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In 1998/99 this first version of the project was presented at the "Short History
of Electronic Art in Serbia" Symposium (Belgrade 1998), the "International Symposium
of Electronic Art ISEA" (Manchester 1998), "The Festival of Computer
Art" (Maribor 1999), and as a part of Gordana Novakovic's lectures at Royal College
of Art (Edinburgh 1999), LUX Mediacentre (London 1999), Symposium The Art of
Persistence (Graz 1999), Royal College of Art and Design (Canterbury).
Due to the deteriorating situation in Yugoslavia in 1999, Miroslav Savic could
not participate in the project any more. Australian composer Rainer Linz joined the collaborative team and this
collaboration added new elements to the basic concept. The work was
developed via the Internet since then between Belgrade, London and Melbourne.
Infonoise received a New Media Arts Fund grant from the Australia Council for
the Arts, for sound system development in 1999.
The further developed version of the project "Infonoise" has been presented as
a performance/lecture at ISEA - Art 3000 (International Symposium on
Electronic Art 2000) in Paris,, "Communication Front"
International Symposium (Plovdiv, Bulgaria 2000), and in Belgrade as a part of
"Infonoise in Belgrade" series of events.
A reconfigured version of the installation, "infonoise residual", was presented in
Plimsoll Gallery in Hobart
(Australia), October 2001. This version was also presented
at the Maxis festival in Sheffield later in the same year. This version was composed of two video
works and two interactive computer programs. A presentation at Wimbledon School of Art and Design
London followed.
Additional presentations of the work were given at the Creative Technology Department at Salford University,
Manchester in 2002, at the Mediateque Symposium, Central St Martins College of Art and Design, London and
at the Knowledge Media Institute at Open University Milton Keynes UK in 2003.
Infonoise premiere in Belgrade:
30/04/01 Student Cultural Centre SKC: performance/lecture presentation & press
conference.
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