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CyberArts International was a series of events that took place during years 1990, 1991, and 1992 in Los Angeles, California. It sought to bring together artists of all types of media, software developers, visionaries and storytellers to explore what was a new frontier at the time, digital media collaborations.

A book that was subsequently published about the events CyberArts: Exploring Art & Technology (Miller Freeman, 1992) described them this way: "CyberArts is the new frontier in creativity, where the worlds of science and art meet. Where computer technologies, visual design, music and sound, education and entertainment merge to form a new artistic territory called interactive multimedia." [1]

The book, compiled by Linda Jacobson, encapsulated a wide range of presentations from the three CyberArts International events, was itself the closing chapter of a seminal period in the evolution of human communication: the early digital revolution.

Background

CyberArts events centered around various conferences, featuring highly interactive exhibitions, including experimental multimedia concerts in the evenings. The content of the sessions ranged from aesthetic values to legal issues. Workshops didn't only address "how-to" make new media, they asked the basic question,"why should we?" In fact it was here that the idea of "new media" as represented by the content of CDROMs, kiosks, and interactive installations was commercially defined.[2]

Outside The Pasadena Center, 1991

The CyberArts International expositions featured rows of standard exhibit booths as you'd expect to see in any tradeshow, but there were also numerous interactive art installations, including some that were rode like amusement park rides. There were networked games to play (before the World Wide Web and Virtual Reality centers). There were also live spontaneous collaborative art and performance, as well as technological experimentation in real-time.[3]

The CyberArts International concerts featured landmark performances by people such as Jaron Lanier, Stanley Jordan, Todd Rundgren, Tod Machover, D'Cuckoo, and many others. Local and national media (Los Angeles Times, Macworld, PC World, Amusement Today) all carried reports about various aspects of the eclectic events.

Some called it a Techno-Woodstock, or a "visionary party." Many attendees claimed that CyberArts International changed the direction of their careers and lives. It was the place where many of the recognized leaders of today's digital media world got their early inspiration, entered the emerging field, and made connections to build their careers in a variety of different disciplines.


CyberArts International was the brainchild of Dominic Milano (then editor of Keyboard Magazine) and Robert Gelman, Director of Business Development for Miller Freeman Expositions (another division of Keyboard Magazine's parent company).[4] Their collaboration included the integral participation of numerous arts organizations such as YLEM [5] and EZTV,[6] as well as author and publisher Michael Gosney of Verbum Magazine, who co-produced the Digital Be-Ins with Robert Gelman from 1993-1998.[7]

While the events are no longer held, their legacy includes much of the technology-based entertainment in theatres and theme parks (such as computer generated imagery and virtual reality immersion experiences), and artworks that have found their way from the garages of the 1990s to the museums and tech labs of the new Millennium. A number of similar or related events have been born and continued since CyberArts International, including the Boston CyberArts Festival, Ars Electronica, and the TED Conferences.

Reunion

On September 15 and 16, 2001, a 10-year Anniversary celebration commemorating the original CyberArts International events was hosted at The Exploratorium in San Francisco. All of the original participants were invited to return and update one another on the developments of the decade past, and a few new art/technology innovations were to be unveiled.[8] As the date fell just a few days after the tragic events of September 11, 2001, the country was still in shock, and the air transportation system was not in full operation. This meant that many key figures such as Dr. Fiorella Terenzi (Italy) had to participate via web-conference (with relatively low bandwidth of the day). Dozens of other participants were not able to attend at all. An evening event that was to be the evolution of the original CyberArts concerts, became more of a healing experience and memorial to those who had been lost earlier in the week. A Haiku Wall was created to allow attendees to express themselves, and performances featured a number of emerging artists of that time.

Citations

  1. ^ Jacobson, Linda (Oct 1992). Cyberarts: Exploring Art & Technology (1 ed.). San Francisco, CA: Miller Freeman, Inc. p. 312. ISBN 0-87930-253-4. {{cite book}}: |access-date= requires |url= (help)
  2. ^ Tanaka, Atau (1991). "CyberArts International". Computer Music Journal. 15 (1): 55. Retrieved January 23, 2015.
  3. ^ Haithman, Diane (September 8, 1990). "FESTIVAL '90 : Reality's Different at CyberArts Convention : Electronics: Interactive technology lets people control an environment with a computer, even simulating the sensation of flight". No. 892–8580. Los Angeles Times. Los Angeles Times. Retrieved January 23, 2015.
  4. ^ Tanaka, Atau (1991). "CyberArts International". Computer Music Journal. 15 (1): 55. Retrieved January 23, 2015.
  5. ^ "A Detailed History of YLEM". www.ylem.org. Retrieved January 23, 2015.
  6. ^ "A Brief History of CyberSpace Gallery". www.eztvmedia.com. Retrieved January 23, 2015.
  7. ^ "Press Release: 10th Anniversary Digital Be-In Set to Launch with New Location, All-Night Techno Dance, Netcast". www.be-in.com. Verbum, Inc. {{cite web}}: |access-date= requires |url= (help); Missing or empty |url= (help)
  8. ^ "A Detailed History of YLEM". www.ylem.com. Retrieved January 26, 2015.

Sources

See also

External links

source: https://en.wikipedia.org/w/index.php?title=CyberArts_International&oldid=644730185