ANAT: News #37





FUSION is a project which has been developed by Jill Scott as a series of three collaborative interactive telepresence events which explore the current break down of definitions, dualisms and geographical boundaries. The theme focuses on the fusions occurring between the artificial, the organic and the virtual through the collapses and interactions of Cyberspace. Using the latest real-time technologies (including teleconferencing, web-cam, VRML 2.0 etc.) the participants can continue to question and re-define old definitions of space, nature, evolution, identity and artistic authorship. After the three FUSION events, Scott believes that a body of researched results will help to develop a protocol for telepresence events, defend the sponsorship of more on-line collaborative techniques between educational institutions, and simultaneously test applications for industry standards by creative students.

The first FUSION event will take place from June 9-11 1999, as a public event -where results are “performed” and both Virtual and on-site observers are also welcomed. A rehersal period took place earlier in May.

The live manifestation of this project will take place at the College of Fine Arts, Sydney on June 9 and 10 from 6-9pm and on Saturday June 12 from 6-10am, and online at

FUSION Press Release

The Sydney projects are:

Live Audio Streams: A stream of work by Sydney composers who modify and manipulate sounds. Developed and produced by Damian Castaldi and Scott Horscroft. Also including: Sigma editions- Audio CD’s and publications representing Dion Workman, Rosy Parlene, TorbenTilly, Jasmine Guffond, David Haines, Anna Sanders, Vladislav Delay.

Digiplasma, a highly charged gap devoid of content emersed within an infinite electro magnetic spectrum parading as message. This digi plasma will be used as a mixing element between other transmissions (Video Streaming with Quick Time) by Brad Miller.

The Collectorscope is an interactive animation device for capturing images off the web and animating them. The idea is to have two participants each with a video camera to try to match their body positions and collect images of themselves which automatically animate. (Director and Web-cam) By John Hughes with additional programming by Mr. Snow.

Carrier is the domain of a www based infectious java agent which navigates the user through immersive visual and aural landscapes of viral symbiosis. (www and chat feedback) By Melinda Rackham.

Notes Towards A Place is a space for text and audio that encourages contributions by users in a VRML environment. It is an attempt to define aspects of Sydney through text/s that construct a virtual place, and simultaneously allow for the German participants to define their city (Weimar) in the same environment. By Sarah Waterson.

In Weimar the projects are:

What’s Cooking In The Realm? A network installation involving several cooking pots as a form of mystic surveillance, transporting old folklore into the next millennium. A global cuisine browser. (Live Web Cam) By Sue Machert.

Transonator a parallel interactive sound installation in Sydney and Weimar, which uses live stream audio to transport the viewer from one river to a pastisch of soundscapes and spectral components, providing shifts in rhythms and spatial structuring. (MSP Real-time audio processing software and Real Audio) By Andreas Krach and Johannes Sienknecht.

Schlaglichter is a series of media ideas about emergence. The visitors that come to each venue of fusion 99, will be combined together and fused. (Net-meeting and Mac Morph) By Marion Meyer.

SeaM-Studio für elektroakustische Musik: 1. Soundtracks:- with a telescope through Weimar a project by Pablo Aura-Langer, Holger Hœußermann Hyo-Sung-Kim, Anne König, Sun-Young Park . Jae-Hi Uh 2. Impromtu -A live-improvisation with-in SuperCollider-a written sound arrangement program.The computer as an instrument, by Peter lang.

Open Source Media Art Project A Different Way Of Encoding Information. We use systems to convert the live input from a video camera into the ASCII format modeled on the old school way of presenting graphical information in the dawn of networked systems. |a|s|c|v|i|d|. (2 x ASCII video client/servers) By Andreas Schiffler and Bernd Diemer.

Future Bodies (Stage 1) is an interactive script writing research project to determine the future of three virtual characters with genetic modifications and multiple identities, by Jill Scott including |L|a|n|g|u|a|g|e| |S|i|m|u|l|a|t|o|r| artificial intelligence chat with synthetic personalities by Guillaume Stagnaro.

Virtual Cuts is a performance and a mixture between the real and the virtual while two people (one in Sydney and another in Weimar) are cutting their own hair , slowly but permanently, discussing this process together and asking the audience to give comments and suggestions. (Web-cam, rear view projection and real Audio) By Ulla Marguard.


ANAT: News #38

FUSION was an internet based event taking place in Sydney, Australia, Weimar in Germany and on the internet from June 9 - 11, 1999. The project was the result of research and collaboration between a number of artists in Sydney ( Damian Castaldi, Sarah Waterson, Scott Horscroft, John Hughes, Brad Miller and Melinda Rackham) and artists in Weimar over a two month period. The results of this research and development phase were eventually “performed” for both Virtual and on-site observers in Sydney and Weimar. It was the first of a series of three collaborative interactive telepresence events which explore the current down of definitions, dualisms and geographical boundaries. The project was developed by Jill Scott, an Australian artist currently working at the Bauhaus University in Weimar, to provide a space for research and collaboration on the internet. The theme focused on the fusions occurring between the artificial, the organic and the virtual, through the occupancies and interactions of Cyberspace.

The event was highly successful, with one audience member commenting that it had a really good feeling as a happening that was part performance, part ‘artists soiree’, providing a great opportunity for the audience to mix with and discuss work with the artists involved. The ‘performances’ took place over two nights and one morning in Sydney.

“My experience of the first of the FUSION teleconferencing events was a WEB-FULL of activity.” Damian Castaldi said of the project. “It was fantastic to have access to FAT bandwidth, RealAudio ‘easy’ streaming and extraordinary audio MAX programming coming from Weimar which made it a unique experience. The collaboration with Scott Horscroft in Sydney and Andreas Krach and Johannes from Germany was also fantastic, and the project gave us an opportunity to experiment and collaborate. The only real criticism I have (from an audio perspective) was that the front end website wasn’t informative and up to date enough to bring outside webcrawlers effectively into the event.”

Sarah Waterson writes: “when I was first approached to participate in the fusion event, I thought - oh no not another ‘live’ web event where people sit around watching low grade CU-SeeMe cams run at 2 frames a day, and go wow that’s fantastic, we’ve really hit the communications age...what happened to the pigeons...

“The participating artists within fusion on the whole managed to steer away from predominantly broadcast inspired works, and join the spirit of the event which was more to do with collaboration, and “teleconferencing”. Translated, this means the main achievement of the event for me was the networking aspect, and the collaborative nature of the work/s with our respective (new) German friends in Weimar. The audio streaming in particular worked well, attaining more of a jam feel across continents, making it difficult at times to know who was producing what. The one suggestion I’d have for the event concerns the duration. 4 hours on 3 days was too little, perhaps next time the forms (project shells) could be set a little more in advance and run for 24 hours, making it easier for other artists to drop in and out and be more spontaneous, and halving the set up time. Other than this, I think that it was a great first event where participants got to experience technical problems galore, and to begin thinking more about their works as collaborations and communications, rather than single channel broadcasts.”

The event was hosted in Weimar, Germany, by the Media Faculty of the Bauhaus University and in Sydney, Australia by the College of Fine Arts, University of New South Wales. Additional technical support was also provided by Metro Screen in Sydney.