34 -0800 (PST)
In-Reply-To: <199511181835.KAA24870@elaine17.Stanford.EDU> from "Xin-Wei Sha" at Nov 18, 95 10:35:48 am
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Status: RO

Howdy.  Hope your trip out of town was productive, fun, or both.

I was hoping I could impose upon you to test out the frames I've
been working on for my page.  I've tried to test it out thoroughly,
but I need an external witness to give it a run, and no one seems
to be looking in this week.  Could you check it out?  Thanks.

As you'll see, I still haven't got the cgi-bin scripts up and 
running, but I'm closer.  I decided to abandon TCL and go with
python -- much more elegant, inherited classes, big improvement.

I'm still interested in hearing whatever you have to tell about
SATI (or Satie, if that interests you more ;-), if you want to
have a coffee sometime this week.  Let me know what's convenient.

meg

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Date: Mon, 11 Dec 95 11:57:47 -0800
From: Xin-Wei Sha <xinwei@otter.Stanford.EDU>
Message-Id: <9512111957.AA01643@otter.Stanford.EDU>
Received: by NeXT.Mailer (1.100)
Received: by NeXT Mailer (1.100)
To: img-mail@lists.Stanford.EDU
Subject: 5Cyberconf, Madrid, June 95
Cc: schnapp@leland.stanford.edu, tlenoir@leland.stanford.edu,
        pedwards@pcd.stanford.edu, ssjain@cafs.ucsc.edu,
        marco@ccrma.stanford.edu
Status: RO

[For your amusement. - Xin Wei]

Subject: 5Cyberconf
Date: Mon, 11 Dec 95 14:01:51 -0500


------- Forwarded Message
From: 5cyberconf@ceai.telefonica.es (Rafael Lozano-Hemmer)
Subject: 5CYBERCONF call for participation

Please distribute the following information among people who might be 

interested. Sorry if you receive more than one call :> 



========================================================================
*                         Call for Participation                       *
========================================================================

                                5CYBERCONF
                Fifth International Conference on Cyberspace
                --------------------------------------------
                      June 6th to 9th, 1996. Madrid, Spain
          Hosted by "Fundacion Arte y Tecnologia de Telefonica"


5CYBERCONF is an international conference that addresses the social, 

political and cultural implications of cyberspace from a critical 

standpoint and encourages discussion between theoreticians and 

practitioners. Hosted for the first time in Europe, this fifth edition 

of CYBERCONF considers computer-human interface breakthroughs, our 

fascination and weariness with disobedient technology, the role of 

synthetic behaviour in virtual design, and the increasing importance of 

cross-cultural contributions to the electronic community.

In the 90s cyberspace has reached a critical mass. The tools to 

construct and navigate virtual worlds are becoming increasingly 

affordable, intuitive and widespread. The rise in bandwidth and dropping 

prices have provoked the exponential growth of the online population (or 

is it the other way around?). As the net becomes a mainstream hit, how 

has the transition from science fiction to reality changed cyberspace?


=================================
*      CONFERENCE FORMAT        *
=================================

5CYBERCONF is scheduled to start on Thursday afternoon, June 6th and 

take place over three and a half days. There will be 8 keynote speakers, 

18 plenary sessions, special events, a videoconference link-up and a 

banquet dinner on Sunday June 9th. All sessions are designed to foster 

discussion. Presentations will be in English and Spanish with 

simultaneous translation. The six themes are:

INTER-FACE LIFT
How are the boundaries of the computer-human interface disappearing? Is 

the "window onto the world" metaphor exhausted? Can we unframe our 

synthetic worlds? What can replace the cartesian grid as a reference for 

non-linear worlds?

CYBER SICK-AND-TIRED
Who is leaving cyberspace and why? What are the different forms of 

cyber-sickness? Is the body rejecting interfaces that ignore it? What 

are the old and new psychological disorders manifested in or caused by 

cyberspace? What are the different forms of cyber-tiredness? How can we 

counteract the disenchantment brought about by the unfulfilled promises 

of the cyber-hype industry? Who is buying the media's portrayal of 

cyberspace as dirty and dangerous? Who is winning the battles to control 

or dominate access?

TECHNOLOGY GOOD, PEOPLE BAD (Virtual Perversions)
When will the predicted death of "outmoded" dualisms finally happen? Is 

accepting our own cyborgness the only way to explore post-humanism, or 

are there other, as-yet-unimagined, ways? How do we create new languages 

to describe unprecedented experiences? How has the language of 

cyberspace changed since the first CYBERCONF?

DIGITAL THIRD WORLDS
Are there digital ethnic groups? How can ceremony and language be used 

in the retro-colonization of cyberspace? Can the international economic 

system be de-virtualized? What kinds of non-digital virtuality are 

there? What are the experiences of new online communities in countries 

where access is relatively recent, and how are their contributions 

changing the time and space of cyberspace? Who are the new marginals? 

The "Global Village" and other myths.

CRASH TECHNOLOGY
What is seductive about technology out-of-control? What would be the 

uses of a "personal dis-organizer"? What is technological correctness? 

How will our ethics be transformed by the ability to "undo" our virtual 

actions? Will artificial intelligence finally deliver an automaton that 

disobeys? What is cyber-pain? (and where to find it).

SYNTHETIC BEHAVIOUR (Recombinart)
Can cyberspace behaviour be "rendered" (as in designer-behaviour)? What 

constitutes interesting behaviour? Will synthetic behaviour change what 

we mean by normal behaviour? What is the virtual equivalent of the 

Undead? What proposals challenge the dead/alive binary (videogames, 

military simulators, etc.) as the primary paradigm of virtual 

interaction?


=================================
*      CALL FOR ABSTRACTS       *
=================================

To submit an abstract for the potential inclusion of your paper in the 

5CYBERCONF programme, please follow these format guidelines:

Title of the paper
Author(s)
Institutional affiliation, if any
Chosen 5CYBERCONF theme (from the list above)
Abstract, 500 words maximum
Brief biography, 100 words maximum
Audiovisual equipment requirements
Contact information (email preferred)

There are two ways to submit: 1) Email 5cyberconf@ceai.telefonica.es 

with the subject "5CYBERCONF Submission" or 2) mail both a printed copy 

and a PC or MAC diskette to the address given below. 


The selection will be done by an international and a local committee 

made up of academics, theorists, artists and technicians in the field. 

Submission of an abstract indicates the submitter's intention and 

capability to write and present the corresponding, full length paper, if 

chosen. Papers will be alloted a half hour for presentation and may be 

in English or Spanish. Please be advised that the selection committees 

will not consider abstracts that are not formatted as stated above nor 

papers that have been previously published. 


All papers will be published in a bilingual edition of the proceedings, 

which will be available in late 1996.


=================================
*           DEADLINES           *
=================================

Deadline for reception of abstracts: February 15, 1996
Notification of selection for presentation: March 15, 1996
Deadline for registration: May 1, 1996


=================================
*     FINANCIAL ASSISTANCE      *
=================================

The registration fee will be waived for those presenting a paper in 

5CYBERCONF. In addition, a limited number of grants are available to 

those presenters who demonstrate financial need. These grants cover the 

costs of travel, accommodation and a per diem.


=================================
*      FEES & REGISTRATION      *
=================================

The registration fee for attending 5CYBERCONF is US$200 (US$100 for 

students). For detailed information on how to register and information 

on travel and accommodation, please contact Susie Ramsay at 

5cyberconf@ceai.telefonica.es or at the address given below. Please note 

that registration is on a first-come, first serve basis and attendance 

is limited to 140. Late registration will be available as space permits 

and at an extra charge.


=================================
*           LOCATION            *
=================================

5CYBERCONF will take place in the comfortable, modern auditorium of the 

Art and Technology Foundation situated in the heart of Madrid. The 

historic building that houses the Foundation is within walking distance 

of sites of interest such as the Plaza Mayor, la Puerta del Sol and the 

Prado Museum. Madrid has a lively street life and is famous for its tapa 

bars, Flamenco scene, sidewalk cafes and all night festivities. June is 

usually warm, sunny and dry.


=================================
*  CONFIRMED KEYNOTE SPEAKERS   *
=================================

Carolina Cruz Neira (Spain)
Manuel de Landa (Mexico-USA)
Antoni Muntadas (Spain-USA)
Avital Ronell (USA)
Allucquere Rosanne Stone (USA)
Florian Roetzer (Germany)


=================================
* SPECIAL EVENTS TO BE CONFIRMED*
=================================

Performance by Guillermo Gomez-Pena.
Private screening of David Cronenberg's new film "Crash" based on the 

J.G. Ballard novel.

The list of keynote speakers and special events is preliminary; more to 

be added. Please visit our Web site for more information and updates on 

5Cyberconf.


=================================
*     5CYBERCONF ORGANIZERS     *
=================================

Rafael Lozano-Hemmer, Chair
Susie Ramsay, Coordinator
Allucquere Rosanne Stone, Goddess of Cyberspace


=================================
*     5CYBERCONF PRODUCTION     *
=================================

Fundacion Arte y Tecnologia de Telefonica
Candido Velazquez-Gaztelu, Chair
Roberto Velazquez Martin, Manager 

L. Ishi-Kawa, Curator and Assistant Manager.


=================================
*    INTERNATIONAL COMMITTEE    *
=================================

Alex Adriaansens, V2 (Netherlands)
Roy Ascott, CAIIA (UK)
Annick Bureaud, Art-El, ASTN (France)
Andrea Di Castro, CNA (Mexico)
Lorne Falk, Independent (USA)
Monika Fleischmann, GMD (Germany)       

Eduardo Kac, U. of Kentucky (Brazil)
Derrick de Kerckhove, McLuhan Institute (Canada)
Machiko Kusahara, GCL, NTT (Japan)
J. Seijdel & G. Strengholt, Mediamatic (Netherlands)
Roger Malina, Leonardo, ISAST (USA)
Marcos Novak, U. of Texas (USA)
Allucquere Rosanne Stone, U. of Texas (USA)
Jeffrey Shaw, ZKM (Australia)
Gerfried Stocker, Ars Electronica (Austria)
Christine Tamblyn, Florida International U. (USA)


=================================
*        LOCAL COMMITTEE        *
=================================

Montxo Algora, Art Futura
Carlota Alvarez Basso, Reina Sofia Museum
Xavier Berenguer, U. Pompeu Fabra 

Daniel Canogar, Independent
Fernando Castro, Instituto de Estetica y Teoria de las Artes
Estrella de Diego, U. Complutense
Javier Echeverria, U. del Pais Vasco
Pedro Garhel, Espacio "P"
Antonio Golderos, Telefonica I+D
Francisco Jarauta, U. de Murcia
Jose Jimenez, Instituto de Estetica y Teoria de las Artes
Emilio Lopez-Galiacho, Arquimedia
Jose Antonio Mayo, Realidad Virtual S. L.
Karin Ohlenschlaeger, Proyectos Culturales
Maria Pallier, Independent


=================================
*    FOR FURTHER INFORMATION    *
=================================

5CYBERCONF
Fundacion Arte y Tecnologia
Gran Via, 28. 2 planta
28013 Madrid, Espana
Tel. 34-1-542-9380
Fax. 34-1-521-0041 

Email 5cyberconf@ceai.telefonica.es
http://www.telefonica.es/fat/




------- End of Forwarded Message


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Date: Thu, 20 Apr 95 19:21:20 -0700
From: xinwei@otter.stanford.edu (Sha Xin Wei)
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Subject: ship leaving port...
X-Status: 
Status: O

later on, if I get time, I may write up less partisan notes.

In parallel with a critique of current media technologies, we'll  
begin our theory trek with some Lakoff.  Try and pick up at least  
chapter 1 of Lakoff from our website:

http://www-leland/~xinwei/pub/img/img.html

Note that I will not have time to proof read any OCR's, but you're  
welcome to come get a xerox from me if you like.

Some of you may wish to get the book:

George Lakoff.Women, Fire and Dangerous Things: What Categories  
Reveal About the Mind. Chicago 1987.

Over the next few sessions, the current proposal is that we navigate  
around some issues of categorization, then drift toward,  
representation, meaning, metaphor,...

I'll be adding links to illuminating websites.   If you want us to  
look at some UI's, send me a screendump (in any graphics format) .
Remember that you leland folk can write into my AFS space:  
/afs/ir.stanford.edu/users/x/xinwei/pub/img.

(I'll post directions on our website for Mac people on how to do  
this.)

- Xin Wei
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Message-Id: <199512151813.KAA26438@leland.Stanford.EDU>
Date:     Fri, 15 Dec 95 10:13:33 PST
From: "Stephen K. Tingley"  <Stephen.Tingley@Forsythe.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject:  Rm 303
Status: RO

Xin Wei,

Here are the days and times open that you might want to consider.
There is not a problem scheduling you for 5-7 on Thursdays.
Wednesdays are also taken until 5, so any Wednesday meetings would
have to be 5-7 also. I do have Tuesdays and Fridays available from
4-6 if one of those days would fit your schedule.

The room will not be available before 5 between Jan 30, 1996 and
Feb. 8, 1996 due to 8 full day classes that Ron Burback has
scheduled. I was told to block off the entire day, but I assume that
the class will not go beyond 5 pm. I will check on that for you when
I can find Ron.

Starting with Thursday, April 11 I can pencil you in for Thursday
from 4-6. The only reservation I have is that I think that Ron is
going by the rule that you can only schedule for 1 quarter at a
time, not for the whole year all at once. So, I guess the only thing
you may have to be aware of is that there may be some all day
conference or class in the Spring that I don't know about yet, and
we might have to push one of your meetings back an hour if there is
a need for the whole day. I would be able to inform you at least a
couple weeks in advance so you could get the message out to
everyone. If that sounds agreeable then I can put you down for
Thurs. from 4-6 starting April 11 and continuing through the summer.

Let me know about the time from now until April 11, if you want the
5-7 or if Tues or Fri from 4-6 is better for you. Those days are
open for the whole year, so you could have that time slot if you
wanted to make it the regular one.

Sorry this has been such a pain. Let me know if you and Ron decide
anything about switching his times.

Steve

To:  XINWEI@LELAND
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To: ak.cfc@forsythe.stanford.edu
cc: keeling@leland.stanford.edu, larryf@leland.stanford.edu,
        xinwei@leland.stanford.edu
Subject: Humanities Center Seminar: Interactive Media Theory
Date: Mon, 18 Dec 1995 14:55:02 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: RO


Dear Alex,

Would you please reserve a room for a faculty seminar: Interactive
Media: Theory and Representations sponsored by the Humanitites Center?
The responsible faculty is Prof. Larry Friedlander in the English
Department.

For the entire Winter and Spring quarters, we need a room for 35
people Thursdays 4:00-6:00 pm which has (1) Macintosh and VHS video
projection, (2) overhead transparency projector, and ideally, (3) an
ethernet connection robust enough for World Wide Web (WWW).

I do not have a course number, since this is sponsored by the 
Humanities Center.   Please respond directly to John Keeling
(keeling@leland) or Prof. Friedlander (larryf@leland).

Thanks very much,
Sha Xin Wei
seminar co-coordinator
ASD/SULAIR
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To: img-mail@lists.Stanford.EDU
Subject: topics and discussion facilitators for this term
Date: Wed, 17 Jan 1996 23:25:21 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O


Dear img folk,

It would be good if we can each pick a topic that interests us, and volunteer to take responsibility for starting a discussion about it.  This is a grabbag of some topics that people said they might be interested in discussing, based on the final seminar from Fall quarter.   I can't recall everything, and I'm sure this list is pretty haphazard.  Please help -- suggest some topic and the week in which you can lead a discussion. In parentheses, I named people who expressed an interest in the given subject.   Please complain or correct me if you or a favorite topic were left out. We can help assemble some readings/recordings with a couple of weeks of lead time.

Cinema  and  video
	narrative, game, commercial advertisements, music, documentary and news
	(Charles K., Marc D - video
	Karen L. - cinema, interactive games)

Music
	performance, composition, theory, notation
	(Mark G., Mike M.) 

Animation
	traditional tools -- analog, electronic tools, eg. Director,3D modeling, etc.; languages -- eg. ScriptX
	(John K., Xin Wei)

Visual representations and languages
	maps, diagrams, text + graphics
	(Bob H., Barbara T.)

Theater and narrative
	(Diane M., Larry F.)

Historical museums, exploratoriums, art galleries and other simulations
	(Sarah, Larry)

Urban design and cyberspace architecture
	C. Alexander, M. Davis, W. Mitchell, N.Negroponte, ...

Geometry and topology of media
	(Xin Wei)

AI and A-life
	Burke, Hayes-Roth, Oz, Alive, ...


Systems theories
	(Ben R.)

Logic of hypermedia
	(Alan B.)

Translation, error, computable or performable writing
	(Meg, XW)
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To: img-mail@lists.Stanford.EDU
Subject: img seminar Thursday 5:00, Sweet 303
Date: Wed, 17 Jan 1996 23:14:32 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Sender: owner-img-mail@lists.Stanford.EDU
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Status: O

Dear IMG folk,

We'll meet at 5:00 this Thursday Jan 18 in Sweet Hall 303.  Please see
the webpage for the topic.
(http://www-leland.stanford.edu/~xinwei/pub/img/img.html).

We'll also discuss alternate meeting times, and arrange for topics + 
discussion leaders.

see you tomorrow!
Xin Wei
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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199601250745.XAA00836@elaine29.Stanford.EDU>
Subject: film festival tonight (Thursday)
To: img-mail@lists.Stanford.EDU
Date: Wed, 24 Jan 1996 23:45:35 -0800 (PST)
Cc: rocha@jupiter.SJSU.EDU
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Status: O

Dear IMG folk,

We will meet today (Thursday) at 5:00 in Sweet Hall 303.  In
my next email, I'll post some notes.

You may be interested in this:

The Stanford Film Society presents a film and video festival,
"spotlighting cutting edge narrative, documentary, and experimental work"

Thursday, January 25
10:00 PM
Cubberley Auditorium

Tickets $2 in advance with SUID at White Plaza

$4 with SUID at the door, $5 without

- Xin Wei

 
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Date:     Thu, 25 Jan 96 16:35:11 PST
From: "Gwen Lorraine"   <Gwen.Lorraine@Forsythe.Stanford.EDU>
To: xinwei@leland.Stanford.EDU
Subject:  Annex reservations
Status: RO

Xin Wei,

Apparently I misunderstood you, but I thought you were going to be
using the Annex today, Thurs.  1/25 at 4:00 P.M.  for the Graduate
Research Workshop on Interactive Media Theory with Larry
Friedlander, and that you would be stopping by to pick up the key.
Along with the key, I wanted to give you an Agreement Form to sign.
Please let me know as soon as possible if you are planning to use
the Annex on the following days:
Feb. 1
Feb. 15
Feb. 22
Feb. 29
Mar. 14
Mar. 21
Mar. 28

Thank you,
Gwen
3-3052, ext. 6

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Date:     Fri, 26 Jan 96 11:09:01 PST
From: "Patience Young"  <Patience.Young@forsythe.stanford.edu>
To: "Betsy Fryberger" <Betsy.Fryberger@forsythe.stanford.edu>,
        "Bernard Barryte" <Bernard.Barryte@forsythe.stanford.edu>,
        "Hilarie Faberman"  <Hilarie.Faberman@forsythe.stanford.edu>,
        "Mona Duggan"     <Mona.Duggan@forsythe.stanford.edu>,
        "Susan Roberts Mangan"  <Susan.Roberts.Manganelli@forsythe.stanford.edu>,
        "Thomas Seligman" <Thomas.Seligman@forsythe.stanford.edu>,
        img-mail@lists.Stanford.EDU, jleivick@leland.stanford.edu,
        ruthf@leland.stanford.edu
Subject:  following on discussion of 1/25/96
Sender: owner-img-mail@lists.Stanford.EDU
Precedence: bulk
Status: RO

Following up on yesterday's discussion about 'performable
writing/language':  what did not surface was the basic distinction
that the content of language/messages in math and sciences are
universally understood/accepted:  a theorem or principle valid here
is agreed to be valid anywhere--whereas the content/meaning of the
many forms of art are culture-specific, indeed individual-specific.

Allow me to clarify "aesthetic/s":  although the term has often been
reduced to the question "what is beauty?" its meaning is far more
comprehensive:  how one perceives.  The study of perception is both
physical/organic (how the eye receives stimuli, etc.) and culturally
grounded: a carved mask will be perceived quite differently by two
people from different cultures, as well as by two people from the
same household.

It is understandable that study/investigation of others begins with
the arts (including the culinary): through our senses we perceive
qualities that are distinctive and revealing in countless subtle
ways--revealing about our own aesthetics and vantagepoint as well.

Yesterday's discussion was great!  I look forward to its continuing
next week.

-py

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     JLEIVICK@LELAND, RUTHF@LELAND)
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To: Barbara Tversky <bt@psych.stanford.edu>, bobhorn@well.com
cc: larryf@leland.stanford.edu, keeling@leland.stanford.edu,
        xinwei@leland.stanford.edu
Subject: talk about pictorial displays Feb 29?
In-reply-to: Your message of "Wed, 17 Jan 1996 23:40:03 PST."
             <199601180740.XAA10822@psych.Stanford.EDU> 
Date: Fri, 26 Jan 1996 13:09:48 -0800
From: Xin-Wei Sha <xinwei@jessica.Stanford.EDU>
Status: RO

Hello Barbara,

> I can certainly talk about pictorial displays.  I'll be awau
> tomorrow and the following Thursday.  Also, I generally
> teach Thursdays from 1-3, so I'd prefer to talk in the seminar
> on the Thursdays I have guest lectures or exams (my voice
> won't hold up to 3 hours of talking, I fear), so Feb. 15, 
> Feb. 29, or Mar 7 would work.
> 

Last Thursday, we hammered out a schedule for the quarter.

How about speaking Feb. 29? 

BTW, We'll be meeting every Thursday 4-6 in the Humanities Annex.

Xin Wei
5-3152

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Date:     Fri, 26 Jan 96 14:26:52 PST
From: "Gwen Lorraine"   <Gwen.Lorraine@Forsythe.Stanford.EDU>
To: xinwei@leland.stanford.edu
Subject:  Re: Annex reservations
Status: RO

REPLY TO 01/26/96 11:29 FROM xinwei@leland.Stanford.EDU "Xin-Wei Sha": Re:
Annex reservations

Xin Wei,

Certainly, I will let you know if the Annex becomes available on 2/8
and 3/7.  In the meantime, enjoy your workshop & I have penciled you
in for every Thursday from 4-6 during the Spring Quarter.

- Gwen

To:  xinwei@leland.Stanford.EDU
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri, 26 Jan 96 14:54:50 -0800
To: keeling@leland.Stanford.EDU, larryf@leland.Stanford.EDU
Subject: aenda,topics, schedule
Cc: xinwei@leland.Stanford.EDU
Status: O

Hi John,

At the last seminar, we came up with a schedule for the next few  
weeks.    How does this sound?

Feb 1 - Hypertext etc. (John Keeling)

Feb 8 * ALTERNATE LOCATION - A multimedia biography (Dianne Middlebrook)

Feb 15 - Digital video (?Mark Davis, Charles Kerns)

Feb 22 - Logic and semantics of hypermedia (Alan Bush)

Feb 29 - pictorial displays

Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and  
Michael McNabb)

Mar 14 - Software, scripts, literaure? (Sha Xin Wei)


We'll need to get a place with the right equipment + projection for  
Feb 8 and Mar 7.   (In fact we have no room at 4:00 on those  
dates.)

I will contact Mark Davis, Charles Kerns and Alan Bush about these  
first presentations.   I have already asked Barbara T. and Bob Horn  
about theirs.   Barbara T. even suggested dates.

Xin Wei


PS.  By the way, I got a key to the Humanities Annex from Gwen today.

PPS..  Here's the "topics" file that I reprinted for people:


Topics IMG	
25 January 1996

Dear img folk,

It would be good if we can each pick a topic that interests us, and  
volunteer to take responsibility for starting a discussion about  
it.  This is a grabbag of some topics that people said they might be  
interested in discussing, based on the final seminar from Fall  
quarter.   I can't recall everything, and I'm sure this list is  
pretty haphazard.  Please help -- suggest some topic and the week in  
which you can lead a discussion. In parentheses, I named people who  
expressed an interest in the given subject.   Please complain or  
correct me if you or a favorite topic were left out. We can help  
assemble some readings/recordings with a couple of weeks of lead  
time.

AGENDA

 AGENDA
	 Survey of representations of digital media
	 Modality-specific representations and art
		 Photography
		 Cinema/video
		 Music
		 Theater and narrative (Fall quarter)
	 Interpretation and manipulation
		 Diagrams (geometry)
		 Metaphors (logos)
		 Structures
			_  Hypermedia logic and semantics
			_
		 Scripts, software, performable literature?
		 Bodies - Lenoir
		 Materialities of Communication: (Luhman, Kittler?)  
Schnapp, Gumbrecht?

	 Architecture, urban design
		 Alexander; Negroponte; W. Mitchell; that  
Australian architect
		 SimCity
		 Politics of design (Mike Davis; Michael Sorkin);  
Winograd?
	 Critiques
		 Deleuze, ...



TOPICS

Cinema  and  video
	narrative, game, commercial advertisements, music,  
documentary and news
	(Charles K., Marc D - video
	Karen L. - cinema, interactive narratives)

Music
	performance, composition, theory, notation
	(Mark G., Mike M.)

Animation
	traditional tools -- analog, electronic tools, eg.  
Director,3D modeling, etc.; languages -- eg. ScriptX
	(John K., Xin Wei)

Visual representations and languages
	maps, diagrams, text + graphics
	(Bob H., Barbara T.)

Theater and narrative
	(Diane M., Larry F.)

Historical museums, exploratoriums, art galleries and other simulations
	(Sarah, Larry)

Urban design and cyberspace architecture
	C. Alexander, M. Davis, W. Mitchell, N.Negroponte, ...

Geometry and topology of media
	(Xin Wei)

AI and A-life
	Burke, Hayes-Roth, Oz, Alive, ...

Systems theories; framing issues
	(Ben R.)

Logic of hypermedia
	(Alan B.)

SCHEDULE

	 Jan 18, Representations of digital media (XW)
		 Preliminaries on digital media structures:
			_  Characteristics of writing
				_  Citability, iterability,  
separability (Derrida)
			_  Characteristics of documents
				_  Fixity vs fluidity;  
extensibility (David Levy)
			_  Digital media encoding, examples
				_  TIFF: Tagged Image File Format
				_  AIFF; MIDI: (music device  
scripts); SCORE files
				_  RTF: Rich Text Format
				_  SGML: Structured Geneal Markup  
Language
				_  VRML: Virtual Reality Modeling  
Language
				_  Mathematica: Graphics objects
			_  Levels of description
			_  Expression, ----> to complexity, efficiency
				_  Expressivity: how easily author  
can achieve an effect
				_  Is there some sort of relation  
between complexity, efficiency, and expressivity?
				_  Example: word processing, using  
menus vs. writing code
				_  Example: making clothes from  
thread, dye and needle to express self, vs buy readymade

	 Jan 25 - Representations of digital media (XW)
		 Levels of description, revisited
		 Encoding vs language (mere mechanical filter vs  
description)
		 Performable writing?


	 Feb 1 - Hypertext etc. (John Keeling)

	 Feb 8 * ALTERNATE LOCATION - A multimedia biography  
(Dianne Middlebrook)

	 Feb 15 - Digital video (?Mark Davis, Charles Kerns)

	 Feb 22 - Logic and semantics of hypermedia (Alan Bush)

	 Feb 29 - Software, scripts, literaure? (Sha Xin Wei)

	 Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein  
and Michael McNabb)

	 Mar 14

	 Mar 21


------------------- Fall Quarter -------------------
Interactive Media: Theory and Technologies of Representation		 
19 October 1995


What time?	Thursdays  4-6?, biweekly?

Location?	Sweet Hall conference room 303,   Humanities Annex

		http://www-leland.stanford.edu/~xinwei/pub/img/img.html

Contacts:	AWS -- keeling@leland.stanford.edu,  
xinwei@leland.stanford.edu
		  WS -- larryf@leland.stanford.edu

What are some themes?	We have been engaged in a preliminary study  
of issues relevant to
interactive media, hoping to find our way toward a constructive  
theory of how people compose and inhabit interactive media.

What seems most interesting to us is the way certain fields are  
yielding unexpected and fruitful clues for practical developments in  
technology. So, for example. theater may provide models for  
user-interface design, topology and geometry for media structures,  
and urban architecture for cyberspace design.

What is an appropriate format? The seminar can have two aspects:  
(1) regular sessions in which we will present and discuss prepared  
topics, and (2) a cybernetic space in the form of a shared website  
which will hold references and media contributed by local and remote  
participants.

In a typical session, a speaker might discuss a theoretical issue  
or artifact and situate it with respect to some design problems.  We  
can have a series of prepared responses to the presentation, as  
well as some discussion of the practical implications of the  
theoretical approach for practical issues. The discussion will be  
presented on the Web and further responses from the community will  
be invited. The website will also contain a bibliography and  
selections from the readings.

Topics visited last year (partial list):

	Case study: the flexible classroom.
	Metz's typology for film;
	Lakoff's study of categories;
	Objectivist semantics, physical symbol system hypothesis,  
speech act theory, and
		criticisms (Putnam-Lakoff, Derrida, Pratt)
	Systems theories (Parsons, Luhmann)
	The "design - theory" tension



Some topics emerging from previous seminars.

	apparent dichotomies between design and theory,  
particularity and abstraction
	objects/artifacts
		design
			theories or ideologies
				rip. da capo...

	Performance
		Music performance (CCRMA  - Chafe?, Goldstein-McNabb?)
		Theatrical performance (Friedlander, Laurel)
		Multimedia art (Slayton)
			Embodied theories of action and meaning  
(Maturana, Varela, Rosch, M. Johnson)
	Meaning systems,
		Systems theories
			Topology
			Dynamical systems
	
	Symbolic  artifacts I: visual representations, meaning (Tversky?)
		Iconic/mimetic vs ideographic systems
		Visual sign languages (written-sign pidgins: Horn)
		Graphic design
		Musical notation

	Symbolic artifacts II: language
		Literature and literary theory (Schnapp?)
		Symbolic architecture and design
			Sociology of design (Winograd,Star, Latour?)

	Symbolic artifacts III: computational artifacts
		Scientific visualization, modeling (Lenoir?, Edwards?)
		Design of data structures, tools vs languages
			Ideologies:
			   Artificial languages: economics,  
animation - ScriptX
			   Models (Varian; a-life & complexity)
			   Graph metaphor in linguistics,  
hypermedia (Landow?), AI (Winograd)
				Metric spaces and differential  
geometry (Sha)
		
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Subject: lakoff
X-Status: 
Status: O

To: abie@leland, michelle@cs, jamb@leland

Hi Abie,

I'll be in Champaign-Urbana Sunday 3:00 - Wednesday
noon, but would like to talk over some initial Lakoff with
you before next Thursday.   (I'm cc'ing this to Ben and Michelle
anticipating that they'll want to join in after Lakoff.0 :)

If you've already read some of Lakoff, maybe you can drop
by this (Fri) afternoon 3:00-6'ish so we can map out
something for Thursday.

You're also welcome to come down to our place in Menlo Park
tomorrow for dinner (Sat).  We're planning to have some
friends over -- if you come a bit earlier we can talk then.

Or we can tarry and meet Wed late in the day.

The beef:

I'll suggest that we look ask everyone to look at Chap 1 before Thu.

Then we can talk about Rosch et al's work on prototype effects, and
run through a few examples of non-set theoretic classes of categories,
discuss the notion of "basic level categories."

I want to at least move from an undifferentiated view of
categories to a more nuanced meta-categorical
discussion that may help us segue into the foothills of
metaphor later on.

I'm paging through Lakoff right now, trying to skip
examples -- he loves lists, doesn't he? -- and extract
those passages where he actually proposes
meaning-systems, his semantic theory.   Somewhat thin.
That's where Mark Johnson's book: Mind in the Body  may be
richer, but we want to digress/detour to Sacks if people
aren't interested in going any deeper.

There are personally  fascinating chapters on Putnam's
"incompleteness" theorem about objectivist  semantic
theories and Maclane's characterization of
mathematical knowledge ( I ignored
Maclane-the-philosopher-of-mathematics when I was a
math hothead....my joints ache).  Any else like to chat
about those sections?

back to the scanner,
Xin Wei

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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199601262238.OAA09823@elaine17.Stanford.EDU>
Subject: invitation to IMG
To: marc_davis@interval.com
Date: Fri, 26 Jan 1996 14:38:03 -0800 (PST)
Cc: larryf@elaine17.Stanford.EDU (Larry Friedlander),
        xinwei@elaine17.Stanford.EDU (Xin-Wei Sha),
        keeling@elaine17.Stanford.EDU (John Keeling)
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Status: O

Dear Marc,

Happy New Year.   How are you doing?

Larry and I would like to invite you to speak at our Interactive Media
seminar about "writing video."  Can you speak on Thursday Feb. 15?
(Or failing that, Feb 29?)  The audience comprises faculty and
graduate students from German Studies, Modern Thought, English,
Philosophy, Art, Computer Science, Music, etc.

This quarter, our thematic agenda looks like this:

	 Survey of representations of digital media

	 Modality-specific representations and art
		 Theater and narrative (last quarter)
		 Photography <--- Greg Niemeyer?
		 Cinema/video <<<---Marc Davis?
		 Music <--- Mark Goldstein, Mike McNabb, et al.

	 Interpretation and manipulation
		 Diagrams
		 Metaphors
		 Structures, models
			Hypermedia logic and semantics
			Topological theories
		 Scripts, software, performable/executable writing
		 Materialities of Communication
		Bodies and action

	 Architecture, urban design
		 (Alexander; Negroponte; W. Mitchell)
		 Case: SimCity
		 Case: Object-oriented pattern langauge, Booch, Cox
		 Politics of design,( Michael Sorkin)

	 Critiques and framing issues

Of course, we will offer an honorarium for your trouble.

Hope to see you,
Xin Wei
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199601242309.PAA27339@elaine37.Stanford.EDU>
Subject: first winter seminar
To: larryf@leland.Stanford.EDU
Date: Wed, 24 Jan 1996 15:09:57 -0800 (PST)
Cc: keeling@elaine37.Stanford.EDU (John Keeling),
        xinwei@elaine37.Stanford.EDU (Xin-Wei Sha)
In-Reply-To: <199601232036.MAA08710@popserver.Stanford.EDU> from "larryf@leland.stanford.edu" at Jan 23, 96 12:36:56 pm
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Status: RO

Hi Larry,

	Sorry I've been so sporadic....The first session went alright.
Dianne M., Bob H., John K., Michael ? (German), Marc Goldstein and
Greg N.  met.  I began a discussion of digital media representations,
and segued into a discussion of complexity of an encoding or writing
technology and expressivity.  I'll continue this presentation tomorrow.

We'll meet at 5:00 in Sweet Hall 303, again for an abbreviated session.

Starting Feb 1, we can meet in the Humanities Annex, thanks to Gwen

We have the Hum Annex available for the rest of this quarter EXCEPT
Feb 8 and March 7.  Maybe John you and I can work on scheduling the
performances that require special siting (like Marc Goldtein and
McNabb's computer music concert) for those dates.

I'll post a brief synopsis of last week to the img-mail@lists.

Xin Wei

> 
> Xin Wei
> 
>  I am back in the world again after this horrible messy cold. What is
> happening with the Seminar? How did the meeting go? And what are our plans
> for Thursday?
> 
> Larry
> Larry Friedlander
> English Department
> Stanford, CA 94305
> 
> 415 723-2635
> 
> 116 Divisadero St
> San Francisco, CA 94117
> 
> 415 621-1756 
> 
> 

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Subject: agenda for this term
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----------------------------------------------------------------------
NOTE	Generally this term, we will meet Thursdays 5:00 - 6:30
	in the Humanities Annex at Campus Drive & Alvarado
map -- http://www-pcd.stanford.edu/cgi-bin/map/map.html?SHC+Annex

----------------------------------------------------------------------
Dear img folk,

Here's another attempt at a thematic agenda.  I tried to start with  
a small focus familiar to traditional computer software designers.   
 This brackets out issues such as interpretive context, audience,  
politics of design etc.   But it seems that one way to get started  
is to look at some digital media under a microscope so we can  
experience firsthand the eyestrain and the (necessary?) myopia that  
software writers endure.

This then yields to a survey of some particular examples of art and  
performance, which should inspire questions with an enlarged scope,  
such as interpretation and manipulation. But we need not stop even  
at that, which would be the classical limit of concern for the study  
of literary artifacts.   Especially as media is becoming  
distributed through network channels, and since designers of very  
large scale, complex software systems are now appealing to metaphors  
from urban design, it seems crucial to expand our critical study of  
media to include social systems.

Architecture and urban design are just one way to segue from  
"individualist" and dualist theories of interactive  
media/performance/art to systemic or historicist critiques of  
interactive technology in the age of the WWWeb.   To me it seems  
that analyzing "interactivity" between technology and society at  
this scale would demand discussion of issues such as post-fordist  
models of production and the multimedia industry, the politics of   
technology-mediated "education reform," and the philosophical  
underpinnings of complex systems theory or object-oriented  
multimedia software systems.

All this should proceed spirally, so that we'll revisit issues from  
multiple perspectives.  Along the way, and hopefully as early in  
the spiral as possible, we'll see examples of working software/art.   
 But, personally, I hope that we do not lose ourselves in a thicket  
of examples.   That's why we should try to stick to a thematic  
agenda, and fit particular demonstrations in the most appropriate  
moments.   There's no aspiration to a Theory of Everything, just an  
attempt to let people know what to expect.   Please comment on the  
agenda, and help focus the themes for this term.  Spring term, I  
propose that we select one or two topics, perhaps from the undated  
lists, to explore in depth.


AGENDA
------------------------------------------------------

	 Survey of representations of digital media (January 18, 25)

	 Modality-specific representations and art (February 1, 8,  
15; March 7)
		 Theater and narrative (last quarter)
		 Photography
		 Cinema/video
		 Music

	 Interpretation and manipulation  (Feb 22, 29; March 14, 21 )
		 Diagrams
		 Metaphors
		 Structures, models
			Hypermedia logic and semantics
			Topological theories
		 Scripts, software, performable/executable writing
		 Materialities of communication
		Bodies and action

	 Architecture, urban design
		 C. Alexander; N. Negroponte; W. Mitchell
		 Case: SimCity
		 Case: Object-oriented pattern langauge, E. Gamma et al.
		 Politics of design: Theme parks -- Michael Sorkin  
et al.  --  and museums

	 Critiques and framing issues
		Computers and cognition, Winograd
		Designing information technology in the postmodern  
age, Coyne


SCHEDULE
------------------------------------------------------

	 Jan 18, Representations of digital media I (Sha Xin Wei)

	 Jan 25 - Representations of digital media II (Sha Xin Wei)


	 Feb 1 - Hypertext etc. (John Keeling)

	 Feb 8 * ALTERNATE LOCATION - A multimedia biography (Diane  
Middlebrook)

	 Feb 15 - Digital video (?Mark Davis, Charles Kerns)

	 Feb 22 - Logic and semantics of hypermedia (Alan Bush)

	 Feb 29 - Pictorial diagrams (Barbara Tversky) & Visual  
Languages (Bob Horn)

	 Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein  
and Michael McNabb)

	 Mar 14	

	 Mar 21


Volunteers and nominations are most welcome!

Xin Wei
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Message-Id: <199601301613.IAA27443@leland.Stanford.EDU>
Date:     Tue, 30 Jan 96 08:12:56 PST
From: "Sue Dambrau"     <Sue.Dambrau@Forsythe.Stanford.EDU>
To: dannyc@leland.Stanford.EDU, egginton@leland.Stanford.EDU,
        "Karen Rezendes"  <Karen.Rezendes@Forsythe.Stanford.EDU>,
        "Sue Dambrau"     <Sue.Dambrau@Forsythe.Stanford.EDU>,
        kokoloco@leland.Stanford.EDU, lanet@leland.Stanford.EDU,
        xinwei@leland.Stanford.EDU
Subject:  Workshop Meetings
Status: RO

TO:    Humanities Center Workshop coordinators

FROM:  Sue Dambrau,Humanities Center

RE:    Workshop Meetings



Please make sure that the Humanities Center is sent announcements of
all the workshop meetings.  In addition, I would also like to
receive a copy of these announcements -- either by ID mail at
Mairposa House, MC: 8630, or e-mail.

Thanks you very much.


To:  LANET@LELAND, XINWEI@LELAND, KOKOLOCO@LELAND, HF.KLR(Karen.Rezendes),
     DANNYC@LELAND, EGGINTON@LELAND
cc:  HF.SMA(Sue.Dambrau)
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Date: Sun, 28 Jan 1996 17:47:07 -0800 (PST)
From: Diane W Middlebrook <dwm@leland.stanford.edu>
To: keeling@leland.stanford.edu
cc: img-mail@lists.Stanford.EDU
Subject: Middlebrook Presentation 8 February
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Dear John and all:  

	At the IMG session on Thursday, February , 5-6:30pm I
will present a CD-ROM titled "Finding the Girlfriends: The Biographer as
Investigative Journalist / A Multimedia Showcase."  
	The CD-ROM was designed by a computer consultant at the University of 
Warwick in Coventry, England, to accompany my presentation at a 
conference, "Literary Journalism & Literary Scholarship,"  held at 
Warwick 3-5 November 1995. "Finding the Girlfriends" was a 
behind-the-scenes report on the process of writing the biography of Billy Tipton (1914-1989), a female jazz musician
who spent fifty years masquerading as a man.  The CD-ROM contains samples
of photographs, newspapers clippings, official documents, music, a video
clip from the film "They Shoot Horses, Don't They?", and audio interviews
with people who knew Billy Tipton, accompanied by transcripts of these
interviews.  It closes with a sample of Billy Tipton's voice. 
	 The following is the last paragraph of the talk, which states a thesis 
about the usefulness of multimedia to the genre of biography.  This will 
be my jumping-off point at the seminar on 8 February: 


[Coda]
	I decided to adopt multimedia showcase for my talk in order to
make a further point about the relationship between scholarship and
journalism today.  Just as my work on this biography has required learning
methods of discovery that were new to me as an academic researcher,
methods greatly enabled by sophisticated forms of information retrieval,
so do the new technologies make possible an evolution of biography as a
genre.  A coherent narrative will always be essential to the genre, and
the construction of a transparent, story-telling narrator will always be
the test of the biographer's powers as an artist.  But the straw from
which this gold is spun is valuable, too--though never before has there
been a medium of "publication" capacious enough and condensed enough to
permit its full exposure. 
	I believe that the possibility of retrieving the discovery phase
of the biographer's work from the finished narrative will sharpen
awareness of the ethical issues inherent in the genre of biography as
well. Hypermedia make available a re-enactment of the biographer's primary
encounter with the materials of the finished narrative.  They restore to
the process of citation fundamental to scholarship an acknowledgment of
the ambiguity of what we like to think of as "information."  For a last
word on that subject, let me return to the horse's mouth.  Here is Billy
Tipton, explaining to one of his fathers-in-law how easy it is to make a
tape recording say anything you want it to say. 

BT: This is a test, made from Idaho Falls, August the twenty-sixth, made
from radio and tv station KID.  Testing: one two three four, testing,
one two. One two. Testing: one two three four. Testing: one two three
four.  Say something there.  

"Dad": I can't say anything, I don't know what to say. [...] 

BT: [giggles] Dad says can you clean it up.  

"Dad": Yeah, clean the, uh, 

BT: Yeah, Clean the tape. [inaudible] 

"Dad": Well I'm not ready yet.  As I say, wait till we get ready to say 
something.  

BT: We'll scrape off all the dirty words you say. 

"Dad": You can scrape that all off, and rebroadcast on it, eh?  

BT: Sure you can. ###



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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 30 Jan 96 17:08:26 -0800
To: img-mail@lists.Stanford.EDU
Subject: Notes; Agenda; Coyne & Sorkin
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Dear img folk,

I posted the latest version of the thematic agenda on our img website:

	http://www-leland.stanford.edu/~xinwei/pub/img/img.html

follow link to "Agenda."

You'll also find some very atmospheric notes for Jan 18, 25, linked  
to the "Agenda/themes" page.  It would be great if you would  
contribute your own impressions.

And finally, for later, escalating Mark Goldstein's bid of Birket's  
elegy,  let me recommend two other references that I suspect  
contain much more substantial critiques:

Author: Coyne, Richard (Richard D) (1 citation)
1.1) Coyne, Richard (Richard D). DESIGNING INFORMATION TECHNOLOGY IN
	THE POSTMODERN AGE (Cambridge, Mass. : MIT Press, c1995)
	LOCATION: Math & Comp Sci T58.5.C69 1995

Author: Sorkin, Michael, 1948- (5 citations)
1.1) VARIATIONS ON A THEME PARK. 1st ed. (New York : Hill and Wang, 1992)
       LOCATION: Green Library Stacks HT123.V37 1992

- Xin Wei
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 31 Jan 96 17:59:17 -0800
To: xinwei@leland.Stanford.EDU
Subject: Malcolm McCullough <mmccullo@parc.xerox.com>
Status: RO



Begin forwarded message:

Date: Wed, 31 Jan 1996 17:33:51 -0800 (PST)
From: Barbara Tversky <bt@psych.Stanford.EDU>
To: xinwei@truffaut.Stanford.EDU
Subject: another member?

Xinwei--

There's an interesting architect from Harvard's School
of Design who's visiting PARC and who's working on
navigation in cyberspace and other HCI issues.  He's
just written a book on that or something related.
His name is Malcolm McCullough and I believe he's
mmccullo@parc.xerox.com

Barbara
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Date: Tue, 23 Jan 1996 12:36:56 -0800 (PST)
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
Subject: Re: Cognitive-Science lunch series
Cc: keling@leland.stanford.edu
Status: RO

Xin Wei

 I am back in the world again after this horrible messy cold. What is
happening with the Seminar? How did the meeting go? And what are our plans
for Thursday?

Larry
Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756 

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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199601232009.MAA04715@elaine28.Stanford.EDU>
Subject: Cognitive-Science lunch series
To: img-mail@lists.Stanford.EDU
Date: Tue, 23 Jan 1996 12:09:05 -0800 (PST)
Cc: asd@lists.Stanford.EDU, kernsc@elaine28.Stanford.EDU (Charles Kerns)
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Hi,

For those of you inclined toward cognitive science, there's a lunch
series on Thursdays at CSLI.  I forward the schedule (from the web).

Xin Wei

CSLI COGLUNCH
		    on Thursdays, 12:00-1:30 p.m.
		      Cordura Hall, Room 100
		 A Seminar Series on Consciousness

The CSLI CogLunch seminar series is an interdisciplinary forum of ideas,
exchanges, and debates.  This year's designated theme is consciousness.
Throughout the year, we hope to approach problems of consciousness
from various perspectives, e.g., those of philosophy, psychology,
psychiatry, neuroscience, biology, cognitive science, artificial
intelligence, and quantum mechanics, as well as the humanities.

********************
			Winter 1996 Calendar
		           [Please Post]
********************

1/18:  JOHN FLAVELL (Psychology, Stanford U.)
"The Development of Children's Knowledge About Thinking
and Consciousness"
1/25:  GUVEN GUZELDERE (Philosophy & CSLI, Stanford U.)
"The Nature of Phenomenal Consciousness"
2/01:  DAVID SPIEGEL (Psychiatry, Stanford U.)
"Disintegrated Experience: Dissociation, Hypnosis and Trauma"
2/08:  PAT SUPPES (Philosophy, Stanford U.)
"The Scientific Study of Consciousness: Problems and Prospects"
2/15:  BRIAN WANDELL (Psychology, Stanford U.)
"Imaging Human Brain Activity"
2/22:  WALTER FREEMAN (Neurobiology, UC Berkeley)
"A Biological View of Consciousness and Intentionality"
2/29:  DAVID CHALMERS (Philosophy, UC Santa Cruz)
"On the Search for a Neural Correlate of Consciousness"
3/07:  ALAN WALLACE (Religious Studies, Stanford U.)
"Attentional Training, Introspection, and the
Investigation of Consciousness in Tibetan Buddhism"
Return-Path: duggie@taligent.com
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Cc: doug_felt@taligent.com
Subject: Re: oz 
In-Reply-To: (Your message of Mon, 18 Dec 95 16:42:06 -0800.)
             <199512190042.QAA16544@elaine13.Stanford.EDU> 
Date: Thu, 04 Jan 96 18:04:12 -0800
From: Doug Felt <duggie@taligent.com>
Status: RO

Xinwei:

Hello!  I'm glad you found the OZ stuff interesting, I stumbled over it
quite by accident.  I hope you had a nice holiday, unfortunately we all
got sick.  I saw Rosanna at the recycling center the middle of last week,
and the kids were looking better that day, but unfortunately they got
sick again that evening, and stayed sick through Saturday.  Sigh.  It's
better than being sick during a work week, I suppose.

I'd like to get together, but I'm not sure what's happening next Thurs
here.  If you let me know where your meeting is I might try to make it,
but I might be moving into my office that day.  Some other day though
perhaps I can drop by.  Are any days better or worse for you?

Doug

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From: xinwei@otter.stanford.edu (Sha Xin Wei)
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Cc: xinwei@jessica.stanford.edu
X-Status: 
Status: O

Hi Ben,

Hope your conference went well!

(I'll be in Illinois when you read this, but send me email!)

Here's are some questions for later, if there's a later...

One of the mantra's that people, especially multimedia
and "human computer interaction" folk use to justify
technology is that it will help us"communicate" better
with each other.   Better is usually measured by the
variety of human sense modalities which are engaged,
and the number of bits/second that can be transmitted,
which at the human level translates to perceived
"immediacy" or telepresence.

I'd like to examine that, and try to introduce
some Habermas, Foucault, or whatever you 

think is good.   Even granting the
possibility of rational public discourse, I think what
he has in mind by it is quite different from the sense-data
level measure of communication which is used by
mediatechies.   For example, universities like
Stanfiord and even more ambitiously -- Monterey
University, MIT -- are planning to sink millions into
teleconferencing classrooms where there will be a video
wall which will "fuse" geographically distant rooms.

I'd like to ask the mediatech's how even perfect
transmission of light+sound will make our
communication spaces (discourse networks in a vulgar
sense?) any more "educational," "rational,"
"democratic," "enlightening." 


Xin Wei

PS.	How is Zizek interesting?
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Fri,  2 Feb 96 17:13:03 -0800
To: img-mail@lists.Stanford.EDU
Subject: MIT Interactive Narrative Course Syllabus
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[ Dear img-folk,

For those of you who may be interested in some canonical references on
"hyperfiction,"  here is a syllabus from Janet Murray's course,
"Non-Linear and  Interactive Narrative: Theory and Practice" at MIT.

>From her description:

"It is a project-oriented writing course focusing
on the STRUCTURE of interactive narrative, looking to narrative in other 
media as well as to electronic webs and games for models.  The aim is to 
nurture the growth of expressive narrative in an evolving new medium. "

- Xin Wei
]
...

1       Feb.  7 Overview of Non-linear and Interactive Structure;  
Hypercard
authoring
2       Feb.  14        Read EITHER Dictionary of the Khasars; (any  
100 pages) or
Tristram Shandy (Books I and II only);  Complete appropriate assignment. 
Class Discussion: Segmentation, Connectivity; Digression; Establishing 
conventions for the unconventional; The Dictionary and the Journey as 
narrative structures.
Web Authoring tutorial in class
3       Feb. 21 Read: Borges and Lightman handouts
View: EITHER Star Trek  or Groundhog Day and complete appropriate
assignment.
Class Discussion: The theme of the Labyrinth; Labyrinths and Webs as 
Narrative Structures
4       Feb. 28 Read: The Search for Intelligent Life in the Universe
View: Lily Tomlin video of the play. Prepare assignment
Class Discussion: Encyclopedic Form; Segmentation and Connectivity; 
Kaleidoscopic Narrative;  POV and Reader's/Viewer's orientation.

5       Mar. 6  Webcrawl Week: Choose from a list of potential on-line 
narratives. Assignment to come.
Class Discussion: Varieties of Form; Good and Bad Design Elements; Lexia 
segmentation. Navigation and Orientation. Relation of Content to Form.
TOPIC DUE FOR YOUR FIRST PROJECT
6       Mar. 13 Lexia Workshop.  Bring sample lexia and links from  
your first
project for mutual critique.
7       Mar. 20 PROJECT I DUE
Project I should be composed of at least 15 writing spaces. More
detailed description on assigment sheet.
                VACATION WEEK
8       Apr. 3  Read: Vladimir Propp (selections). Assignment on  
Genre Fiction.
Class Discussion:   How do we identify the "morphemes" or formulaic 
parts of narratives? How are formulaic narratives composed? We will 
experiment with formula and variation. Procedural Form -- i.e. Narrative 
that derives from a set of rules about how to combine the elements.
9       Apr.  10        Interact: Run the Eliza program under Emacs  
(instructions
will be given out). Create the most entertaining and coherent
conversation you can with her.
Class Discussion: What is character in a procedural form? How does
creating electronic characters resemble/differ from creating characters 
in traditional narrative forms?
10      Apr.  17        Character Project Due for 2nd Annual  
Interactive Character
Contest
Using special software designed for the course, you will create your own 
Eliza-like character. Students will spend the class period interacting 
with one another's characters. Prizes will be given to those who can 
create the most conversable characters and those who can sustain the 
longest entertaining and coherent conversations with the artificial 
characters.
11      Apr.  24        Interactive Games as Narratives
We will explore a wide range of electronic and non-electronic
interactive games to assess them as narrative. Is it possible to have a 
satisfying narrative within a game, or are the two mutually exclusive?  
Conferences: Students must identify the topic of their final project by 
the end of this week.
12      May 1   Open
13      May    8        PROJECT II   In class presentations
Project II  is an electronic narrative with 30 or more lexia and  more 
complex in form than Project I.
14      May 15  PROJECT II  In class presentations continued

Grading will be 20% classwork, 20% weekly assignments, 20% Project I, 
10% Interactive Character 30% Final Project. Since the class meets once 
weekly more than one absence will affect grade. Weekly assigments will 
focus on articulating the structure of assigned texts with diagrams or 
simple hypertexts. Some collaborative work will be acceptable with
consent of the instructor.  Graduate students may receive graduate
credit through special arrangement with the instructor.
Reading  List

Jorge Luis Borges, "The Garden of Forking Paths" from  Ficciones (1941)  
(handout)

Alan Lightman, Einstein's Dreams (1993), excerpt, "19 April 1905," pp 
18-22 (handout)

Milorad Pavic, Dictionary of the Khasars  (1988)  (Selections only)

Vladimir Propp, Morphology of the Folktale  (1928)

Laurence Sterne, The Life and Opinions of Tristram Shandy   (1759-67) 
(Books I and II only)

Jane Wagner, The Search for Signs of Intelligent Life on Earth,  1990 
(playscript in Coop; video available in LLARC)

Joseph Weizenbaum, "ELIZA--A Computer Program for the Study of Natural 
Language Communication between Man and Machine," Communications of the 
Association for Computing Machinery, 9 (1966), 36-45 (handout)

Films:

Duck Amuck (1951), animated cartoon, produced by Warner Brothers, Chuck 
Jones, director.

Groundhog Day (1993), feature-length film, Harold Ramis, director, Danny 
Rubin and Harold Ramis, writers.

"Parallels" episode of Star Trek: The Next Generation (1993),  Robert 
Wiemer, director, Brannon Braga, writer,.

Computer Programs (these will all be available over the net or in the 
LLARC and do not have to be purchased)

Joseph Weizenbaum, Eliza (1966) (emacs version)
Stuart Moultrop,  Victory Garden  (1992)
Michael Joyce, afternoon  (1987)
Stuart Moultrop, Hejira  (1995)
Randi Miller and Robyn Miller Myst  (1993) CD-ROM Broderbund.
Janet Murray and Jeffrey Morrow, Conversation  and Character Maker  

Student Fiction to be announced

More titles to come....

Supplementary Reading on Reserve

Jay Bolter,  Writing Space : The Computer, Hypertext, and the History of 
Writing  (1991)

George Landow, Hypertext: The Convergence of Contemporary Critical
Theory and Technology  (1992)

Sherry Turkle,  The Second Self  (1984)

Roger C. Schank and Robert P. Abelson Scripts, Plans, Goals , and
Understanding  (1977)

Margaret Boden, Artificial Intelligence, and Natural Man, 1977
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Date: Sat, 3 Feb 1996 22:32:13 -0800
To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: tlenoir@leland.stanford.edu (Timothy Lenoir)
Subject: Re: Santa Barbara Trip
Status: RO



--============_-1388706963==_============
Content-Type: text/plain; charset="us-ascii"

Xin Wei,

Brian Rotman sent me this attached file in response to my plea for a copy
of "Dia-Gram" Hope you like it....

T



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!!!!!!!!!!!!!!!!!!!!!!!!!!!!$E!!!:


--============_-1388706963==_============--

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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602071915.LAA26855@elaine38.Stanford.EDU>
Subject: Diane Middlebrook tomorrow
To: img-mail@lists.Stanford.EDU
Date: Wed, 7 Feb 1996 11:15:42 -0800 (PST)
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Dear IMG folk,

At tomorrow's seminar, Diane Middlebrook will show and discuss her
multimedia biography of Billy Tipton, a female jazz musician who spent
fifty years masquerading as a man.  Her talk is titled:

Finding the Girlfriends: The Biographer as Investigative Journalist / A Multimedia Showcase


We'll meet at 5:00 as usual, but in the

PRESENTATION PALACE
in the ground floor of SWEET HALL

Please see the img homepage for more information.
http://www-leland.stanford.edu/~xinwei/pub/img/img.html

Xin Wei
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To: Xin-Wei Sha <xinwei@leland.stanford.edu>
From: larryf@leland.stanford.edu (Larry Friedlander)
Subject: Re: $
Status: RO

>Hello Larry, John,
>
>And by the way, did we ever send a little thank you note + honorarium to
>Glorianna Davenport?
>
>What's the procedure for $ reimbursement?   Who's the English
>department administrator who can cut a check, and can any one of us
>three submit receipts to this person?   I think that we should bring
>some food or drink tomorrow.
>
>Xin Wei

Her name is Alice Bopyster adn I will check it out with her. Perhaps I need
to countersign (?)


Larry

Larry Friedlander
English Department
Stanford, CA 94305

415 723-2635

116 Divisadero St
San Francisco, CA 94117

415 621-1756


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From: John Keeling <keeling@leland.stanford.edu>
Message-Id: <199602081741.JAA03035@elaine15.Stanford.EDU>
Subject: h-text refs
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Date: Thu, 8 Feb 1996 09:41:55 -0800 (PST)
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Hi all, I realize I forgot to post the hypertext references I promised.

Probably the best bibliography is maintained by Michael Shumate
at Duke University, including works by those trying to get out of
the link-node box:

http://www.duke.edu/~mshumate/hyperfic.html

To add just one more on top of this comprehensive list, I recommend a 
book that is not about hypertext at all:

_Rational Geomancy:  The Kids of the Book-Machine; The Collected Research 
Reports of the Toronto Research Group_ by Steve McCaffery & bpNichol. 
Research into experimental fiction that includes theories of geomantic
translation, pataphysics, the language of performance, comic strip
formalism, pop-up books, scratch-n-sniff, and much more.  

Two of the poets/poetries we discussed:

John Cayley  --  aleatory poems and collocations
http://www.inforamp.net/~cayley/wshome.html#KINETIC

Jim Rosenberg -- word nets, diagrammatic syntax
http://www.well.com/user/jer/poetries.html

also, new from a Stanford alum, "Patchwork Girl" by Shelley Jackson

Finally, to contextualize a bit of our discussion, here's the series
of flea hops from Micheal Joyce's "Afternoon, A Story" referenced in
our discussion:

		There is no simple way to say this.
		I want to say I may have seen my son die this morning.
				|
                                |
                                |
                                |
				here
				
		or     happening 
		 is  an   event  only
		 for   the    observer?

		   No   one
		 there.      Everyone
		  here.


		
	       Here  is  all   there  is
		    but  there  seems  so
	       insistently   across    the   way 
					     
			Robert Creeley / Pieces
				|
                                |
		            ____
			   |
                           |
                           |
	I try to recall winter.  "As if it were yesterday?" she says, but I 
	do not signify one way or another.

	By five the sun sets and the afternoon melt freezes again across the
	blacktop into crystal octopi and palms of ice--rivers and continents 
	beset by fear, and we walk out to the car, the snow moaning beneath 
	our boots and the oaks exploding in series along the fenceline on 
	the horizon, the shrapnel settling like relics, the echoing thundering 
	off far ice.  This was the essenceof wood, these fragments say.  And 
	this darkness is air.	

Here are my notes on this sequence:

Creeley's poem was chosen, presumably, to comment on the 
larger story's mode of presentation and narrative thematics.
Like "Afternoon," "here" leaves readers asking, 'What is
the antecedent?', to the poem's partial act of representation. 
Even more than the story itself, Creeley's poem lacks immediate 
referentiality and all sense of place is dislocated. Only the
copulative "or" gives a place,"here," a tentative context in relation 
to some "happening." Thus, there is the irony of the enjambment in lines
two and three which affords "event" some kind of independent status and, 
one line later, suggests "event" is restricted by the perspective of
any single observer. So Creeley is not relying on the combinatory effect 
of grammar, with its causal linkages, to create precision; rather, in the
sliding from "here" to "there," from "No one" to "Everyone," it is clear 
that such dislocations are built into our language: "Here is all
there is" (my italics). And in that common phrase the subject has undergone 
a transformation from one discrete stage to another, from here to there--and 
yet again in the poem's concluding lines. In breaking up very prose-like 
sentences into elements that often do not correspond to syntactical elements, 
Creeley isolates active parts of a sentence and foregrounds discontinuities 
that are smoothed over in the cumulative logic of grammatical prose. We could 
further isolate words or word groupings in Creeley's lines to emphasize
different latent meanings and contexts (e.g. Here is all / there is but 
there / . . .). 

What I am trying to suggest is that Creeley's poem is a kind of self-contained 
hypertext; the poem departs from a norm of ordinary English usage--rather, 
highlights something very unusual in ordinary language--and, in doing so, moves
readers into a more thoroughly disjunctive terrain in which readers might 
establish
any number of mininarratives in the space that gets opened up. Is the 
"No one / there" in stanza two pointing up the lack of an 'observer elect' 
("the observer" from stanza one)? Does stanza three reinstate someone
"insistently across the way"? Creeley's poem invites readers to establish 
such relationships in multiple causal linkages it makes available--invites 
readers to recognize that  such relationships are enacted by our language,
even if we are not consciously  aware of them, all the time. I would suggest 
that the links of hypertextual narratives should make possible a similar series
of relationships in the space they open up between narrative nodes. In a sense,
I am suggesting the need for a more explicit understanding of the "syntax" of
links within  hypertexts. (Link to hear more on links) Furthermore, and this is
important as it is often overlooked, these links should reassert, rather than 
attenuate, the textual power of each individual node (as Creeley maximizes the
potential of each word in his self-contained hypertextual poem). To borrow from
(and adapt) Creeley's signature line, "(hypertext) should never be more than an
extension of content."


and so on...I go on to argue that there is less irony and little tension
in Joyce's overwrought metaphors....

--john
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Subject: and finally... Lukas Ligeti's Groove Magic, computer-"conducted"
	human performance
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[OK, this is my last salvo from the music world, for today.  Do  
browse the ccrma bboard occasionally. NOTE THAT THIS IS PAST!
- xw]

From: putnam (William Putnam)
Newsgroups: su.org.ccrma.bboard
Subject: CCRMA colloquium
Date: 24 Jan 1996 17:52:48 GMT
Organization: CCRMA, Stanford University, California, USA


Hello-

This week, Lukas Ligeti will be speaking about a recent work of his.   
Lukas' description of the talk follows the announcement. Please join  
us!


	WHO:	Lukas Ligeti
	WHAT:	Groove Magic
	WHEN:	Wednesday Jan. 24th, 1:15-2:05
	WHERE:	CCRMA Ballroom

*****

What I'd like to talk about is a piece of mine called "Groove Magic",  
which I wrote about 3 years ago and recently revised. It is for 11  
musicians playing mainly (should I admit it?) non-electronic
instruments. (One person plays a sampler, though.) With the musicians  
on-stage is a computer (saved!) :-) that acts as a conductor of
sorts. All musicians play using headphones and the computer controls  
complexely related click-tracks that keep all the parts in sync. The  
result is some of the rhythmically craziest music you've ever heard,  
totally impossible to play without the computer. Syncopations (or are  
they?) fly by at 600 mph and there's what may be the fastest
Klangfarbenmelodie ever.  I'll play a recording made recently in
Berlin, with the Ensemble Modern playing the piece with ultimate
bravura.

****
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602082258.OAA28830@elaine10.Stanford.EDU>
Subject: reserve Ballroom?
To: cc@ccrma.Stanford.EDU
Date: Thu, 8 Feb 1996 14:58:50 -0800 (PST)
Cc: xinwei@elaine10.Stanford.EDU (Xin-Wei Sha),
        larryf@elaine10.Stanford.EDU (Larry Friedlander),
        keeling@elaine10.Stanford.EDU (John Keeling)
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Hi Chris Chafe,


Larry Freiedlander and I are running a faculty seminar on Interactive
Media (see: http://www-leland.stanford.edu/~xinwei/pub/img/img.html)

and one of the sessions will be a performance by Michael McNabb and
Mark Goldstein.  Do you think we could reserve the Ballroom
or some other performance space at CCRMA with speakers and NeXTs, etc.?

Their lec/demo is scehduled for Thursday March 7, 5:00-6:30, so
they'd probably need an hour setup.

Who should I talk to?

regards,
Xin Wei

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Subject: another concert, CNMAT/UCB
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From: leslie@cnmat.berkeley.edu (Leslie Delehanty)
Newsgroups: su.org.ccrma.bboard
Subject: CNMAT Concert
Date: 5 Feb 1996 23:52:07 GMT
Organization: CCRMA, Stanford University, California, USA

The Center for New Music & Audio Technologies (CNMAT) presents:

MY BODY BECAME A TROMBONE

with Composer

VINKO GLOBOKAR


Tuesday, February 13, 1996

Lecture: 2 pm - Admission Free
Concert: 8 pm - Admission $8/$5 students

Both lecture and concert held at CNMAT, 1750 Arch Street,
Berkeley (near Hearst).

Vinko Globokar  made his debut as a musician in Yugoslavia,
where he lived from 1947-1955, as a jazz trombonist.  On his
return to France he studied at the Paris Conservatory and led a
career as a solo trombonist.  As such he brought about the
creation of a veritable contemporary literature for the
trombone, many of these works being dedicated to him.  At the
same time, Globokar studied composition and conducting first
with Ren=E9 Leibowitz then Luciano Berio.  He wrote his first work
(Voie)  at the age of 30 and now has a catalogue of some sixty
works in all genres - orchestra, chorus, solo music, as well as
music theater pieces.
        As a composer, Globokar is difficult to categorize.  On
the one hand, he has written works centered in the
relationship of voice to instrument or of text to music.
On the other hand he has interested himself in the
potential for invention within the interpreter, inciting
him to participate in collective creation.  In parallel,
he has composed works in which theatrical elements are
adjoined.  He has confronted problems of a social nature
in some of his works (Les =C9migr=E9s, L'Armonia Drammatica,
etc.)  as he is persuaded that music today must have a
critical role in society.  In order to compose, he often
finds inspiration in extra-musical questions such as
politics, society or humanism, which generate the
invention of new techniques, of new materials and of new
means of presentation.  Globokar considers that any
model of organization existing in nature or in culture
can become music.


or more information email: leslie@cnmat.berkeley.edu

Leslie Delehanty
leslie@cnmat.berkeley.edu
Center for New Music & Audio Technologies (CNMAT)
1750 Arch Street, Berkeley, CA 94709-1328
510-643-9990 x300  * 510-642-7918 fax

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Subject: COMPUTER MUSIC CONCERT, SATURDAY FEBRUARY 10TH 1996
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From: Tobias Kunze <t@kunze.stanford.edu>
Newsgroups:  
su.events,su.org.i-center,su.org.ieee,su.org.multimedia,su.org.womens-center,su.org.ccrma.bboard
Subject: COMPUTER MUSIC CONCERT, SATURDAY FEBRUARY 10TH 1996
Date: Thu, 01 Feb 1996 17:08:56 -0800
Organization: CCRMA--Stanford University

CCRMA CONCERT, SATURDAY FEBRUARY 10TH 1996 AT 8 P.M., DINKELSPIEL
AUDITORIUM,  STANFORD CAMPUS, TICKETS $8, STANFORD STUDENTS FREE.


This quarter's concert of computer music from Stanford's Center for
Computer Research in Music and Acoustics features new music by present
and past CCRMA composers as well as a rare opportunity to hear
Stanford professor Jonathan Harvey's Ritual Melodies, a piece for
quadraphonic tape.  Details of the program are given below.




Frammenti e Variazioni su Aura (1995), for stereo tape, Marco Trevisani
Time is Over (1995), for Computer driven Disklavier and one performer,
Servio Marin.
Vicissitudes (1995), for stereo tape, Jonathan Norton
Far Memory (1984), for stereo tape, Marcia Bauman

INTERVAL

Collage (1995), for stereo tape, Fiammetta Pasi
New Music for Electronic Percussion (1996), Lukas Ligeti
Ritual Melodies (1990), for quadraphonic tape, Jonathan Harvey
segmentation fault beta1.0 (1996), for prepared piano and computer,
Michael
Edwards and Marco Trevisani



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

Frammenti e Variazioni su Aura (1995), for stereo tape, Marco Trevisani

Variazioni e Frammenti su Aura (1995) (in memory of Bruno Maderna)
is a composition for digital tape.  It comprises variations and
computer elaborations of Aura's fragments, a composition for large
orchestra written by Bruno Maderna (1925-1973) in 1970.  The samples
are excerpts from an analogue recording of a live performance of
Aura, conducted by the composer.


Marco Trevisani, born in Verona, Italy in 1963, studied music
composition and piano with private teachers:  In Verona and Milan
with Luigi Bonafede, then electronic music and composition at the
Musik Hochschule in Vienna with Dieter Kaufmann and Tamas Ungvary,
as well as with John Chowning at Stanford.  Mr. Trevisani's music
has been performed in Italy, Austria, Hungary, Romania, Slovenia,
USA, and Germany.  In addition, he holds a degree in architecture
from the Politecnico of Milano (University of Milan).  He has been
a visiting composer at CCRMA since 1992.  His interest is also
focused on theatre and computer music.



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

Time is Over (1995), for Computer driven Disklavier and one performer,
Servio Marin.

The title Time is Over refers metaphorically to various levels of
interpretation.  Philosophically, it refers to life itself as an
evolving process whose different phases terminate when time is
over.  Cognitively, it refers to the way human activity is constrained
by time.  The speed of thought processes, the reflex of the knee,
the ability to recognize new situations, as well as our decision-making
responses are all defined by time boundaries.  For instance, the
reaction boundary to acoustical stimuli lies around one tenth of
a second (E Poepel, 1985).  Psychologically, daily life is shaped
by the "time is over" factor, and there are always "external" events
demanding us to move on or else get sidetracked.  As a metaphor,
this piece symbolizes the mechanical and spiritual aspects of the
relationship between the Disklavier and the performer.  The Disklavier
provides the piece's harmonic-rhythmic frame and time boundaries.
In each section of the the piece the performer reacts to the
Disklavier by improvising until the latter interrupts to remind
the performer that time for "playing" is over.



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

Vicissitudes (1995), for stereo tape, Jonathan Norton

Vicissitudes was inspired by, and is based on, a documentary video
project on the history of East Palo Alto.  The work is created from
several sound bytes used in the video and also includes a portion
of the original music that I composed for the video.  This piece
attempts to capture the essence of the struggle created by the
people's desire for community and need of economic security.
Vicissitudes is permeated by a driving pulse that symbolizes the
dynamic energy of this community despite the numerous problems it
is faced with.

Vicissitudes was realized on the NeXT computer running Common Lisp
Music to process the sounds which were then compiled on the Dyaxis
II system using MultiMix 2.3.


Jonathan Norton was born in Philadelphia, PA in 1966.  He is
currently in his third year at CCRMA working towards a Ph.D. in
computer-based music theory.  Before coming to CCRMA, he received
his Masters in composition at Northwestern University where he
studied computer music theory and composition under the tutelage
of Amnon Wolman, Gary Kendall, and Stephen Syverud.



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

Far Memory (1984), for stereo tape, Marcia Bauman

Far Memory, composed in 1984, was realized at the Eastman School
of Music Computer and Electronic Music Center, on the ancient PDP-11
computer.  The equally ancient Music11 music programming language,
and Aleck Brinkman's Score11 score pre-processor were used to
generate sound files.  Various utilities were used for filtering
techniques, and to create a variety of textures which were further
processed and mixed.  This work represents my very first efforts
to use the computer to produce musical sound.  At the time, the
title Far Memory reflected my interest in exploring the collective
unconscious, with memories perhaps stored in DNA, and the notion
that composing could be viewed as a form of expressive archaeology.
Today, the title also applies to the language and equipment on
which the piece was created!


Marcia Bauman (b. 1949, Hackensack, NJ)  received the B.A. degree
in psychology from Ithaca College in 1971, the MA degree in music
theory and composition from San Francisco State University in 1982,
and the Ph.D. in composition from the Eastman School of Music in
1995.  She has composed music for dance, radio drama and film,
including the internationally distributed documentary Word Is Out,
aired on PBS television stations nationwide.  Her works have been
featured on public radio (KPFA radio in Berkeley, CA, and WXXI
Radio in Rochester, NY), and her electroacoustic music has received
numerous performances, including presentations by the Syracuse New
Music Society (in conjunction with Meet the Composer) and the
National Association for Composers, USA.  Since 1990, she has been
a Research Associate at CCRMA.  Her project, the International
Digital ElectroAcoustic Music Archive (IDEAMA) involves the collection
and preservation of historically significant electroacoustic music.



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

INTERVAL

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

Collage (1995), for stereo tape, Fiammetta Pasi

As the word "Collage" suggests, and similar to the work in the
visual arts which is made by putting together various patches of
color, this short piece is based on approaching and overlapping
many pieces of sounds.  It is the first work that I have completed
at Stanford, and is the result of my explorations in several
different music programming languages (specifically CSound, Stella,
the NeXT Music Kit, CLM) where the basic materials, the timbres
(or "instruments") are realized using the most simple techniques
of additive and FM synthesis.  Formally speaking, the piece was
not composed according to a pre-established project, but rather
proceeding with little sections, fragment by fragment, leaving any
possibility open, and with the constant intention to always keep
the internal movement and energy alive.  We could say a "changing
over time" form, maybe, based on sound planes that emerge, approach
and overlap one another in various different ways.


Fiammetta Pasi graduated in Musical Composition from the University
of Milan, Italy, in 1993.  She studied with Giuliano Zosi, Giacomo
Manzoni and Umberto Rotondi.  She also attended courses with Franco
Donatoni in Milan and in Siena at the Accademia Musicale Chigiana.
Her musical interest and creativity expanded thereafter into the
area of electronic music, which she began to study with Riccardo
Sinigaglia in Milan in 1992.  She is currently a visitor scholar
at CCRMA, and has been working here since December 1994.



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

New Music for Electronic Percussion (1996), Lukas Ligeti

I'm currently working on a solo program for electronic percussion
and this performance features some of the music I've been working
on; it is therefore a work-in-progress "sneak preview" of a 45-minute
program I hope to have completed by the end of March.

When I first heard traditional music of the Kingdom of Buganda,
long lost in what is now Uganda, I was intrigued by the rhythmic
patterns that are possible in this musical style thanks to a
"relative" way of perceiving the beat: any note played may be
considered on the beat by some, and off the beat by other players.
Attempting to transfer some of the ideas contained in this xylophone
and harp music to drum set, I soon came up with a new way of playing
based solely on patterns of motion which made it possible to perform
polymetric sequences that run for an extremely long time before
repeating.  Using the powerful software of my electronic drums, I
can now play even longer patterns: one, I have calculated, will
run 75000 years before the first repetition (don't fret: I won't
play the entire piece).  But using electronics also allows me to
ask other questions: how will the possibility of playing non-percussive
sounds change technical aspects of percussion playing?  How will
these changes influence my musical thinking, or that of, say,
traditional musicians in Africa who experiment with these instruments
when I go there to collaborate with them?  How can I utilize the
technical possibilities of this instrument while at the same time
perform in such a way that the audience can connect my movements
in some way with what they hear?  How can playing a MIDI controller
enhance my control over form, meter, and timbre?  It is really a
path of discovery for me, and developing my solo program is one of
my first steps on this path.


Lukas Ligeti's newest piece, a string quartet commissioned by the
Kronos Quartet, will be premiered by the Kronos Quartet this coming
Friday, February 16, here at Stanford.  Born in Vienna, Austria,
in 1965, Lukas Ligeti studied at the Vienna Music Academy, where
his teachers were Erich Urbanner (composition) and Fritz Ozmec
(drums).  His music has been performed by the Austrian Radio Symphony
Orchestra, Ensemble Modern, London Sinfonietta, "die reihe", Vienna
Saxophone Quartet, and the Amadinda (Budapest), Synergy (Sydney),
Tokyo Arts University, and CSU Sacramento Percussion Ensembles.
As a drummer, he has performed with Henry Kaiser, Tom Constanten
(formerly of the Grateful Dead), Roy Nathanson (of the Jazz
Passengers), Gregg Bendian, Willie Winant, Steve Adams (of ROVA)
and others.  He has recorded CDs with Things of NowNow, Kombinat
M, and the Siamese Stepbrothers.  With Things of NowNow, he performed
in Germany at events organized by the German edition of Scientific
American, in conjunction with lectures by Heinz-Otto Peitgen and
Richard Voss, pioneers of fractal computer graphics.  In 1994, on
a commission of the Goethe Institute, he led a cultural exchange
workshop in Abidjan, Cote d'Ivoire, as a result of which the group
Be-Ta-Foli was formed, featuring 13 African traditional musicians.
He returned to Abidjan in 1995 to continue this collaboration.



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

Ritual Melodies (1990), for quadraphonic tape, Jonathan Harvey

After an initial research period at IRCAM (Institut de Recherche
et Coordination Musique/Acoustique, Paris) starting in 1985, Ritual
Melodies was completed there in 1990.  It is for tape alone and
consists of sounds generated artificially by computer.  There are
no recorded sounds in the piece.  Jan Vandenheede made simulations
of Indian oboe, Vietnamese koto, shakuhachi, Tibetan temple bell,
Western plainchant voice and Tibetan chant voice.  They were so
designed to be able (by means of the FORMES program) to change one
into the other, one type of synthesis into another--a revolution
in programming.  Their innards, as it were, transform.  They play
sixteen melodies, transmuting as they go.  The melodies are of the
same sort as in From Silence (1988); they form an interlocking
chain with simple ones combining to form composite ones (A, AB, B,
BC, C...etc.).  They all use only the harmonic series from partials
6 to 40--one series throughout the piece, except for the low Tibetan
chants.  At first the melodies are used in polyphony, often in
close canon.  Later (at 3 minutes 53 seconds) clouds of reverberated
melody hang in the air and subsequently form a backdrop to melodic
development.  At 7 minutes 45 seconds the melodies start to move
in parallel chords, though the parallelism is topologiccal, i.e.
it stretches to the bigger intervals at the lower end of the harmonic
series and contracts to tinier intervals at the upper end.  As the
melodies become more soloistic and clear towards the end (9 minutes
7 seconds and 10 minutes 7 seconds) so they are simultaneously
further transformed by transposition to higher (smaller) or lower
(larger) intervals and by glissandi.  All the instruments/voices
are ceremonial in character, and the constant use of the Tibetan
temple bell to be everything from low gong to ethereal "ting"
demarcates the structure of this imaginary rite.  The work was
commissioned by South East Arts (U.K.) and I would like to thank
them, IRCAM and especially Jan Vandenheede, my collaborator
throughout, for their invaluable help.


Jonathan Harvey's large musical output covers a broad range of
instrumental, vocal and electronic resources.  In addition to his
compositional activities, he has conducted, broadcast frequently
on music, and authored a book on Karlheinz Stockhausen.  Jonathan
Harvey graduated from St. John's College, Cambridge, later earning
a Ph.D. from Glasgow University and a Mus.D. from Cambridge.  In
1980 he became Professor of Music at Sussex University, England,
and in 1995 joined the composition faculty as Professor of Music
at Stanford.



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

segmentation fault beta1.0 (1996), for prepared piano and computer,
Michael Edwards and Marco Trevisani

Rhythmic segmentation in a non-linear performance under the guise of
merging piano and computer in a truly Marxist dialectic.


Michael Edwards was born in Cheshire, England in 1968.  After
completing a Bachelors and Masters degree in composition at Bristol
University, he came to the United States to study computer music at
Stanford.  His music has been performed in Europe and North and South
America but more importantly he will graduate this year with a D.M.A.
in composition.


************************************************************************
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Thu,  8 Feb 96 14:41:16 -0800
To: Innovation@lists.Stanford.EDU, pcd@cs.Stanford.EDU,
        SATI@lists.Stanford.EDU, su-org-ccrma-bboard@news.Stanford.EDU,
        m-media@lists.Stanford.EDU
Subject: Interactive Media Seminar
Cc: img-mail@lists.Stanford.EDU, sue.dambrau@forsythe.stanford.edu,
        franchi@Csli.Stanford.EDU, cas@riverview.com, steveit@aol.com
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This is a mid-winter notice about the Humanities Center Faculty  
Seminar on Interactive Media.   We welcome participants and  
suggestions for presentations in the Spring term.

Schedule
--------

* Jan 18,  Representations of digital media  I (Sha Xin Wei)

* Jan 25 - Representations of digital media II (Sha Xin Wei)

* Feb 1 -  Hypertext etc. (John Keeling)

* Feb 8 * ALTERNATE LOCATION - A multimedia biography  (Diane  
Middlebrook)

* Feb 15 - Digital video (Charles Kerns)

* Feb 22 - Logic and semantics of hypermedia (Alan Bush)

* Feb 29 -  Pictorial diagrams  (Barbara Tversky)

* Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and  
Michael McNabb)

* Mar 14 Visual languages (Bob Horn)

* Mar 21 Documentary film and new media (Daniel Potter)


Description
-----------

The "IMG" seminar was formed Spring quarter 1995 by a group of  
faculty, students and staff interested in theoretical and practical  
aspects of interactive media.   We are engaged in a preliminary  
study of issues relevant to interactive media, hoping to understand  
these new narratives and cyberspaces, toward a constructive theory  
of how to compose and inhabit interactive media. Some of our  
approaches may draw from art, performance, fiction, music, design,  
linguistics, artificial intelligence, literary theory, philosophy,  
mathematics, or whatever participants feel is relevant.

You can join the mailing list by sending email to
	majordomo@lists.stanford.edu
with the message
	subscribe img-mail YOUR_EMAIL_ADDRESS

Please visit the seminar's website for a schedule of presentations,  
themes and reading list:
	http://www-leland.stanford.edu/~xinwei/pub/img/img.html

regards,
Sha Xin Wei
Larry Friedlander













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To: media@otter.stanford.edu
Subject: Lakoff for 4/27, 12:15
Date: Sat, 22 Apr 1995 12:03:58 -0700
From: Xin-Wei Sha <xinwei@jessica.stanford.edu>
X-Status: 
Status: O


Next time, we'll continue our look at the Web and its UI's.   
Chapters 1-2 of Lakoff's WFDT may provide a useful 
starting point for understanding categories and categorization.

For your convenience, I'm scanning selections from WFDT which 
are hopefully the most relevant to representation and meaning and
 metaphor at least as Lakoff conceives them.   These OCR's will not 
be proofed, so you'll have to decipher them using your favorite 
natural language interpreter :)  If you prefer to read Chicago Press's
 version but can't get a copy of the book, drop by my office Wednesday
 afternoon.  (I'll be out of town until Wed 2:00.)

Xin Wei

415-327-8533
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Subject: illocutionary call for readings
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[img folk,

Next Thursday, Charles Kerns will start us off with examples
of (digital) video used as prosthetics for communication.  If I  
understood him correctly, this is not going to be a discussion of  
time-based media, which I think should be postponed until next term,  
after we've learned more about time-based media and performance.


BTW, I think we're far enough along to devote sessions to
particular themes.  Shall we decide on some readings for future
sessions?  I open the floor to suggestions.

- Xin Wei
]

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

PS  This was posted to the MIT narrative intelligence group.
I thought I'd forward it to our list, because some of us
are interested in such things, too.


Date: Fri, 09 Feb 96 17:03:53 -500
From: schwarz@MIT.EDU (Heinrich Schwarz)
To: ni@media.mit.edu
Subject: fyi ___\|/___

Perhaps it interests some of you.

Heinrich Schwarz
mit - sts


+                                 ^                                  +
                              ___\|/___
                              =========

             The Program in Science, Technology & Society             
                                M.I.T.

                              Presents

                           *GRAFT VS. HOST*
                  Cultural Studies of Technoscience

A workshop series testing various interventions of cultural studies
into technoscience - with emphasis on the study and practice of work,
medicine, design, and technology.

* February 9: Lucy Suchman, Xerox PARC
Reconfiguring Networks of Technical Practice: Reflections on
technology and authority

* February 23: Simon Penny, CMU
Body Knowledge, Digital Prostheses, and Cognitive Diversity

* March 8: Vernon Rosario, M.D., UCLA
The Constructed Penis: Surgical Sexuality or Gender Accesory?
(Presentation contains surgically and sexually explicit images)

* March 22: Faisal Devji, Harvard
The Colonial Modern: 19th Century Medicine in India

* April 5: Lisa Cartwright, Univ. of Rochester
Reach Out and Heal Someone: Telemedicine and the Globalization of
U.S. Health Care

* April 19: Stefan Timmermans, Brandeis
A Black Man and Blue Babies: Articulation Work in Cardio-Vascular
Surgery

* April 26: Stefan Helmreich, Cornell
Anthropological Reflections and Refractions on the Looking-Glass
Worlds of Artificial Life (note special date)

* May 3: Evelynn Hammonds, MIT
AIDS Narratives: Gender, Race, and Representation


Participants are encouraged to read the precirculated papers,
available ten days in advance in the STS main office, E51-185,
70 Memorial Drive.
Workshops are held Fridays, from 12-2 in the STS Reading Room,
adjacent to the main office.
Please, bring your own food. Coffee will be served.
For further information, please call 253-4084.

                             ___\ /___
+                                ^                                   +



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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602202130.NAA13268@elaine24.Stanford.EDU>
Subject: Kerns on video, last week.
To: img-mail@lists.Stanford.EDU
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Dear img folk,

Charles gave a stimulating presentation of experiments with digital
video at the Apple Media Lab.  We'll continue the discussion about
media representation and interpretation this Thursday, 5:00 in the
Humanities Annex.

Here's the URL to my notes -- I hope some one else who was there
can balance my memory...

http://www-leland.stanford.edu/~xinwei/pub/img/general/notes15.2.96.html 


- Xin Wei




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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602212159.NAA26000@elaine24.Stanford.EDU>
Subject: menu for tomorrow and the new year
To: img-mail@lists.Stanford.EDU
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> Date: Mon, 29 Jan 96 14:07:34 -0800
> To: img-mail@lists.Stanford.EDU
> Subject: agenda for this term
...
> ... start with
> a small focus familiar to traditional computer software designers.   
>  This brackets out issues such as interpretive context, audience,  
> politics of design etc.   But it seems that one way to get started  
> is to look at some digital media under a microscope so we can  
> experience firsthand the eyestrain and the (necessary?) myopia that  
> software writers endure.
> 
> This then yields to a survey of some particular examples of art and  
> performance, which should inspire questions with an enlarged scope,  
> such as interpretation and manipulation. But we need not stop even  
> at that, which would be the classical limit of concern for the study  
> of literary artifacts.   
> 


Dear img folk,

Following up on that note, I hope we can take stock and devote
tomorrow's session to talking about the description, manipulation and
maybe interpretation of interactive media by humans and by algorithms.

Charles gave a provocative presentation about video and film.  But I'm
not sure if we are prepared to launch into a full discussion about
time-based media -- video, video communication, theater, performance
(MPEG4, MHEG, VRML, not to mention ScriptX, Moving Worlds VRML 2,
etc. etc.).

To give some idea of the relative primitiveness of our understanding
of digital time-based media, please see

http://www-leland.stanford.edu/~xinwei/pub/img/media/Cook/CookMusicalAnalysis.html

I scanned chapters 1,2 and 6 to give an idea of what
semi-sophisticated analysis of a traditional time-based medium --
music -- is like.  Also, I happen to think Cook makes some very good
points about analysis, reception, and structure as interpretation,
that we could keep in mind as we try to understand other forms of
interactive time-based media.  He's appealing, and he draws on great
examples.  (If anyone has digitized samples of the cited music, could
you send me a link, please?)

Here's the schedule for the rest of the term:

	Feb 22 - describing and constructing interactive media (all)
	Feb 29 Pictorial diagrams (Barbara Tversky)
	Reply-To: xinwei@leland.stanford.edu
	? Mar 7 * ALTERNATE LOCATION - Performance (Mark Goldstein and Michael McNabb)
	Mar 14 Visual Languages (Bob Horn)
	Mar 21 Documentary film and new media (Daniel Potter)

This will likely change as we scramble up performance spaces.  Sorry
about the hodge-podge ordering.

We'll be moving on to a couple of sessions with Barbara Tversky and
Bob Horn about visual representation, interpretation, and reasoning.
At least in the domains of diagrams and simple iconic languages, there
are claims to understandings of what works and how.  To undermine, I
mean, frame those sessions, you might glance at

1.  George Lakoff.Women, Fire and Dangerous Things: What Categories
Reveal About the Mind. Chicago 1987.  See
http://www-asd.stanford.edu/Media2/texts/Lakoff/WomenFire.book/

2.  Sheldon Sacks, ed., _On Metaphor_. With articles by Donald
Davidson, Nelson Goodman, Max Black, Paul de Man, Paul Ricoeur, etc.

3.  Martin Jay's book: _Downcast Eyes: The Denigration of Vision in
Twentieth Century French Thought_.

I do have some some cognitive psychology papers from Barbara, but she
said there was no need for us to pre-read anything.  Bob Horn should
have a draft of his book(s) at hand.

- Xin Wei
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To: xinwei@leland.stanford.edu
From: mwack@mail.wsu.edu (Mary Wack)
Subject: Interactive media theory workshop
Status: RO

I was at the Stanford Humanities Center last weekend, and saw that my old
colleague Larry Friedlander is offering a graduate research workshop in
interactive media theory and technologies of representation.

Since I am currently a founding organizer for a new Institute for Teaching
and Learning at Washington State with a heavy focus on interactive media, I
am quite intereste in obtaining further information on Larry's workshop.

Are there materials you could send me?  Thanks.

Mary Wack
Professor and Chair
English Dept.
Washington State University
mwack@mail.wsu.edu



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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602230319.TAA04678@elaine17.Stanford.EDU>
Subject: new img attendees
To: keeling@elaine17.Stanford.EDU (John Keeling),
        larryf@elaine17.Stanford.EDU (Larry Friedlander)
Date: Thu, 22 Feb 1996 19:19:19 -0800 (PST)
Cc: xinwei@elaine17.Stanford.EDU (Xin-Wei Sha)
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Hi, here are the names of today's new folk:

Chris Salter  clsalt@leland	Drama PhD student
Laura Farabough  farabo@leland   Drama PhD student

Also, for the record,  Mark Goldstein is a regular --
he's the computer music fellow.

Xin Wei


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Date: Fri, 23 Feb 96 11:42:53 -0800
To: img-mail@lists.Stanford.EDU
Subject: CCRMA Summer workshop
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[fyi, complementing ocularcentric design - Xin Wei]

Introduction to Psychoacoustics and Psychophysics: Audio and Haptic  
Components of Virtual Reality Design

* June 24 - July 6, 1996
* Individual fee: $800, Affiliate fee: $1000,
* Corporate Non-Affiliate fee: $1200
* Two weeks instruction and laboratory.
* Limited to 15 participants.
* Instructors:
. Brent Gillespie
. Sile O'Modhrain
. Craig Sapp

Guest lecturers: Perry Cook, Louis Rosenberg (Immersion Corp.),  
Bill Verplank (Interval Research), Malcolm Slaney (Interval  
Research).

This course will introduce concepts and apply tools from cognitive  
psychology to the composition of virtual audio and haptic  
environments. In particular, the salience of various auditory and  
haptic phenomena to the perception and performance of music will be  
examined.

Just as visual artists spend time learning perspective to provoke  
3D effects, composers and virtual object designers must study the  
perceptual sciences to create virtual environments which are  
convincing upon hearing and touch. We will study relevant topics  
from acoustics, psychology, physics and physiology. We will apply  
these to the design and rendering of virtual objects not for the  
eyes, but for the haptic and audio senses. Principles of speech,  
timbre, melody, pitch, texture, force, and motion perception will be  
addressed. Various audio and haptic effects and illusions will be  
demonstrated.

Morning lectures will cover these topics and also feature talks by  
eminent researchers and entrepreneurs working in the fields of  
psychoacoustics and haptics. Afternoon labs will provide practical  
experience in psychophysics experiment design and execution. In  
addition to sound synthesis tools, various haptic interfaces will be  
made available for experiment designs. 
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602271928.LAA08601@elaine29.Stanford.EDU>
Subject: Cyber-skeptical books
To: rnewman@media.mit.edu
Date: Tue, 27 Feb 1996 11:28:04 -0800 (PST)
Cc: xinwei@leland.Stanford.EDU (Xin-Wei Sha)
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Dear Ron,

Hello from Stanford.  I'm a coordinator of the "interactive media" seminar, which is a sibling of the ni group.   Here are some references that we've come across that may be relevant to critical theory:

Richard Coyne, Designing Information Technology in the Postmodern Age, From Method to Metaphor, MIT Press 1995.
(a very extensive, even-toned survey of positivist, critical, pragmatic and radical theories of technology and culture)

Mike Davis, City of Quartz -- Excavating the Future in Los Angeles, Vintage Books 1992.  (Chapter 1 is an incandescent piece.  Not about computer technology, but about architecture, urban design, local geopolitics.)

Michael Sorkin, ed. Variations on a Theme Park: The New American City and the End of Public Space. NY: Hill & Wang, 1992. (Another in the genre of architecture/urban design, with implications for designers of cybernetic simulacra.  recommended by Carol Stroheker last year)

Anthony and Patricia Wilson. Theme Parks, Leisure Centres, Zoos, and Aquaria Essex UK: Longman Scientific and Technical, copublished with John Wiley & Sons, NY, 1994. ("issues of place-making, spatial metaphors, and virtual environments," -Carol Strohecker) 

For more ambitious radical critiques, it's worth looking at by now fairly canonical works like 

Fedric Jameson, Postmodernism, Or, the Cultural Logic of Late Capitalism,

or 

Gilles Deleuze and Faelix Guattari. Anti-Oedipus : capitalism and schizophrenia / by ; New York : Viking Press, [1977] 

Gilles Deleuze and Faelix Guattari. [MILLE PLATEAUX. ENGLISH] A thousand plateaus : capitalism and schizophrenia, translation and foreword by Brian Massumi. (Minneapolis : University of Minnesota Press, c1987) 

(Warren Sack knows these last works well, I'm sure.)

regards,
Xin Wei


> 
> To: ni@media.mit.edu
> Subject: Cyber-skeptical books
> Date: Tue, 27 Feb 96 13:45:27 -0500
> From: Ron Newman <rnewman@media.mit.edu>
> 
> Quite a few books have been published in the past
> few years asking whether we're going down the right
> path in our rush towards "cyberspace" and "virtual reality".
> 
> Perhaps we might want to have a real-life, face-to-face,
> non-virtual NI session to discuss some or all of the following?
> (Additions to this list are encouraged.)
> 
> 
> War of the worlds : cyberspace and the high-tech
> assault on reality, by Mark Slouka, 1995
> (this one mentions the Media Lab quite a few times)
> 
> Resisting the virtual life : the culture and politics of
> information.  Edited compiilation, City Lights Books, 1995
> 
> Rebels against the future: the Luddites and their war on
> the Industrial Revolution : lessons for the computer age
> by Kirkpatrick Sale, 1995
> 
> Silicon snake oil: second thoughts on the information highway
> by Cliff Stoll, 1995
> 
> The cult of information: the folklore of computers and the
> true art of thinking, by Theodore Roszak, 1986, revised 1994
> 
> Technopoly : the surrender of culture to technology
> by Neil Postman, 1992
> 
Return-Path: xinwei@leland.Stanford.EDU
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199602282234.OAA17141@elaine43.Stanford.EDU>
Subject: welcome to img
To: meiyan@aol.com
Date: Wed, 28 Feb 1996 14:34:26 -0800 (PST)
Cc: decker@leland.Stanford.EDU, xinwei@elaine43.Stanford.EDU (Xin-Wei Sha)
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Dear Prof. Mei Yan Lu,

Decker Walker mentioned you to me.  You'd be most welcome to attend
our "interactive media" seminar.  We usually meet this term Thursdays
5:00-6:30, at the Stanford Humanities Center Annex, which is at the
corner of Campus Drive and Alvarado (see map:

http://www-pcd.stanford.edu/cgi-bin/map/zoom-map.html?228,144 

).

Please visit our website if you like:

http://www-leland.stanford.edu/~xinwei/pub/img/img.html 

or join our mailgroup by sending email to majordomo@lists.stanford.edu
with message:

subscribe img-lists Your_Email_Address

regards,
Xin Wei
http://www-leland.stanford.edu/~xinwei/ 

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From: Xin-Wei Sha <xinwei@leland.stanford.edu>
Message-Id: <199602292128.NAA02996@elaine17.Stanford.EDU>
Subject: Tversky on Diagrams
To: img-mail@lists.Stanford.EDU
Date: Thu, 29 Feb 1996 13:28:53 -0800 (PST)
Cc: bt@psych.stanford.edu
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Today,  Barbara Tversky is scheduled to speak about

Pictorial diagrams
http://www-leland.stanford.edu/~xinwei/pub/img/general/Tversky.html 

Thursday, February 29, 5:00-6:30 pm

in the Humanities Center Annex

Xin Wei
http://www-leland.stanford.edu/~xinwei/pub/img/img.html 


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From: Gayle Curtis <curtis@roses.Stanford.EDU>
Message-Id: <199602292147.NAA21332@roses.Stanford.EDU>
To: xinwei@leland.stanford.edu
In-reply-to: Xin-Wei Sha's message of Thu, 29 Feb 1996 13:28:53 -0800 (PST) <199602292128.NAA02996@elaine17.Stanford.EDU>
Subject: Tversky on Diagrams
Status: RO

Received your note about Barbara's talk today. Can you remind me where
to find the Humanities Center Annex?


Thanks

Gayle Curtis
Lectuer, ME Design Division

From owner-img-mail@lists.Stanford.EDU Mon Mar  3 23:18:23 1997
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199703040718.XAA01824@elaine20.Stanford.EDU>
Subject: Ylem Forum on Telepresence (Slayton,Wilson)
To: img-mail@lists.Stanford.EDU
Date: Mon, 3 Mar 1997 23:18:02 -0800 (PST)
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This should be unusually important.   Anyone planning on
going? - Xin Wei

Forwarded message:
> From: TrudyMyrrh@AOL.COM
> Date: Tue, 4 Mar 1997 01:56:46 -0500 (EST)
> Subject: Ylem Forum on Telepresence 
> 
> Ylem Forum:
> Telepresence
> Wednesday, March 12, 7:30 PM
> Contact: Trudy Myrrh Reagan, 415-856-9593
> McBean Theater, Exploratorium, 3601 Lyon St., San Francisco
> 
> Contact: Trudy Myrrh Reagan, 415-856-9593, trudymyrrh@aol.com
> 
> The aim of telepresence art is to create the means to exercise virtual
> control or feel the essence of a remote location. The challenge is to
> integrate several new technologies to accomplish this. It is the fascination
> of action at a distance, something even a small child feels when it waves to
> catch our attention.
> 
> San Francisco artists Joel Slayton and Steve Wilson will familiarize the
> audience with the emerging field of telepresence. They will describe past
> projects of robot control, discuss principals useful in designing art
> installations and events using this technology, and demonstrate a live
> prototype control event (conditions permitting). 
> 
> Joel Slayton is Professor of Art at San Jose State University and Director of
> the CADRE Institute. CADRE is an interdisciplinary academic and research
> program dedicated to exploration of digital media technology. Joel Slayton's
> art works have been exhibited internationally.
> 
> Stephen Wilson is professor of Conceptual Design/ Information Arts, San
> Francisco State University. He is an artist, author and professor who
> explores the implications of emerging technologies.
> 
> As always, the forum is free, though donations are appreciated. It is open to
> the public and wheelchair accessible.
> It is sponsored by Ylem: Artists Using Science and Technology.
> 


From owner-img-mail@lists.Stanford.EDU Tue Mar  4 18:59:38 1997
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From: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
Message-Id: <199703050259.SAA07162@elaine7.Stanford.EDU>
Subject: meeting time Spring quarter
To: img-mail@lists.Stanford.EDU
Date: Tue, 4 Mar 1997 18:59:47 -0800 (PST)
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Current participants have proposed shifting our seminar to
Mondays 4:00-6:00.   If you have any other proposals, conflicts,
please email them to img-mail@lists.stanford.edu.

Xin Wei

From owner-img-mail@lists.Stanford.EDU Mon Feb 17 21:27:22 1997
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To: img-mail@lists.Stanford.EDU
From: farabo@sirius.com (Laura Farabough)
Subject: notes from IMG mtg 2-12-97
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Dear IMG folks,

The objectile.
Fragments of a propulsive conversation.

Some read, some skim, some skip.

Therefore, first the essential:

next IMG meeting will be February 19th in Sweet Hall ( Swede, Sweat?)
Room 303 -- 3rd floor conference room
5 - 7pm

and now the consequential:

I sit before the computer, throat sore, voice gone, eyelids heavy,
head spinning, straining to maintain equilibrium, brain dull and full of fog.
Am I in a metamorphic fugue state, liquefying into something unimaginable?
Have I become an incubator for some nasty parasites messy parthenogenesis?
Could this be the flu?  I blink at the insult and cough in disbelief.

And you?  If not now then then?
You sympathize as you read these notes.
You accept these notes as they are.  You employ your exceptional mental and
intuitive powers to fill in the gaps.

- start -

Per our mtg.  2-5-97,  the 2-12-97 meeting came equipped with toys:
2 video cameras
2 monitors
1 mic
red and blue playdo
clay

At the table, counterclockwise: Ann, blank, Glen, Laura, Chris, Helga,
blank, Michael (Michel; Mical?) Ben.  Xinwei was in ff connecting cables,
finding sufficient access to a.c., and getting the monitors up and running.
Eventually, his tasks completed, Xinwei filled in the blank at the table
between A and G; Nikolas (Nicholas; Nicolaus?) alas, feeling under the
weather, sat between H and M, but at a remove from the table, such that the
blank between H and M, neither full nor vacant, wavered like heat in a
desert, haunted by the shadowy fluish presence of N.

4 planes of continuous action:

hands molding playdo (hands eating chips; scribbling etc)
talking, listening, talking, listening etc
video watches and remembers
tape recorder hoards aural emanations

this is my scribbling

algebraic notion of difference
continuous of difference
re-inventing analog
multiplicity - superimposition
transparency
foreground and background
visual construct
mixture
continuity - incremental
continuity of discontinuity
an event continues after the event itself as stopped
delay
A: physiologically experience the overflow
X: the knot
 topological condition is continuous in a topology
A: two things exactly the same but not

recursion
self-similarity

measure
a rupture
a model of the world

closed versus open event
smoke
H: closed and open event
  sets with noise
 a definition of an open set
 a Zeno paradox: half way to anywhere is infinitely divisible

to have size is to be divisible

a permeable event

G: next week, let us reconstruct tonight's event

event takes place just outside of the frame

the residue

the fallibility of the event
replicability/repetition

moment of loss

ideal construction of multiplicity -- connectivity

organizing principle

aesthetic

N: did we make a geometry?  what did we make today
G: sick geometry; aberrant but coherent
C; camera is an organizing element, creates narrative

A: computation as cooking
 transformative

rules: schema, prescriptive

M: rule is a category of description
X: the rule is the agency
 get something without the problem of interpretation
 follow the ... relax the ...
 follow the process without interpreting the rules

regulate one's imperfections/slips

identify the rule; the rule causes that action;
how does the action operate w/o rule

G: randomness and improvisation -- coherent noise at play

principle of least action

axiom of gravity
notion of curvature space/time

is there a social optima?
optima are not optimal
optimize as an organizing principle


- stop -











From owner-img-mail@lists.Stanford.EDU Thu Feb 27 15:27:37 1997
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From: Ann Weinstone <weinstone@igc.apc.org>
To: img-mail@lists.Stanford.EDU
Subject: objectants
Message-ID: <Pine.SUN.3.91.970227151103.23195A-100000@igc.apc.org>
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I'm eating chocolate. 

The cocoa bean, the cocoa plant. Chocolate, cocaine. Both transform
organic matter; money; people. Both transform physical spaces and psychic
spaces. 

Think of transformations as existing simultaneously in both present and
"shadow" layers. 

This is important to remember vis-a-vis the net. As we are fleahopping. We
want to hide certain transformations (code into image; labor into
hardware) and highlight others (human into post-human; DNA into code;
image into image)

Let's focus on TRANSFORMATION. This concept participates both in the telos
of Western culture and the various mythologies of the net and post-pomo
humanity. 

We create new languages that are capable of making shadow transformations
and relations visible. And of "shadowing" what we normally pay attention
to: the narrative of rational talk. 

Our language is a form of encryption, but since all keys will be partial,
it is also, for our audiences, a site of projection. 

Projection is an actant in articles such as what we read in Wired. It
provides a cultural screen in which certain things are only intelligible
through a kind of anticipated projection. Now, this is similar to some
forms of theater in which the narrative relies on a subtext between the
text/images/performers and the audience. 

Projection also figures heavily in concepts such as "it." 

All processes that rely on projection assume the social world. 

Things we need to consider as we build our languages: 

How does this process of building a sense of the group through projection
differ when the process is live? 

What happens to our relationships as we proceed? 

What gets shadowed, unshadowed? 

These questions all have big implications for thinking about life on line. 

Some objectants from an objectans. 

xxAnn

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Date: Mon, 10 Mar 97 17:08:15 -0800
To: img-mail@lists.Stanford.EDU
Subject: Bruno Latour at Stanford
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[This is a general interest notice. - sxw]

Bruno Latour: On the Historicity of Scientific Objects

Monday March 17, 3:30 pm
Building 200, Room 2
Stanford University

Organized by Prof. Joan Fujimura
Hosted by the Department of Anthropology and the Program in
History and Philosophy of Science


The quick progress recently made by histories of science in
their handling of material practice raise anew an intriguing
philosophical question, that of extending historicity not
only to the humans but also to the non-humans and thus
offering to various forms of realism a new and more solid
ground.  The talk will explore four models of historicity:
political history, technical history, legal history, and art
history, to see what are the advantages and disadvantages of
each in handling scientific objects. It will then propose a
type of historicity adjusted to the specifications of
scientific objects that must escape at some point the grasp
of human history and will show how the notion of partial
existence allows for a much finer differentiation than the
notion of demarcation.

Bruno Latour
Center de Sociologie de l'Innovation
Ecole Nationale Superieure des Mines
Paris, France

From kevin@iss.nus.sg Sun Mar  9 22:31:31 1997
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To: xinwei@leland.Stanford.EDU
Subject: Interactive Media Theory
Status: O

Hi Xin Wei,

We were introduced by Marc Davis at ACM97 and you told me about your
interactive media theory group. I would very much like to be added to
the mailing list for this, if possible. (In fact, I realized later
that I already knew a bit about the group since the reading list
appeared when I once did a search on references to Varela, Thompson, &
Rosch's "Embodied Mind.")

Cheers,

Kevin

From owner-img-mail@lists.Stanford.EDU Tue Mar 11 13:57:36 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 11 Mar 97 13:54:06 -0800
To: img-mail@lists.Stanford.EDU
Subject: Mondays for Spring?
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Dear IMG folk,

	Gwen has kindly reserved the Humanities Center Annex
for us on Mondays 4:00-6:00, April 7, 14, 21, and May 5,12, 19, 26.
The Discourse Networks2000 has the Annex reserved for April 28,
which is JS Brown of Xerox PARC + Gumbrecht.
	I know this time conflicts with at least one, but
there seemed to be some strong arguments for shifting to
Mondays.

Xin Wei

From leifer@cdr.stanford.edu Wed Mar  5 03:43:15 1997
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To: Xin-Wei Sha <xinwei@leland.Stanford.EDU>
From: Larry Leifer <leifer@cdr.stanford.edu>
Subject: good time for me, present time overlaps my class.  Re: meeting
 time Spring quarter
Status: RO

At 6:59 PM -0800 3/4/97, Xin-Wei Sha wrote:
>Current participants have proposed shifting our seminar to
>Mondays 4:00-6:00.   If you have any other proposals, conflicts,
>please email them to img-mail@lists.stanford.edu.
>
>Xin Wei




From owner-img-mail@lists.Stanford.EDU Wed Mar 12 20:43:26 1997
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Date: Wed, 12 Mar 1997 19:32:55 +0000
From: Mark Goldstein <kvetch@worldnet.att.net>
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Hi IMGers,

I'll be speaking at the Xerox PARC Forum on Thursday March 27 from 4 to 
5 P.M., the series is open to the public. I'll be talking about my work 
with the Lightning wands and playing them. Here's the abstract:

Playing Electronic Instruments:  Technique Meets Technology

The advent of electronic music changed the way composers and listeners
work with and relate to sound. Since the initial efforts in this form
were taped pieces, sonic sculptures crafted out of real time, the notion
of performer was irrelevant. Today, a wide variety of commercial
synthesizers are available and new real time synthesis techniques from
the computer music laboratories are becoming available. Most of these
synthesizers and algorithms can be controlled from arbitrary input
devices. The piano keyboard has been a ubiquitous front end for all
sorts of sounds, many of them not pianistic at all. It is also not
unusual to see a computer on stage with an electronic ensemble. Quite
often the audience cannot understand the effects of the computer
player's actions. I am interested in broadening the possibilities for
performing electronics, investigating the relationship between gesture
and sound,  and regaining a sense of instrumental virtuosity in the
electronic genre.

Music is a performing art, and part of the quality of the musical
experience comes from the relationship between the player's physical
technique and the sound that is produced. A player can feel this
intimately. A listener can appreciate this connection visually (and
viscerally) whether in a live concert or in the mind's eye while
listening to a recorded performance.

Our rich tradition of musical instruments has created a repertoire of
gestures (bowing, blowing, banging, etc.) that are closely tied to
familiar sounds. Can these gestures be appropriated to control new sorts
of sounds? Are there other forms of movement that are musically
effective? I have been exploring these questions using a MalletKAT (an
electronic marimba) and Buchla Lightning Wands (a pair of wireless
infrared wands broadcasting to a 2-D tracking sensor that also performs
gesture recognition). I will trace the development of electronic music
and its performance practices, demonstrate a variety of empty-handed and
hybrid electronic instruments, and perform a piece for Lightning solo,
"Joan is Back," by Bay Area composer Silvia Mateus.



From owner-sati@lists.Stanford.EDU Wed Jan 22 16:02:13 1997
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Date: Wed, 22 Jan 97 16:01:59 -0800
From: <aledin@CCRMA.stanford.edu>
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Summer '97, for the 27th year in a row, CCRMA is hosting an array of  
courses in the areas where art meets the most recent developments in  
audio and computer technology. 


This summer we will feature workshops in the following areas:

*	Audio and Haptic Components of Virtual Reality Design
*	Interactive Composition and Performance with Computers
*	Digital Signal Processing for Audio
*	Algorithmic Composition with Computers in LISP Environment
*	Computer-Assisted Research in Music Scholarship

-----------------------------------------------------------------
   If you wish to receive more information about these courses, 

   please visit our WWW site at:      Stanford CCRMA Workshops
   http://ccrma-www.stanford.edu/CCRMA/Courses/SummerWorkshops/97/
                or e-mail aledin@ccrma.Stanford.EDU
-----------------------------------------------------------------

From helga_wild@mailhub.irl.org Wed Mar 12 13:57:14 1997
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Date: 12 Mar 1997 13:50:53 -0800
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                       Subject:                               Time:1:41 PM
  OFFICE MEMO                                                 Date:3/12/97

Will you/ won't you/ will you/ won't you / will you join my dance?
Here some of my dream transformations:  
yeast dough....could be come bread or cake or pizza .....
marinating: 
AND the magical transformation of eggs into forms with subtle taste and tender
texture.  As in
Souffle:  Cheese souffle? Shrimps? 
Parfait:  combining the  yolk+ sugar transformation through steam with the
beauty of freezing..How about  Mango parfait for dessert?

But also the combination of structural pieces and a soft mush into a light
terrine (Brokkoli-Salmon terrine for first course?)

I am getting hungry.
Helga
 



From helga_wild@mailhub.irl.org Wed Mar 12 13:57:14 1997
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                       Subject:                               Time:1:41 PM
  OFFICE MEMO                                                 Date:3/12/97

Will you/ won't you/ will you/ won't you / will you join my dance?
Here some of my dream transformations:  
yeast dough....could be come bread or cake or pizza .....
marinating: 
AND the magical transformation of eggs into forms with subtle taste and tender
texture.  As in
Souffle:  Cheese souffle? Shrimps? 
Parfait:  combining the  yolk+ sugar transformation through steam with the
beauty of freezing..How about  Mango parfait for dessert?

But also the combination of structural pieces and a soft mush into a light
terrine (Brokkoli-Salmon terrine for first course?)

I am getting hungry.
Helga
 



From owner-img-mail@lists.Stanford.EDU Mon Mar 17 11:19:48 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Mon, 17 Mar 97 11:15:07 -0800
To: img-mail@lists.Stanford.EDU
Subject: MIT comm.tech. & politics
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[Snipped from the Media Lab's Narrative Intelligence mailgroup - Xin Wei]

Date: Mon, 17 Mar 1997 02:01:08 GMT
From: "Bradley J. Rhodes" <rhodes@media.mit.edu>
Subject: Re: comm.tech. & politics

I strongly recommend Poole's "Technologies of Freedom", available from the
Harvard University Press.  Other references can be found off the homepage
for the "Political Economy of the Digital Infrastructure" that Mitch Kapor
taught last year:

<http://wearables.www.media.mit.edu/courses/peotdi/

Anne Beamish, the TA for that class, did an incredible job setting up the
page -- there are a lot of good references to be found there.
	-- Brad

From owner-img-mail@lists.Stanford.EDU Tue Mar 18 17:17:39 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 18 Mar 97 17:11:24 -0800
To: img-mail@lists.Stanford.EDU
Subject: no meeting this week; dinner; mtg time?
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Dear IMG folk,

There'll be no meeting this week.   Next week will be our
transform dinner experiment, to be held at Helga and Niklas'
house.   They'll post directions to their place later.   As
the rigors of the Winter quarter ease, please post your
thoughts about (a) what we should cook and why, and (2)
transformations.

It looks like the choice for the meeting day next Quarter is between
Monday and Tuesday, with the balance tilting toward Monday.
(I'll be out of town on two half weeks -- W-Th-F of the term, btw.)
We'll make a last stab at concensus over dinner.  heh heh heh

Xin Wei

From owner-img-mail@lists.Stanford.EDU Tue Mar 25 14:43:54 1997
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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Tue, 25 Mar 97 14:40:11 -0800
To: img-mail@lists.Stanford.EDU
Subject: oh do browse our site
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Dear IMG folk,

Thanks to Felix, we were able to enrich the site modestly.
Check out
http://www-leland.stanford.edu/~xinwei/pub/img/
and try Browse Mail, or Search the IMG texts by keyword-in-content.
(You may consider the last as an exercise in serendipity.)

Remind me to bring all our documents and "artifacts" next week...
- Xin Wei

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Date: Tue, 25 Mar 1997 19:44:56 -0800
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
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Organization: SU
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Dear IMG folk,

Ann's email about eating chocolate and transformation went unanswered,
but it's not forgotten...  

Here's the first part of my contribution ...towards a description of
point-set topology...

http://www-asd.stanford.edu/Media1/ASD/Jaenich/

See especially chapter 1.   I'd like to introduce some concepts from
there, prefaced by a discussion of set and function.  For starters, I'll
make function synonymous with map and transformation.   Chap 11 has an
efficient but rapid tour of basic set theory, by the way, but there's no
need for such formalism here.

Some pre-topology.

We can gain a great deal of insight by relaxing requirements on
structure as much as possible while trying to retain some interesting
notions.   The notions we can start with are the notion of a set M, an
element of a set, and a map f, between sets M and N.

No metric (no distance), no algebra , no arithmetic, no dimension, no
geometry, and yet there's already enough for a great deal of mystery.  
We can start our construction by playing a few conceptual games with
this reduced language, transposing the spirit of the Philosophical
Investigations to this conceptual space.

Somewhat imprecisely... a function f is a way to assign a unique element
y in N to every element x in M.   There are all sorts of ways to nuance
or sharpen this.   This is actually a far more generous notion than one
might think, after a lifetime of panoptic sort.   For example, functions
may be set-valued, that is, the set N may be arbitrarily wild, and its
elements may be themselves subsets of some other set.

"Most functions are not computable."

We can go meta by considering the set P of functions from M to N.   That
is, every element of P is itself a function.   This is a neat and
precise way to "focus on TRANSFORMATION."    P is an example of what
we can call a function space over M.

"The function space over M is typically *much* larger than M."

From owner-img-mail@lists.Stanford.EDU Tue Mar 25 17:55:18 1997
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Date: Tue, 25 Mar 1997 17:54:59 -0800
From: Sha Xin Wei <xinwei@leland.Stanford.EDU>
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Subject: Weargun, the Toy
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We're pretty deep into the hyperreal when toy manufacturers beat the
Army and the Media Lab to market.   Now Gabriele can squirt his friends
by voice-command.   The form factor resembles Steve Mann et al's
Wearcam.

Here's the ad from the toy catalog Gabriele brought back from a
schoolchum's house --
http://www-leland.stanford.edu/~xinwei/pub/img/media/pix/squirter.jpeg

Xin Wei

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From: Sha Xin Wei <xinwei@truffaut.stanford.edu>
Date: Wed, 26 Mar 97 13:36:33 -0800
To: img-mail@lists.Stanford.EDU
Subject: From Energy to Information, Austin April 3-5
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From: DNEHL@mail.utexas.edu (Linda D. Henderson)
Subject: Press release

Contact:  David Willard at 471-3379

FOR IMMEDIATE RELEASE

>From Energy to Information: Representation in Science, Art, and Literature
Symposium to be held on UT campus

        AUSTIN, TX   The symposium "From Energy to Information:
Representation in Science, Art, and Literature" will be held on The
University of Texas at Austin campus, April 3-5, 1997 at the Thompson
Conference Center.  Registration is required.

        "From Energy to Information: Representation in Science, Art, and
Literature" is the first-ever symposium to bring together scholars from the
history of science, art, and literature to examine specific moments of
interaction among the the three disciplines.  Major scholars will speak on
five panels, investigating the cultural impact of a succession of issues:
thermodynamics, electromagnetic waves and the ether, scientific diagrams
and the notion of inscription, electronic information, and virtual reality.
By examining the various ways in which artists, writers, and scientists
themselves attempted to represent changing scientific paradigms, the
conference will provide a new view of the impact of science and technology
on late 19th and 20th-century culture.

        The opening lecture will be given by noted critic and scholar W. J.
T. Mitchell of the University of Chicago, who will discuss his recent work
on dinosaurs as cultural icons in "Dinosaurs Decoded."  Nobel prize winning
UT Professor Ilya Prigogine (Dept.of Physics) will give the second keynote
address, considering the impact of such new ideas in physics as chaos theory
in a talk entitled "Nature as Construction."  Saturday afternoon's panel on
"Virtual Spaces/Virtual Bodies" will feature a presentation of some of the
latest activity in virtual reality, including groundbreaking advances being
made at Stanford University in the area of "virtual surgery."

        Invited speakers include Charles Altieri, Wayne Andersen, Ian F. A.
Bell, Robert Brain, Bruce Clarke, Charlotte Douglas, N. Katherine Hayles,
Douglas Kahn, Timothy Lenoir, Kristine Stiles, David Tomas, Greg Ulmer, and
Norton Wise.  University of Texas faculty who will be speaking or
moderating panels include Bruce J. Hunt (Dept. of History), Marcos Novak
and Michael Benedikt (School of Architecture), and Linda Henderson and
Richard Shiff (Dept. of Art and Art History).

        The conference is also intended to function as a workshop, with
extensive time allotted for group discussion following each panel's
presentations.  In addition, speakers will anchor "focus groups" for the
Friday lunch.  The topics of focus groups range from "Science and Empire"
and "Modernism's Tactics for Science" to "Sound, Voice, and technology in
Avant-Garde and Experimental Arts," and "The Posthuman Body,"
"Transarchitecture--The Convergence of Information and Space."  Conference
participants should register for focus groups on Thursday evening and Friday
morning.

        "From Energy to Information" has been co-organized by Linda Dalrymple
Henderson, Dept. of Art and Art History, UT, and Bruce Clarke, Dept. of
English, Texas Tech University, with the assistance of Richard Shiff,
Director of the Center for the Study of Modernism in the Dept. of Art and
Art History.  Co-sponsors for the event are the Center for the Study of
Modernism and the new Center for Techology in the Arts in the College of
Fine Arts (Director, Richard Lawn).  Additional support has been provided
by the Departments of English, History, Radio-Television-Film, and French
and Italian, the Archer M. Huntington Art Gallery, and the College of Fine
Arts Dean's Office.

        The conference will be held at the Thompson Conference Center on the
campus of the University of Texas at Austin, with the the opening Thursday
lecture presented in the Art Building auditorium at 7:00 p.m.

        The deadline for registration through the Thompson Conference
Center has been extended from March 15 to March 21, after which an
additional late fee of $10 will be charged.   Basic registration costs are
$15 for UT faculty and students, $35 for those outside the University.
Meal tickets for the Friday and Saturday lunches and the Friday dinner
should be ordered at the time of registration, and cannot be purchased
after March 31 because of catering arrangements.

        Single-admission tickets ($2) to the W. J. T. Mitchell lecture on
Thursday evening at 7:00 p.m. will be for sale at the door.  Similarly, a
Saturday-only pass for the electronic information and virtual reality
panels ($10) will be available Saturday morning at the Thompson Center, if
space is available.

        To obtain registration materials, contact the Art History office at
471-7757, or e-mail requests to nrgy2inf@ccwf.cc.utexas.edu.  The symposium
program and registration information are also available at the conference
        Web site <http://www.ar.utexas.edu/centrifuge/e2i.html>.


Additional background...

        Although it has become a commonplace to associate modernism with the
revolution in sciece brought about by Einstein's Theory of Relativity, the
science that dominated the popular imagination in the pre-World War I period
was not yet transformed by Einstein.  Instead, late Victorian physics
and a succession of highly publicized discoveries, including X-rays.
radioactivity, and the development of practicable wireless telegraphy,
nourished the imaginations of early 20th-century artists, writers, and
scientists themselves.  Energy was a central theme of much early modern
speculation--both in relation to thermodynamics and the issue of entropy or
energy loss and to the newly discovered energies of radioactivity and the
vibrating electromagnetic waves that fascinated the public and made it
possible to see previously invisible phenomena or to communicate
instantaneously with distant locales.

        At the other end of the time spectrum, the symposium focuses on the
topics
of electronic information and virtual reality.  The unleashing of undreamed
of nuclear energy by midcentury coincided with crucial advances in
information theory and computer technology.  It was discovered that the
statistical formula for thermodynamic entropy was analogous to the
mathematical formula for information.  With the development of electronic
information technologies, less and less energy could now transfer more and
more information.  Heavy technologies of the earlier industrial period and
their accompanying images of monumental energies gradually shifted toward
the lighter structures of high technologies and the increasingly
transparent media of the computer screen and network interface.


David Willard
Department of Art and Art History
The University of Texas at Austin
Art Building, Room 3.328
23rd & San Jacinto
Austin, Tx 78712
(512)471-3379
(512)471-7801 FAX


Linda Dalrymple Henderson
Dept. of Art and Art History
University of Texas at Austin
Austin, TX  78712-1104

From helga_wild@mailhub.irl.org Thu Mar 27 10:33:32 1997
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                       Subject:                               Time:10:21 AM
  OFFICE MEMO          re: bread topology                     Date:3/27/97

Dear IMG transformation subset:
Just wanted to thank everyone for their presence at the transformation
workshop last Wednesday.  The bread dough which was to illustrate  topological
transformations has in the meantime undergone a serious phase transition from
raw into baked ( or cooked, if you're into anthro).  If we start with
Xin-Wei's pre-topology (ref. last email!) we have a set (the raw dough) and
its members which got mapped (through the impact of high temperature) into
another set (a loaf of bread) without changing the neighborhood relations. Or
so it seems.  Now, is that a computable function. Question mark.
Helga