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Springer Verlag: Wien, New York. 1998.
ISBN 3-211-83135-5
Reviewed by Frieder Nake, Germany. E-mail: nake@informatik.uni-bremen.de


It should not usually happen that a book with an annual volume is reviewed only three years later. In the case to be announced here - the compendium recording the entries and winners of the Prix Ars Electronica in 1998 - the successor volumes of 1999 and 2000 have appeared meanwhile. However, a new look at the older volume may reveal to which extent the book offers more than a quick look at the most recent happenings in Linz, Austria, each summer.

The Prix is well known and best established in the electronics art field. It is the most prestigious prize with considerable amounts of money awarded to the winners in four categories: net, interactive art, computer animation/visual effects, and computer music in 1998. There was also a special award, cybergeneration, for those under 19 years of age.

Although the contest for the award has taken place for a long time, the compendia have kept changing their publishers and formats. Now, since they have been moved to the Austrian separate branch of Springer Verlag, the volumes have taken on a consistent and pretty, easy to grasp and use format. They come in full color, about 90% of all pages showing pictures.

As always, the book is divided into four sections according to the prize categories. There are in addition two introductory articles by Leopoldseder and Schûpf. The two editors have been the chief organizers of the event since its start. The book is completely bilingual (German and English). This edition is successfully separating the two although they run parallel. The reader can easily follow and does not get mixed up even though German takes more space.

The volume ends with photographs and brief bios of the members of the five juries. Finally, there are lists of the names of participants, complete with addresses and email in most cases. There were 1845 participants from 47 countries.

The prix took on the new name, "cyberarts", in 1997 to better distinguish its thrust from the historic computer art movement. The "under 19" special award drew more than 500 entries from kids as young as 3 years. The generation of these youngsters gets a special chance because they are the first to grow up in a new technology-influenced style, the freestyle that is most prevalent in dance and music.

1998 was also the first year when the category "computer animation" got extended by "visual effects". In each category, there are two awards of distinction besides the winner who takes away one Golden Nica. In addition, there are honorary mentions. In the book, each category is presented by an introductory jury statement and, if the jury so decides, statements justifying the selection of each one of the awardees. Winners and honorary mentions then get a chance to present their work. There are usually two pages per entry, but winners are afforded more space.

As a resource of names, works, and tendencies, you do not want to miss this compendium. Together with the other volumes it constitutes an important record of important developments in the electronic arts.

Juries of the 1998 competition are generally rather enthusiastic although they express an occasional critique of individual awards. Most critical appears the computer music jury. They ask what direction composers of digital music are going - backwards or forward. Most surprised about the quantitative and qualitative turnout is the cybergeneration (under 19) jury. Works in this category constitute the largest turn-out, mainly WWW appearences or CD-ROMs.

The entire book series should be on the shelves of every institution offering study programs in digital media or art.

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