Jika kita mahu belajar dari kelewatan menghadirkan diri dalam revolusi industri, kita perlu bijak mentafsir 'tanda' dan 'alamat', mahir mengatur tindakan dan bersedia berubah dan membuat penyesuaian dalam menghadapi revolusi maklumat. 
                                                    
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 

The on-going merger of technologies enabled by increased computing power and high speed networks is expected to integrate all prior media of representation and communication under the digital rubric of the computer. As a consequence of this 'convergence', the extreme specialization that has characterized human endeavour in the 20th century will dissolve into various, as yet unimagined multidisciplinary vocations. 
         
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 

 

Mungkin kita boleh menggunakan profail dan fungsi otak sebagai model untuk menangani perubahan dan membina peradaban.  Pembangunan individu yang mampan dan seimbang bergantung banyak kepada kemampuan menggunakan sepenuhnya kedua-dua fungsi otak sebelah kiri dan kanan - imbangan antara sesuatu yang kuantitatif dan kualitatif, objektif dan subjektif, fizikal dan spiritual, spesifik dan holistik, berurutan dan berangkaian, teratur dan berkecamuk, dan segala bentuk dualiti yang mendasari kejadian warga alam. Kedua-duanya menyempurnakan satu sama lain walaupun berfungsi secara berbeza. Peradaban yang tiada imbangan sebegini adalah rapuh dan mudah tumbang. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

Modern Art in Malaysia begins with the colonial introduction of Western art and aestheticism into our culture of sacred, court and folk traditions. Artists schooled in the various European realists,  expressionist and abstractionist modes have repeatedly returned to traditional forms and subjects in the struggle to forge a contemporary visual language for our modernizing national culture. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

  

Katalog bercetak memberi penumpuan kepada maklumat am, pengenalan sejarah dan latarbelakang seni  elektronik tempatan serta kupasan beberapa isu yang berkaitan dengan kesan revolusi maklumat. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Memandangkan terdapatnya karya berbentuk pemasangan yang dipamerkan buat pertama kali dalam pameran ini, dokumentasi lanjutan adalah dianggap amat penting. Katalog susulan akan dilaksanakan dalam media CD ROM yang memang sesuai dengan tema pameran ini.  CD ROM Interaktif dikhususkan kepada penampilan, ulasan dan dokumentasi bahan pameran dari karyawan yang menyertai. Kandungan isu bercetak akan turut dimasukkan. 
                                                                                                                                                                        
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 

Halaman Web kini dalam pembangunan dan dapat dikunjungi di  http://www.sarawak.com.my/electron 
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 

 
TITLE of Image 

Landscape Variation, Syed Ahmad Jamal, 1961 
Durupadi, Nik Zainal Abidin, 1970 
Admonition, Mohd Hossein Enas, 1959 
Two Women On The Beach, Cheong Soo Pieng, 1955 
Pago Pago, Abdul Latiff Mohidin, 1964 
                                                                                          
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 

Noordin Hassan Interviews Ismail Zain, Ismail Zain Retrospective  Exhibition catalogue, National Art Gallery, 1995. 
                                                         
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 

 
 

In the Saussurean theory of 'signs' the individual words that make up 'speech  acts' gain their meaning in relation to their context. This relativity of meaning led initially to structuralism's methodical analysis of 'systems of signs', and ultimately, to the dismantling of these systems in deconstruction. 
 
 
       
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

  

One of the artistic consequences of the mass circulation of printed images was the invention of collage. The artist no longer had to hand- make an image but could now 'cut out' two pre-existing images and combine them to generate another. The production of new meaning was achieved by appropriating and recontextualising found or readymade material. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

As early as 1965 Korean artist Nam June Paik, who was a part of the Fluxus movement in the United States, had started using the first commercial video camera, the Sony Porta Pack Video as a medium for art. Since then, artists have approached this technology in a number of ways, ranging from electronic image  experimentation to body oriented performance art and from conceptual art to video installations. Even the television documentary format, with its apparent verity to facts has been exploited by activist and critical artists to legitimize their messages as well as to parody the mass media. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
  

In contemporary Installation Art, the space and architecture of the gallery or other site as well as the social, political, historical, theoretical and critical contexts of the work are all treated as objects of the presentation. 
                                                                   
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 

In the early 1990's USM students made robots which were exhibited at the USM museum. In the light of Islamic aniconism, the artists approached the simulation of animate beings more 'in the manner of their operation' than in terms of their physical appearance.  
The works included a 10 feet tall Jentayu robot with wings that spread out and flapped and a  'human-bot' that echoed human form just enough to provoke a humorous response. 
 
 
       
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 

In contemporary Performance art live bodily gestures are employed to take formal and conceptual ideas directly to the audience, outside the confines of museums and galleries. Unlike the conventions of theatre, here the approach is generally non-narrative and unlike the dramatist, the artist is, normally, the performer. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 

 
 

Festival Seni Video SONY dilangsungkan di Lot 10 Kuala Lumpur pada tahun 1994. Untuk festival ini, pihak penganjur telah meminjamkan kamera video kepada beberapa orang individu yang terpilih dari pelbagai latarbelakang - teater, seni halus, sebi bina, pengiklanan, fotografi dan sebagainya untuk menghasilkan karya masing-masing mengikut selera pengucapan tersendiri. Dengan mempersembahkan hasil kerja peribadi sebegini di sebuah lokasi awam, video dapat dilihat dalam konteks yang menyimpang dari amalan telivisyen yang lazim. 
 
 
       
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

Atas hasrat untuk mencungkil potensi video, Festival Seni Video Malaysia 94 memperkenalkan pelbagai kategori pertandingan - animasi komputer, video eksperimental dan pemasangan video.  Festival ini telah melahirkan hasil karya seperti 'Domino Affect' oleh Zulkifli Che' Harris, 'Post-Colon' oleh Hasnul J Saidon dan 'Sing A Song for Ah Kong and Ah Ma' oleh Liew Kung Yu. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
  

Dalam Anugerah Video Malaysia 3M VHQ 94, buat julung kalinya sebuah anugerah khas - Video Eksperimental Muda telah disediakan bagi menggalakkan penyertaan karyawan yang bukan dari industri, agensi video atau pengiklanan. Hadiah pertama anugerah ini telah dimenangi oleh karya 'Proclaim' hasil kerja Hasnul J Saidon. Anugerah ini juga telah menarik minat beberapa penyertaan seperti 'Goodbye' dari Loh Kok Chee, dan 'Amalgamation' dari Faizal Zulkifli. 
 
 
 
 
 
 
 
 
 
 
 
 
 

  

With the postmodern disregard for formal issues, the categories of cultural production have lost their definition. In the visual arts, 'painting' and 'sculpture' have been extended to incorporate architecture, text, performance, video and an expanding range of media and approaches. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


 
 
The annual Young Contemporaries organised by the Balai Seni Lukis Negara must be acknowledged for its important contribution to the experimental spirit in the Malaysian Scene.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Bagi Ismail Zain, komputer adalah pengganti terbaik untuk buku lakaran yang biasanya dikaitkan dengan aktiviti pelukis atau pereka. Sesuai dengan pemikirannya yang jauh ke hadapan. Ismail Zain juga telah menggunakan khidmat komputer peribadinya untuk merekabentuk set pementasan teater Cindai arahan Noordin Hassan pada tahun 1989. Pada tahun 1993 Niranjan Rajah menggunakan ketepatan dan kesempurnaan medium digital untuk menghasilkan siri lukisan pemasangan yang menyentuh tentang keunggulan bentuk. Dalam pameran 'Hyperview' Hasnul mempamerkan  siri cetakan komputer yang di hasilkan di antara tahun 1996-97. Siri ini menyoal sempadan antara lukisan tangan dan digital. 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
  

Culture in Context dilangsungkan di Bangunan Pesuruhjaya Tinggi Australia Kuala Lumpur pada tahun 1994.  Pameran ini menampilkan karya-karya eksperimental dari ITM dan Karyawan Tamu dari Australia. 
 
 
       
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 

 
Explorasi, the inaugral show of the Faculty of Applied and Creative Arts UNIMAS, signalled a possible return to the conceptual and critical approaches of artists like Ismail Zain  and Redza Piyadasa. The show included installation and video art as well as image processing, CD ROM, computer animation and on-line works. Of particular interest is Fauzan Omar's Pattern of the Earth in which the artist integrates painting with multi-channel video. That such an established artist, renowned for his formalist and process-oriented concerns has moved into electronic media must be a sign of the impending paradigm shift in the Malaysian art scene. The show's catalogue is an intercrative 
CD ROM. 
                                                                                                                                                                                     
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
  

There has been a conflation of primary and secondary productions in all areas of postmodern culture.  Creative work has become multidisciplinary and has made a profound engagement with history and theory. Criticism has, in turn, ceased to be a matter of scholarly arguments about creative sources and has become a euphoric creative endeavor in its own right. 
 
 
       
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
  
Paul Sermon extends the span of the body through ISDN projections of its image. In Telematic Dreaming there is meaningful contact across two and three dimensions, between the artist as an image and the 'viewer' in 'the flesh'. From the third person's 'point of view', this electronic communion is reminiscent of Michelangelo's Creation of Adam. As Sermon himself observes 'watching the hands of two people move towards the point of touch is an event in itself. The senses of sight and touch are exchanged.' The work creates a 'cause and effect situation' that enables 'the rapid fire of consciousness back and forth between the remote and the local body.' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
  

In Stellarc's performance of  'Ping Body' the artist's body was wired up to the internet so that a portion of its musculature would be stimulated into involuntary movement by the 'ebb and flow of internet activity'. At the 'Fractal Flesh' event, an internet audience was able to remotely view and actuate the artist's body. Stellarc severed a portion of his body from his individual will and extending agency over it, telematically, to other minds on the network.In 'Para-site', information, in the form of jpg images, was gathered from the Internet by a search engine and projected onto the artist's body, while the image data was translated into bodily stimulation. The body's own nervous system became part of a feed back loop, generating information for the internet, while being automated by information from the Internet. Stellarc declares that via an 'extended virtual nervous system' the body becomes 'enmeshed within an extended symbolic and cyborg system mapped and moved by its search prosthetics'! 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
  

The Malaysian Video Art Festival 90, curated by Dominique Chastres, UNESCO consultant to the Asia Pacific Institute for broadcasting development, brought to Malaysia a challenging selection of international video art. This show was also revealing of the moral and political context within which Malaysian art struggles to find its place. Stephen Teo's 'Meditations: India' and Aida Buyong's 'Lion, Whore, Dinosaur' were excluded by virtue of their criticism of 'other societies'- Bombay and Venice respectively.