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BIBLIOGRAPHY:

Baig, E (1994) 'The Information Society', Financial Review - Weekend 27/5/94

Casimir, J (1989) 'The bumpy and the weird', Sydney Morning Herald 8/11/89

Debord, G (1977) Society of the Spectacle, translated by Black and Red, Detroit: Black and Red (original text published as La societie du spectacle (1969) Paris: Editions Buchet-Chastel

Ellard, T (1994) 'Authoring for CD-ROM', Australian Digital n4 Gorham, R & Nakache, 'Star Moves - Choreography in the A (1993) Australian Music Video', Perfect Beat v1n3 July

Harley, R (1995) 'Acts of Volition', Perfect Beat v2n3, July

Hayward, P (1993) Situating Cyberspace: The Popularisation of Virtual Reality' in Hayward, P and Wollen, T (eds) Future Visions, London: BFI

Higgins, D. (1994) 'Interactive Move into Pop market' The Australian 9/8/94

Holmes, P. (1994) 'New Girlfriend to call the shots' The Sun Herald 30/10/94

Humphries, A (1994) 'INteractiveXS', Rolling Stone (Australia) n493, February

Lambert, S & Ropiequet,CD-Rom - The New Papyrus, Perth: 1986 S, (eds)

Lowe,S. (1994) 'Future Shock', Sydney Morning Herald 6/9/94 Pacific Advanced Media 'Core Characteristics of a Viable Multimedia & Hooton and Perkins Industry' (mimeo) June Richardson, A (1994) 'E-mail bonding', New Musical Express 15/10/94

Rickett, F (1993) 'Multimedia', in Hayward, P and Wollen, T (eds) Future Visions, London: BFI

Robotham, J (1994) 'Dreaming of a byte Christmas' Sydney Morning Herald 6/9/94

Roxworthy,R. (1994) 'Wired for Sound' Desktop n82, July.

Snider, B (1994) 'Rocket Science, Wired n2.11 November

Ward, P. (1994) ' Peter Gabriel's XPLORA 1' Digital Magazine n2 Unattributed 1994a 'Audio gets Active" Desktop n82 July

Wise, A. (1994) 'Blueprint for the Future' Desktop n84, September

INTERVIEWS:

CD-ROMOGRAPHY:

ENDNOTES:

1 Debord : 69. NB all numerical references for quotes from Debord refer to number sections in the text (there are 221 in all) rather than pages. Most (if not all) translations of La societie du spectacle eschew traditional page numbering in deference to the format of Debord's original (French language) publication.

2 It is also not without its ironies that Debord's characterisations of the society of the spectacle were in many ways ahead of their time. His characterisations of contemporary society are, arguably, even more appropriate to 1994, the 25th anniversary year of Society of the Spectacle's initial publication (and also the year of Debord's suicide); than they were to the society of the Sixties. (For a discussion of Debord and the Situationists relationship to theories of Postmodernism (and other issues) see Plant, S (1992)The Most Radical Gesture: The Situationist International in a Postmodern Age, London: Routledge).

3 Rather than, for example, any pronounced attempt to exploit other age and/or gender sectors in new or more concentrated ways.

4 and other ventures such as music video jukeboxes.

5 Unattributed, Financial Review 12.8.94.

6 Advertisement for Guy CD-ROM Pools of Reflection in the Australian Music Industry Directory, January 1994.

7 Prince's first CD-Rom, simply titled Interactive, was released in (Northern) Summer 1994

8 Cited in Lowe, S (1994) 'Future Shock' Sydney Morning Herald 6.9.94

9 Figures cited in Lowe

10 For a discussion of the technologies commonly referred to under the term 'multimedia', see Rickett (1993)

11 Interview with Geraldine Orrock.

12 For a discussion of Australian music video budgets and their comparison to UK and USA figures see Hayward, P (1993) 'Australian Music Video Production', paper given at IASPM International Conference, University of the Pacific, Stockton, California July 1993

13 Breen, cited in Gorham and Nakache: 34

14 ibid: 35

15 See for instance the line adopted in Holmes (1994)

16 Figures cited by Seaton, interview with Geraldine Orrock

17 The "buzz" phrase coined by Pacific Advanced Media when they released the Guy Delandro multimedia package.

18 These video sequences are approximately 10cmx8cm in size on a standard pc screen

19 cited in Ward; 1994

20 For a profile of Severed Heads' career see Harley, R (1995)

21 The CDI format was jointly developed by Philips, Sony and Matsushita and introduced into the market place in the late 1980. For further discussion of the CDI format see Rickett: 80-89

22 Interview with Geraldine Orrock

23 See, for instance, Conomos, J (1994) 'Towards a digital multi-media republic', EMA Bytes (the newsletter of Electronic Media Arts Australia) December

24 Interview with Geraldine Orrock

25 See footnote #1.

26 Cited in Burr: 110

27 Described by Snider as "the largest producer of hardware peripherals for the Macintosh" (Snider: 110)

28 An approach which author Burt Snider describes as akin to the formation of rock 'supergroups' such as 1960s British band Cream. Snider also notes that RSG co-founder Steve Blank "doesn't shrink from the comparison", Burr: 110

29 There was also, briefly, an unauthorised Elvis Web page, set up by a college student in mid-1994 that featured sound extracts and a graphic representation of Elvis's former residence Graceland. This was shut down in November following action from Elvis Presley Enterprises.

30 See Hayward (1993): 189-194 for further discussio

31 Which was accessed by 30,000 readers during November-December 1994, its first two months of operation (cited in (unattributed) 'PWEI go digital', New Musical Express 21/1/95