ROY ASCOTT

PROJETS / STATUT ESTHETIQUE DE L'ART TECHNOLOGIQUE / PARTICIPANTS

ROY ASCOTT

WEB :
http://caiiamind.nsad.newport.ac.uk/roya.html

Roy Ascott, pionnier de l'art télématique, a presenté ses projets "globals- intéractifs" : Musée d'Art Moderne, Paris, la Biennale de Venise , Ars Electronica, Linz, etc, et a exposé ses oeuvres partout en Europe et en Amérique du Nord dès les années soixantes.
Théoricien bien edité et distribué, ses textes sont traduit en plusieurs langues.
Autrefois doyen du San Francisco Art Institute, directeur de l'Ontario College of Art, Toronto, et Professuer de Kommunikations theorie au Hochschule fur angewandte Kunst in Wien, il est maintenant directeur du centre de recherche des arts intéractifs à l'University of Wales College, Newport.

Voir Commentaires critiques sur Roy Ascott:

Theories and Documents of Contemporary Art, Stiles, K. & Selz, P., Eds., University of California Press, 1996
Postmodern Currents: Artists in the Age of Electronic Media, Lovejoy, M., Prentice Hall , New York, 1996

Art of the Electronic Age, Popper, F., London: Thames and Hudson, 1994

Bibliographie

Textes
Textes traduits en français
Commissioned Reports
Expositions - projets télématiques
Solo Exhibitions of Paintings and Constructions

Textes

ASCOTT, R. Turning on Technology. In: R. Rindler, ed. Techno-Seduction. New York: Cooper Union. (Exhibition catalogue)
ASCOTT, R. 1996. Photography at the Interface. In: T. Druckery, ed. Electronic Culture. New York: Aperture.
ASCOTT, R. 1996. Der Geist des Museums (German trans. F. ROETZER) . Telepolis - Das Magazin der Netzkultur (Munich), http://www.heise.de/tp
ASCOTT, R. 1996. L'architecture de la cyberception (French trans. A. BOURGEOIS). In: M. BORILLO and A. SAUVAGEOT, eds. Les cinq sens de la création. Seysell: Editions Champ Vallon, pp.184-194.
ASCOTT, R. 1996. The Gallery in the Net. In: K. Atherton, ed. Virtual Reality and the Gallery. London: Chelsea College of Art & Design. CD ROM.
ASCOTT, R. 1996. Is there Love in the Telematic Embrace? Behaviourables and Futuribles. In: K. STILES and P. SELZ, eds. Theories and Documents of Contemporary Art. Berkeley: University of California Press, pp. 396, 489-498.
ASCOTT, R. 1996. Techno-anxieties, guilt and the restoration of a material world. Times Higher Education Supplement (London), 13 September, pp.36-37.
ASCOTT, R. 1996. Esthétique de la Cyberculture. Atopie (Neuilly sur Seine), 2. pp.1-4.
ASCOTT, R.1996. Das Netz, Das Fuehlen Kann / The Sentient Net. In: H. LEOPOLDSEDER, ed. Ars Electronica Center, Museum der Zukunft / Museum of the Future. Linz: Ars Electronica Center, pp.64-71
ASCOTT, R. 1996. Implicate Art: a commentary on accessing
.http://www.ntticc.or.jp/ic95/ Leonardo Electronic Almanac, 4 (8),
http://www-mitpress.mit.edu/LEA/home.html
ASCOTT, R. 1996. Reference Points in Cyberspace: a Glossary. Epiphaneia (Naples) 1, p. 26.
ASCOTT, R. 1996. The Planetary Collegium: art and education in the post-biological era, Artlink (Sydney).16 (2 & 3), pp.51-54.
ASCOTT, R.1996. El Retorno a la Naturaleza II. Zehar, boletin de Arteluku, 31 (verano) pp. 8-15.
ASCOTT, R. 1996. Noetic Aesthetics: art and telematic consciousness. In: Consciousness Research Abstracts, Toward a Science of Consciousness 1996. Tucson: University of Arizona, p.171
ASCOTT, R. 1996. Art and Mind, the technology of transformation. Actualité de France, 1, pp.22-23
ASCOTT, R. 1996. Networks of the Mind: Art and the emergent noetic culture. In: L. CANDY and E. EDMONDS, eds.Creativity and Cognition 1996, Second International Symposium, Proceedings. Loughborough: LUTCHI Research Centre, pp.167-175.
ASCOTT, R. 1996. Implicate Art: a commentary on accessing http://www.ntticc.or.jp/ic95/. In: On the Web. Tokyo: NTT ICC, pp.132-135.
ASCOTT, R. 1996. Das digitale Museum/ The Digital Museum, In: H. SCHWARTZ, ed. Perspektiven der Medienkunst/Media Art Perspectives, Karlsruhe: Cantz Verlag. pp. 76-83, 183-189
ASCOTT, R. 1996. Wormholing in Cyburbia, and other paranatural pleasures, In: Proceedings, 6th International Symposium on Electronic Art, Montreal: ISEA, pp 1-7.
ASCOTT, R. 1995. Muzeum cyfrowe. Kultura telematyczna i sztuczne zycie/The Digital Museum. Telematic Culture and Artificial Life. Magazyn Sztuki, (Gdansk) 5 (1), pp.287-300.
ASCOTT, R. 1995. Od wygladu do zjawiskowosci:komunikacja i kultura w cyberprzestrzeni, Magazyn Sztuki, (Gdansk) 6/7 (2,3), pp.190-197.
ASCOTT, R. 1995. Aesthetics argued on a phone extension, The Times Higher Education Supplement (London). November 10, pp. vi-v.
ASCOTT, R.1995. The Museum of the Third Kind (Japanese trans. E. FUJIWARA). InterCommunication (Tokyo), 15, pp.74-79.
ASCOTT, R. 1996. The Digital Arts Glossary. Point, Art + Design Research Journal (London). 1 (1), pp.8-11.
ASCOTT, R. 1995. Noetic Nodes. In: M. Wepf, ed.Viper '95. Internationales Film-Video-und Multimedia-Festival. Luzern: Zyklop Verlag, pp.171-174.
ASCOTT, R. 1995. Die Aesthetik des Erscheinenden/Apparitional Aesthetics. In: H. LEOPOLDSEDER, ed. Prix Ars Electronica 95, Internationales Kompendium der Computerkuenste. Linz: Oestereichister Rudfunk, pp.15-22.
ASCOTT, R. 1995. Statement. In: C. STANO, ed. La Nuova Europa/A new Europe.Palermo: L'Epos, pp. 26-27.
ASCOTT, R. 1995. L'esthétique de la Cyberculture (trans. S. LEBLANC). Spirale (Montréal), Septembre-Octobre, pp.24-25.
ASCOTT, R.1995. Digital Arts Glossary. In: R.ASCOTT, ed. Digital Express. Bath: f.StopMedi@Station, pp. 1, 16.
ASCOTT, R. 1995. Interattivita / Interactivity. In: Oltre il villaggio globale / Beyond the Global Village. Milan: la Triennale di Milano e Electa, pp. 178 - 183.
ASCOTT, R.1995. Telenoia (French trans. S. LEBLANC). In: L. Poissant, ed. Esthétique des arts médiatiques. (Tome 1). Québec: Presses de l'Université du Québec, pp.363-384.
ASCOTT, R. 1995. Nature II (French trans.S. LEBLANC). In: L.POISSANT, ed. Esthétique des arts médiatiques (Tome 2).Québec: Presses de l'Université du Québec, pp. 437-452.
ASCOTT, R.1995. The Architecture of Cyberception. In: M. TOY, ed. Architects in Cyberspace. London: Academy Editions, pp 38-41.
ASCOTT, R. 1995. Nature II, Telematic Culture and Artificial Life.Convergence, Journal of Research into New Media Technologies (London). 1 (1), pp. 23-30.
ASCOTT, R. 1995. The A - Z of Interactive Art. Leonardo Electronic Almanac, 3 (9) , http://www-mitpress.mit.edu/LEA/home.html
ASCOTT, R.1995. Cyborg est un verbe/Cyborg is a verb. In: A. BUREAUD, ed. International Directory of the Electronic Arts / Guide International des Arts Electroniques. London: John Libby, pp 8 -13.
ASCOTT, R. 1995. From Cyberspace to our Space. In: C. BEARDON, ed. Digital Creativity. Brighton: University of Brighton, pp.157-162.
ASCOTT, R. 1995. Interactive Terminology: an Interfacial Glossary. In: T. DRUCKREY and L. GOLDMAN, eds. Interactive Media Festival . Los Angeles: IMF, p.19.
ASCOTT, R.1995. Dall'apparenza all'apparizione: comunicazione e cultura nella cybersfera / From Appearance to Apparition: Communications and Culture in the Cybersphere. In: G. BROI, ed. Creativita alternativa e valori umani. Cani sciolti nella galassia, Firenze: Edizione Regione Toscana, pp. 125-145.
ASCOTT, R. 1995. Homo telematicus in the garden of a-life.Tightrope (Saarbrucken), http://www.phil.uni-sb.de/tightrope.html
ASCOTT, R.1994. From Appearance to Apparition: dark fibre, boxed cats and biocontrollers. Intelligent Tutoring Media (Oxford), 6 (1) pp. 5-10.
ASCOTT, R.1994. The Planetary Collegium. ISEA '94, Catalogue and proceedings of the symposium. Helsinki: UIAH.
ASCOTT, R.1994. Time for a Planetary Collegium. The Times Higher Education Supplement, (London), September 16, p. v.
ASCOTT, R.1994. The Centre that can hold. The Times Higher Education Supplement (London), August 12, p.iii
ASCOTT, R. 1994. The Architecture of Cyberception. Leonardo Electronic Almanac, 2 (8), http://www-mitpress.mit.edu/LEA/home.html
ASCOTT, R. 1994. Minute Manifesto. Leonardo Electronic Almanac, 2 (8), http://www-mitpress.mit.edu/LEA/home.html
ASCOTT, R. 1994. La mort de l'artifice et la naissance de la vie artificielle: une approche connectiviste/The Death of Artifice and the Birth of Artificial Life: a connectivist approach. In: M. PARTOUCHE,, ed. Art Cognition. Pratiques Artistiques et Sciences Cognitives. Aix-en-Provence: Cypres/Ecole d'Art, pp. 176-185
ASCOTT, R. 1994. De l'apparence a l'apparition: communication et conscience dans la cybersphere, Terminal (Paris), 63, pp. 27-38
ASCOTT, R. 1994. Telenoia (translation into Japanese: E. FUJIWARA). InterCommunication, (Tokyo), 7, pp. 114-123
ASCOTT, R. 1993. Telenoia. mind-at-large. In: H. RANZENBACHER, ed. Zero - The Art of Being Everywhere, Graz: Steirische Kulturinitiative, pp.102-105.
ASCOTT, R.1993. From Appearance to Apparition: Communications and Culture in the Cybersphere. In: R. VEROSTKO, ed. FISEA, Fourth International Symposium on Electronic Arts. Minneapolis: MCAD, pp. 5-12.
ASCOTT, R. 1993. From Appearance to Apparition: Communications and Culture in the Cybersphere. Leonardo Electronic Almanac, 2, http://www-mitpress.mit.edu/LEA/home.html
ASCOTT, R. 1993. De la Apariencia a la Aparicion. Intermedia. Nuevas Tecnologias, Creacion, Cultura (Madrid), 1 (1), pp. 73-77.
ASCOTT, R. 1993. Zurueck zur (kuenstlichen) Natur. In: G. KAISER, D.MATEJOVSKI, J. FEDROWITZ, eds. Kultur und Technik im 21.Jahrhundert. Frankfurt: Campus Verlag, pp. 341-355
ASCOTT, R. 1993. No Simple Matter: artist as media producer in a universe of complex systems. AND, Journal of Art (London), 28, p. 3.
ASCOTT, R. 1993. Telenoia: Art in the Age of Artificial Life. Leonardo (San Francisco), 26 (3), pp. 176-177.
ASCOTT, R.1993. Heavenly Bodies. In: R. KRIESCHE, ed. Teleskulptur III, Graz: Kulturdata, pp. 13-15.
ASCOTT, R.1993. Telenoia. In: R.ADRIAN, ed. On Line - Kunst im Netz . Graz: Steirischen Kukturinitiative, pp.135-146.
ASCOTT, R. 1993. The Connectivist Paradigm. Journal of Electroacoustic Music (Aberdeen), 6, pp. 4-9.
ASCOTT, R. 1992. La photographie a l'interface. In: A. BUREAUD, ed. Digital Photography. Paris: Centre National de la Photographie, pp. 3-6.
ASCOTT, R. 1992. Akademien: Im Rueckzug oder am Neubeginn? Gedanken zur elektronisch-nanonischen Entwicklung. In: R. KRIESCHE, ed. Die Elektronische Akademie. Offenbach: HfG, pp. 20-24.
ASCOTT, R. 1992. Declaracion, Mente Global.. Barcelona: Art Futura, pp.78-79.
ASCOTT, R. 1992. Keine einfache Materie. der Kuenstler als Medienproduzent in einem Universum der komplexen Systeme. In: INTERFACE, elektronische Medien und kuenstlerische Kreativitaet. Hamburg: Hans Brelaw Institut, pp. 75-79.
ASCOTT, R. 1992. Mind City /Cite Cerveau. In: K. O'ROURKE, ed. Art-Reseaux. Paris: Editions du C.E.R.A.P., pp. 68-69.
ASCOTT, R. 1991. Das Konnektivistische Paradigma: Kunst im Elektronischen Raum und in der molekularen Zeit. In: H. GRUNDMANN, ed. Die Geometrie des Schweigens. Wien: Museum Moderner Kunst Stiftung, pp.24-27.
ASCOTT, R.1991. Das Museum - neugedacht / In den Gaerten der Hypothesen. In: J. BAUR, ed.UND, Das Buch zur Museumwelt und darueber hinaus . Graz: Leykam Buchverlag, pp. 63-75.
ASCOTT, R. 1991. Reti di Trasformazione e Rinascita dell'Arte. In: M.COSTA, ed. Artmedia, Salerno: Relazioni, pp. 75-80.
ASCOTT, R. 1991. Die Kunst Intelligenter Systeme/The Art of Intelligent Systems. In: H. LEOPOLDSEDER, ed. Der Prix Ars Electronica. Edition 91. Linz: Veritas-Verlag, pp.25-33.
ASCOTT, R. 1991. Art and Technology: Virtual Worlds. In: G. VAN LOOY, ed.Virtuelle Werelden, Beeld Media & technologie in de Kunst, Roy Ascott, Peter Beyls, Hugo Heyerman. Antwerpen: International Cultureel Centrum, p.3.
ASCOTT, R. 1991. Connectivity: Art and Interactive Telecommunications. Leonardo (San Francisco). 24 (2), pp. 115-117.
ASCOTT, R.1991. Chronology and Working Survey of Selected Telecommunications Activity. Leonardo (San Francisco). 24 (2), pp. 236-240.
ASCOTT, R. 1990. Is there Love in the Telematic Embrace? Art Journal (New York). 49 (3), pp. 241-247.
ASCOTT, R. 1990. Beyond Time-Based Art:ESP, PDP & PU. New Observations (New York), 76, pp. 18-20.
ASCOTT, R. 1990. What is a Network? Connectivity, Transformation and Transcendence. Spectra, Museum Computer Network (Syracuse NY), Fall, pp.7-14.
ASCOTT, R. 1990. Art as Interaction. Newsletter, International Federation for Systems Research (Wien), 25, p.1.
ASCOTT, R. 1990. Beyond Time-Based Art. ESP, PDP & PU. Zeit, Sterz-Zeitschrift fuer Literatur, Kunst und Politik (Graz), 48, pp. 27-29.
ASCOTT, R. 1990. Global Vision. In: G. SALERNO, ed. L'arte telematica per un'Europa piu unita.. Borgo di Calcata (VT).
ASCOTT, R. 1989. Karte wird zum Territorium / A terkep terulette lesz. In: Karten/Terkepek. Budapest: Magyar Iparmuveszeti Fioskola, pp. 6-8.
ASCOTT, R. 1989. Gesamt datenwerk. Konnektivitaet, Transformation und Tranzendenz. Kunstforum (Koeln), September/Oktober, 103, pp. 100-109.
ASCOTT, R. 1989. The Prospect of a Telematic Culture. In: G.De ZEEUW and R. GLANVILLE, eds. Mutual Uses of Cybernetics and Science. Amsterdam: Thesis Publishers , pp. 13-18.
ASCOTT, R. 1989. Art and Education in the Telematic Culture/ Kunst und Erziehung in der telematischen Kultur. In: M.EISENBEIS and H.HAGEBOeLING, eds. Synthesis - Visual Arts in the Electronic Culture/ Die visuellen Kuenst in der elektronischen Kultur . Offenbach am Main: Hochschule fuer Gestaltung, pp. 184-203.
ASCOTT, R. 1988. Kunst und Erziehung in der telematischen Kultur. Bildende Kunst, (East Berlin), pp. 61-63.
ASCOTT, R. 1988. Art and Education in the Telematic Culture. Leonardo, Supplemental Issue, September, pp. 7-11.
ASCOTT, R. 1988. Supervernetzung in Unendlichen Datenraum / Superconnectivity in Deep Dataspace. In: J. COLDEWAY, ed. Anthologie Medienkunst, European Media Art Festival. Osnabrueck, pp. 332-336.
ASCOTT, R.Supervernetzung in Unendlichen Datenraum. In: P. PURGATHOFER, ed. Zwischen Null und Eins. Wien: Technische Universitaet, pp.53-59.
ASCOTT, R. 1988. Editorial: On Networking. Leonardo (San Francisco), 21 (3), pp. 231-232.
ASCOTT, R. 1988. On Networking. In: G. FOSTER, ed. The Future Shape of Fine Art Education. Kingston Polytechnic, pp. 16-17.
ASCOTT, R 1987. Digitary-do. Australian and International Art Monthly (Sydney), October, pp. 21-22.
ASCOTT, R. 1987. The Telematic Moment. In: M. COSTA, ed. L"Estetica della Comunicazione. Salerno: Palladio Editrice, pp.81-84.
ASCOTT, R. 1986. Arte, Tecnologia e Computer. In: C.PIROVANO, ed.Arte e Scienza, Biologia, Tecnologia e Informatica. Venezia: Edizione La Biennale, pp. 187-188.
ASCOTT, R. 1986. Art, Technology and Computer Science. In: M. CALVESI, ed. XLII Esposizione d'Arte La Biennale di Venezia . Venezia: Edizione La Biennale,pp.33-35.
ASCOTT, R. 1986. Le Moment Télématique. Inter (Québec), Printemps, p.11.
ASCOTT, R. 1985. Concerning Nets and Spurs/Netze und Sporen. In: R. KRIESCHE, ed. Artificial Intelligence in the Arts. Graz: Steirischer Herbst, pp. 44-51.
ASCOTT, R. 1987. Art, Technology and Computer Science. In: Z. WIENER, ed. Cultura Digitalis. Wien: Osterreichische Wissenschaftsmesse, pp. 6-7.
ASCOTT, R. 1984. Art and Telematics: towards a network consciousness/Kunst und Telematik/L'Art et le Telematique. In: H. GRUNDMANN, ed. Art + Telecommunication. Vancouver: The Western Front, pp. 25-67
ASCOTT, R. 1984. Behaviour at Table. In: Architectural Projects and Drawings from the Studio of Alsop, Barnett & Lyall. London: Architectural Association.
ASCOTT, R. 1983. La Plissure du Texte. In: F. POPPER, ed. Electra. Paris: Musée d'Art Moderne, pp. 398-399.
ASCOTT, R. 1980. Towards a Field Theory for Post-Modern Art. Leonardo (San Francisco),13, pp.51-52.
ASCOTT, R. 1979. The Cybernetic Stance: my process and purpose. In: F.MALINA, ed. Visual Art, Mathematics and Computers. Oxford: Pergamon, pp. 135-142.
ASCOTT, R. 1970. The Psi-bernetic Arch. Studio International (London), April, pp. 181-182.
ASCOTT, R. 1970. Behaviourables and Futuribles. Control (London), 5, p.3.
ASCOTT, R. 1968. Artists on their Art. Art International (Zurich), 12, p.22
ASCOTT, R. 1968. The Cybernetic Stance: my process and purpose. Leonardo (San Francisco), 1, pp.105-112
ASCOTT, R. 1966.Statement. Control (London), 1.
ASCOTT, R.1966. Behaviourist Art and the Cybernetic Vision. Cybernetica, Journal of the International Association for Cybernetics (Namur), 9, pp. 247-264.
ASCOTT, R.1967. Behaviourist Art and the Cybernetic Vision. Cybernetica, Journal of the International Association for Cybernetics (Namur), 10, pp. 25-56
ASCOTT, R. 1964. The Construction of Change. Cambridge Opinion (Cambridge), pp.37-42.
ASCOTT, R. 1964. Diagram Boxes and Analogue Structures. London: Molton Gallery.
ASCOTT, R. 1959. Paul Cezanne: a study of the work of Paul Cezanne with special reference to the period 1878-1906. BA Fine Art Hons Dissertation. Newcastle upon Tyne: King's College, University of Durham.

Textes traduits en français :

Ascott, R. 1996. L'architecture de la cyberception. Les cinq sens de la création. M. Borillo, M. et Sauvageot, A.. Seysell: Editions Champ Vallon, pp.184-194.
Ascott, R. 1996. Esthétique de la Cyberculture. atopie (Neuilly sur Seine), 2. pp.1-4.
Ascott, R. 1995. L'esthétique de la Cyberculture . Spirale (Montreal), Septembre-Octobre, pp.24-25.
Ascott, R.1995. Télénoia . Esthétique des arts médiatiques. (Tome 1) Poissant, L. Québec: Presses de l'Université du Québec, pp.363-384.
Ascott, R. 1995. Nature II. Esthétique des arts médiatiques (Tome 2) Poissant, L..Québec: Presses de l'Université du Québec, pp. 437-452.
Ascott, R.1995. Cyborg est un verbe/Cyborg is a verb. International Directory of the Electronic Arts / Guide International des Arts Electroniques. Bureaud, A. Paris: CHAOS, pp 8 -13.
Ascott, R. 1994. La mort de l'artifice et la naissance de la vie artificielle: une approche connectivisteArt Cognition. Pratiques Artistiques et Sciences Cognitives. Partouche, M. Aix-en-Provence: Cypres/Ecole d'Art, pp. 176-185
Ascott, R. 1994. De l'apparence à l'apparition: communication et conscience dans la cybersphere, Terminal (Paris), 63, pp. 27-38
Ascott, R. 1992. La photographie a l'interface. Digital Photography. Bureaud, A. Paris: Centre National de la Photographie, pp. 3-6.
Ascott, R. 1992. Mind City /Cite Cerveau. Art-Réseaux. O'Rourke, K. Paris: Editions du C.E.R.A.P., pp. 68-69.
Ascott, R. 1986. Le Moment Télématique. Inter (Quebec), Printemps, p.11.
Ascott, R. 1984. L'Art et le Télématique. Art + Telecommunication. Grundman, H.Vancouver: The Western Front, pp. 25-67
Ascott, R. 1983. La Plissure du Texte. Electra.. Popper, F. Paris: Musee d'Art Moderne, pp. 398-399.

Commissioned Reports:

ASCOTT, R. 1996. Identity in Cyberspace: Pilot Project for a European Cyberspace Collegium. Commission of the European Communities, D.G.XXII, Brussels. (8 pp. + CD ROM)
ASCOTT, R. 1993. Das AEC als Datapool. In: H. LEOPOLDSEDER, ed. AEC, Ars Electronica Center Projectstudie. Linz: ORF, pp.II/1-II/48
ASCOTT, R. 1986. Projet de création d'un centre de formation et de recherches visuelles dans la region Nord-Pas-de-Calais. A Report to the Conseil Regional, Lille, 30 pp.

Expositions - projets télématiques

Televator: Interactive elevator, permanent installation. Designed by Roy ASCOTT.1996. Linz: Ars Electronica Center.
Identity in Cyberspace: WorldWideWeb and CD ROM project between artists in Newport, Barcelona and Dublin. Directed by Roy ASCOTT. 1996. Newport: CAiiA.
Roy Ascott's telematic art projects from 1984-94. Video documentation by Roy ASCOTT. 1995. Milan: Triennale di Milano.
Gasflow. Telematic project, Internet and walkie-talkies in a text/sound interchange. Directed by Roy ASCOTT. 1994. Amsterdam: Mission Impossible, Gashouder.
Telenoia: a global networking project for the eighth day of the week.. Telematic project using vidphone, fax, BBS, EARN. Directed by Roy ASCOTT. 1992. 's-Hertogenbosch: V2 Organization.
The Geometry of Silence. Distributed sound installation. Directed by Roy ASCOTT. 1992. Vienna and Innsbruck: Museum Moderner Kunst and Ferdinandeum.
Virtuelle Werelden. Documentary exhibition of computer communication projects by Roy ASCOTT, Peter BEYLS and Hugo HEYRMAN. 1991. Antwerp: Internationaal Cultureel Centrum.
Texts, Bombs and Videotape .(Slowscan TV, digital image and fax exchange between artists in Vancouver, Pittsburgh , Vienna, and Bristol. Directed by Roy ASCOTT. 1991. Bristol: Watershed Media Centre.
Aspects of Gaia: digital pathways across the whole earth . Interactive art installation and telematic project with artists in three continents.Directed by Roy ASCOTT. 1989. Linz: Ars Electronica Festival of Art and Technology.
Making the Invisible Visible . Telematic image/text exchange between artists at University of Applied Arts, Vienna, Carnegie-Mellon University and University College London). Directed by Roy ASCOTT. 1988. Vienna: Hochschule fuer angewandte Kunst.
Digital Body Exchange . Digital image network between artists in Gwent, Perth, Sidney, Vienna, and Pittsburgh. Directed by Roy ASCOTT. 1987.Vienna: Hochschule fuer angewandte Kunst.
Planetary Network: Laboratory UBIQUA .Artists in three continents interacting through computer networks, videotex, slowscan TV, fax ). Directed by Roy ASCOTT, Don FORESTA and Tom SHERMAN. 1986. Venice: XLII Esposizione d'Arte La Biennale di Venezia.
Sonart: l'image à distance par son. Slowscan TV by short wave radio transmission, Alma - Quebec, Pittsburgh. Directed by Roy ASCOTT and Robert ADRIAN. 1985. Alma, Quebec: ANNPAC/RAC.
Organe et Fonction d'Alice au Pays des Merveilles . Interactive videotex project (Minitel). Directed by Roy ASCOTT. 1985. Paris: Centre Pompidou, Les Immateriaux.
La Plissure du Texte (A Planetary Fairy Tale). Telematic project between artists in Paris, Amsterdam,Vienna, Bristol, Sydney, Vancouver, Pittsburgh, Toronto, San Francisco, Honolulu, Alma. Directed by Roy ASCOTT.1983. Paris: Musee d'Art Moderne.
Four Wings (Planetary I Ching), International Telematic project . Directed by Roy ASCOTT. 1982. Linz: Ars Electronica Festival.
Terminal Art, First International Artists' Computer Conferencing project , USA - UK. Directed by Roy ASCOTT. 1980. Bristol.

Solo Exhibitions of Paintings and Constructions by Roy ASCOTT:

1980. Dartington Hall, Totnes.
1978. Anna Gardner Gallery, Stinson Beach, California
1972. University of Guelph, Ontario
1970. Angela Flowers Gallery, London
1969. Exe Gallery, Exeter
1968. Ikon Gallery, Birmingham;
1968. Laing Art Gallery & Museum, Newcastle upon Tyne
1965. Hamilton Galleries (Annely Juda), London;
1965. Queen's University, Belfast
1964. Gallerie Suzanne de Conninck, Paris
1963. Molton Gallery, London
1961. Artists International Association Gallery, London;
1961. St.Johns Gallery, York
1960. Univision Gallery, Newcastle upon Tyne.

Paintings and Constructions by Roy ASCOTT were shown in numerous group exhibitions in the UK , France, Spain, Sweden, and Germany between 1960-1970.

Three works of Roy ASCOTT made in the 1960s were included in the exhibition The Sixties Art Scene in Britain at the Barbican Art Gallery, London, March-June 1993.

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