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Stephen Wilson Conceptual Design/ Information Arts Program Art Department, San Francisco State University San Francisco, CA 94132 (415) 338 2291


Memory Map

CHI 94, Boston An interactive sound installation that maps memories and anticipations to physical space. Voices of older viewers come from in front of current viewer and voices of younger, from behind. Men's and women's voices come from different sides.

Is Anyone There?

SIGCHI, Monterrey, 1992 and SIGGRAPH, Chicago, 1992. Computer automatically calls selected pay phones in the city 24 hours a day and uses intelligent programming and digitized speech to engage those who answer in conversations about their lives and their surroundings. Viewers using voice recognition can interactively devise multiple strategies to navigate record of conversations and related digital video. WINNER 1993 Ars Electronica Golden Nica Prize of Distinction in International Competition for Interactive Art.

Oratorio For Religious Opinion

V2 INTERNATIONAL FESTIVAL. 'S-Hertogenbosch, Netherlands, 1990 An interactive sound installation creates an "opera" of voice by digitizing the opinions of citizens and moving processed versions of their stored voices among several loudspeakers on a public square. Points of view get identified with particular physical locations.

Excursions In Emotional Hyperspace

NCGA CADRE Show, San Jose, CA, 1988 Four computer controlled mannequins responded to viewers presence by each recounting a fictional life event from a unique emotional perspective.

Demon Seed

SIGGRPAH Art Show, Anaheim, 1987 Four computer choreographed moving and talking robot arms simulated demons in various world cultures and were periodically controllable by audience via velvet squeeze rods.

The Conceptual Design/ Information Arts Program Art Department at San Francisco State University

I teach in this program that stresses integration of intuitive processes typical of the arts with structured processes of research, planning and problem solving more characteristic of other disciplines. It promotes non-conventional art media, the invention of new media, and the movement of artists into non-art contexts. It teaches students concrete skills related to contemporary science and technology such as structured problem solving, analysis of biological systems, computers, telecommunications, robotics, interactive media, and the electronic synthesis of image, text, and sound, and explores the integration of these technologies into performance and installation. The program stresses the perspectives of critical analysis of cultural systems, language, and media.


* Information Arts: An Introduction to Emerging Technologies and an Investigation of Their Cultural Possibilities. (In Review) * "Aesthetics and Practice of Designing Interactive Computer Events". SIGGRAPH94 Visual Proceedings. ACM, Chicago,1994 (Published as Hypermedia Work on CD ROM) * "Artificial Intelligence Research as Art Research". Stanford Humanities Journal. (Fall, 94) * "Educating Artists to Work with Telecommunications". THE Journal. Vol. 21: No. 5 (December, 93) * "Light and Dark Visions: The Relationship of Cultural Theory to Art that Uses Emerging Technologies". SIGGRAPH93 Art Show Catalog. ACM, Chicago, 1993 * Multimedia Design with HyperCard. Prentice Hall. Englewood Cliffs, N.J., 1991 * "Research & Development as a Source of Ideas for Artists". Leonardo, Vol 24: No. 3 (1991) * "Noise on the Line - Issues in Telecommunications Based Art" . Leonardo, Vol 24: No. 2 (1991) * "Interactive Art & Cultural Change". Leonardo, Vol 23: No. 2&3 (1990) * "Tutoring Metaphor: Exploring Pedagogical Possibilities of Interactive AI Workstations" ESE Newsletter Issue 17 (September-October, 1987) * "Artists As Explorers on the Technological Frontier". Academic Computing, Vol 1, No. 2 (1987) * Using Computers to Create Art. Prentice Hall. Englewood Cliffs, N.J., 1986