[Overview] [Presentations] [Workshops] [Art Events]


Third International Symposium on Electronic Art [TISEA]

Sydney, Australia
November 9-13, 1992

Presented by the Australian Network for Art & Technology (ANAT)


The Third International Symposium on Electronic Art (TISEA) was an international forum for artists, scientists and critics working in the field of electronic art. TISEA provided an  opportunity to critically evaluate the role and effect of new technologies in contemporary art and culture. The TISEA Coordinating Committee devised a conference program that brought together the work of electronic artists, critics, scientists and technologists from around the world. The five-day program included:

  • 2 days of workshops and courses
  • 3 days of papers, panels and poster sessions
  • a large exhibition program mounted in some of Sydney’s best galleries and museums
  • a 2 hour program of electronic theatre
  • an evening of electronic art performances
  • a two-day public workshop entitled “Being in Nothingness: VR in Perspective” examining state-of-the-art VR technologies, applications, theory and practice

The Art Gallery of New South Wales was the main conference location, with rooms also available at the Botanical Gardens nearby. The TISEA workshops, art exhibitions, concerts, performances, screenings and other events were spread over town at the following venues: the Australian Film Television and Radio School, the University of New South Wales (College of Fine Arts), the  Sydney University of Technology (Centre for Sound & Image, Department of Media Productions & Studies), Australian Broadcasting Corporation, the Sydney Museum of Contemporary Art, ABS Ultimo Centre, Avante Apple Centre, Ars Multiplicata, Australian Centre for Photography, Black, Ivan Dougherty Gallery, Metro Television, Performance Space, Powerhouse Museum, Roslyn Oxley9 Gallery, Royal Botanical Gardens, Sydney Opera House and Remo.

Speakers in the program covered a broad range of topics, from those of the conference themes–“Whither Cultural Diversity in the Global Village”, and “Art and the Algorithm”–to those of interactivity, artificial evolution, networking cybercultures, “surfing data space” and virtual body building.

Introductory Notes

Sponsors and Subsidising Organizations

Funding and assistance for this event was provided by ANAT, the Australia Council, the University of New South Wales College of Fine Arts, the Inter-Society for the Electronic Arts and the Australian Film Commission. In addition, a large amount of in-kind sponsorship has been offered by a number of companies, including Sony, Philips and Apple.


Organizing Committee

  • Ross Harley, Executive Director
  • Gary Warner, Artistic Director
  • Alessio Cavallaro, Co-ordinator

Co-ordinating Committee

  • Virginia Barratt
  • Rebecca Coyle
  • Paula Dawson
  • Tim Grutchy
  • Jon McCormack
  • Bill Seaman

International Program Committee

  • Yoshiyuki Abe (Japan), Artist
  • Roy Ascott (UK), Gwent College
  • Simon Biggs (Netherlands/UK/Australia), SCAN Groningen
  • Annick Bureaud (France), Art-El
  • Doug Foot (UK), Video Access
  • Shalom Gorewitz (USA/Israel), Experimental Television Foundation
  • Theo Hesper (Netherlands/Indonesia), Inter-Society for the Electronic Arts/PLM Diesel Efficiency Improvement Project
  • Susan Kirchman (USA), Texas A&M University
  • Brenda laurel (USA), Telepresence Research
  • Raymond Lauzzana (USA/Netherlands), Utrecht College of the Arts
  • Roger Malina (USA), Leonardo Magazine
  • Simon Penny (Australia/USA), University of Florida
  • Wim van der Plas (Netherlands), Inter-Society for the Electronic Arts
  • Christine Schopf (Austria), Ars Electronica
  • Henry See (Canada), Designer
  • Roman Verostko (USA), Minneapolis College of Art & Design


  1. Proceedings (PDF)
  2. Catalogue and Book of Abstracts (PDF)
  3. Programme (PDF)