CyberArts International

CyberArts International

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"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."

So began the text from the back cover of the book, "CyberArts: Exploring Art & Technology" (Miller Freeman, 1993).  The book, compiled by staff member, 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.

Many years after their debut, the content of the events was proven uncannily accurate in many of the areas where it predicted the technology of the world in which we live today. These events, held in Southern California during the fall of 1990, 1991, and 1992, were especially unique in the way they facilitated the exploration of unknown territory, and in the way the participants interacted with one another, and subsequently, the world.

To describe the events as conferences would be correct, but not complete. 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 really defined.  But this falls short of explaining the way participants were inspired by the merging of media at this critical time.

Outside The Pasadena Center, 1991

To describe the events as expositions would also be correct, but still not complete. Yes, there were rows of standard exhibit booths as you'd expect to see in any tradeshow, but there was much more. There were art installations that you rode like amusement park rides. There were networked games to play (before the Web, before VR centers). There was also live spontaneous collaborative art and performance, as well as technological experimentation in real-time.

To describe the events as multimedia concerts would also be correct. After all, there were landmark performances by people such as Jaron Lanier, Stanley Jordan, Todd Rundgren, Tod Machover, D'Cuckoo, and many more. Our senses were flooded with virtuoso talent in literally every area of art and entertainment, and because they were interacting in new and exciting ways.

Some have called it a Techno-Woodstock, or a "truly great party." Many attendees claim that CyberArts International changed the direction of their careers and lives. One thing is certain: it was a landmark on the timeline of emerging communications techniques and technologies. It was also 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.

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Most unusual concerts

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). Their collaboration included author and publisher Michael Gosney of Verbum Magazine, as well as the integral participation of numerous arts organizations including YLEM and EZTV.

While the events are no longer held today, 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 Millenium. A number of similar or related events have been born or continued since CyberArts International, including the Boston CyberArts Festival, Ars Electronica, and the TED Conferences, which continue today.

On September 15th and 16th, 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. As the date fell just a few days after the tragic events of September 11th, 2001, the country was still in shock, and the air transportation system was not 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.

External links

• CyberArts International