Leonardo Electronic Almanac Volume 4, No

Home , Pamela Z

/ ____ / / /\ / /-- /__\ /______/____ / \ ======Leonardo Electronic Almanac Volume 4, No. 10 October 1996 Craig Harris, Executive Editor Roger Malina, Editor Patrick Maun, Editor

Editorial Advisory Board Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey, Joan Truckenbrod ISSN #1071-4391 ======______| | | CONTENTS | |______| INTRODUCTION < This issue > Craig Harris

PROFILES < Sonic Circuits IV - Art on the Electronic Edge > Craig Harris < @art gallery - Pleasured Spaces > Joseph Squier < The Lumonics Web Site - Transformative Art--Multi-Media Theatre of the Future > Dorothy Tanner and Marc Billard

LEONARDO DIGITAL REVIEWS Roger Malina et al < Film Review: Kisses Sweeter Than Wine - By Vyvind Fahlstrvm > Reviewed by Diana Meckley < Cd-ROM Review: Folklore - by Forrest Fang > Reviewed by Axel Mulder < Catalogue Review: The Interaction ‘95: Dialogue with Media Art > Reviewed by Axel Mulder < Book Review: Brain Asymmetry - edited by Richard J. Davidson and Kenneth Hugdahl > Reviewed by Istvan Hargittai < Exhibition Review: SFMOMA/ISEA96 > Reviewed by Sonya Rapoport < Reviewer’s Bio: Diana Meckley > < Digital Review Notes >

PUBLICATIONS < CDCM Series releases V. 23 >

ANNOUNCEMENTS < CONSCIOUSNESS REFRAMED - Art and Consciousness in the Post-Biological Era > < Sixth Annual Florida Electroacoustic Music Festival >

OPPORTUNITIES < Thunder Gulch Arts and Technology Center Seeks Director > < Faculty Vacancy: Assistant Professor of Computer Music > < Sheffield University Sound Studio - Composer Residencies 1997/8 >

1 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 < 1997-1998 IBM POSTDOCTORAL FELLOWSHIP IN MATHEMATICAL SCIENCES >

ACKNOWLEDGEMENTS LEA WORLD WIDE WEB AND FTP ACCESS LEA PUBLISHING & SUBSCRIPTION INFORMATION ======______| | | INTRODUCTION | |______| < This issue > Craig Harris This month we have an extensive perspective on an event being held in Minneapolis and St. Paul, Minnesota USA, reflecting a variety of artists incorporating sound and music in their art work. LEA readers will find a lot of information on the LEA web site, and more will be loaded up in the coming days and weeks. In addition to the events taking place this week, we will be providing video footage, sound clips and additional insights on the web.

I am very pleased to report that Leonardo Electronic Almanac will have a new look and feel in the next few months, as well as the benefit of new editorial input, due to the participation of artist and web master Patrick Maun. Patrick is working with us to revamp our site, and this will have a monumental effect on accessibility and navigation. His background is broad and international in scope, and he has worked on several virtual museum and web art projects. We provide a brief bio statement in the Sonic Circuits IV material below. We welcome Patrick to LEA, and LEA subscribers will be seeing the results of his input very soon. ======______| | | PROFILES | |______| < Sonic Circuits IV - Art on the Electronic Edge >

Minneapolis/St. Paul, USA November 6, 8 & 9, 1996

Science Museum of Minnesota Auditorium 30 East 10th Street Saint Paul, MN 55101

Intermedia Arts 2822 Lyndale Avenue South Minneapolis, MN 55408 Tel: 871-4444 Fax: 871-6927 Email: [email protected]

American Composers Forum 332 Minnesota Street, Suite E-145 St. Paul, MN 55101-1300 Tel: (612) 228-1407 Fax: (612) 291-7978 Email: [email protected]

URL http://www-mitpress.mit.edu/LEA/profiles/sonic4/sonic4.html http://www.intermediaarts.org

Art on the Electronic Edge is a constellation of three events

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 2 designed to illuminate creative and sociological issues relating to the genre of art emerging at the intersection of electronic technology and contemporary culture. Sonic Circuits IV is the fourth year of American Composers Forum’s international festival of electronic music, and this is the second year that the scope has broadened to include electronic art in any medium. A diverse group of artists working in new media will share their work and perspectives with an active and participatory audience, challenging traditional conceptions about art, presentation and performance. It is produced by the American Composers Forum and Leonardo Electronic Almanac, and is presented in partnership with Intermedia Arts and the Science Museum of Minnesota Computer Education Center. Some of the material described below is featured on a new CD produced by the American Composers Forum on the Innova label.

Participating Artists ------Carei Thomas - Connective, Collective Eye(i) Charles Mason - Mirrors, Stones, and Cotton Craig Harris - Configurable Space Environment David Claman - ‘70 David Revill - Meditations Erik Belgum - Life’s Big Dream Home Fritz Bergmann - Ain’t Nothing but... Joan Truckenbrod - Confronting Tradition Maggi Payne - Apparent Horizon Mark Applebaum - S-tog Pamela Z - Geekspeak Patrick Maun & Carl DiSalvo - Orchestration of the Opticon Paul Higham - Heuristicles Crossing Autolympus Reynold Weidenaar - Long into the night, Heavenly Electrical Music Flowed out of the Street Robert Delutri - Aesthetic Meditations - Aesthetic Agenda ... Insights Shane Oslund - The Idiot Box Takashi Harada - Untitled

Robert Delutri - Aesthetic Meditations - Aesthetic Agenda ... Insights ------I have been working as an artist for over 25 years. I have BA degrees in Art and History and a couple of years of graduate work in Training and Instructional Systems, Art and Art History. Over the last 25 years I have exhibited extensively through out the midwest and have work in numerous private collections around the country. My work pursues a purely AESTHETIC AGENDA . Since the late eighties I have offered courses on aesthetics through a variety venues. I will be offering 2 courses through the Minnetonka Center for the Arts in the fall of ‘96: Is It Art? and AESTHETIC MEDITATIONS .

‘Research’ into High Energy Particle Aesthetics :

This presentation will explore examples of my work and insights that have evolved out of my

THEORY OF AESTHETIC RELATIVITY - A = EC3 , NONLINEAR ASYNCHRONOUS AESTHETIC TRANSFORMS and other concepts. My work presents technology as an intrinsically positive and inevitable component of our growth and evolution, both as individuals and as a species, that is

3 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 inextricably intertwined with the aesthetic experience. We do, however, need to be thoughtful and responsible in where and how we use it.”

Paul Higham - Heuristicles Crossing Autolympus ------I am currently working on comp/cad audio sculptures and researching Tibetan logic & Artificial Intelligence/automata. I have performed sound installations around Europe and in 1986 I entered a Tibetan Buddhist monastery where I remained for two years studying sound theory and Tibetan logic (lo-rig). I am a multi media artist working with audio, sound design, installation, holography, video and electronic arts. As a graduate of Goldsmiths, London, in the early seventies I became fascinated by the autological & axiomatic recursive model, seeing in concept tableau the vivification & personification of this; the cartoon form amplified as automata. Having read Von Neuman’s research in game theory I proceeded to build iconic/hybrid sound models which, as intangible properties, were placed within the legend of illusionist void dioramas.

Extending the physics of riefied architecnres using sound as objectified symbolic models and manipulating them in virtual space with custom avatar agencies. These concrete topologies are yoked sequentially as an event function: autophoneme, automorpheme to create stylized law change as it evolves within /without the facade of the 3 times and the 4 directions. (Quadrature).

Heuristicles Crossing Autolympus is a hybrid multimedia electroacoustic installation yoking vr-generated & animatronic models.

surveillant simultaneous schemata on the cusp of causal nexus. ‘Procession once upon a causal nexus orienting on the animus cusp; repealing Quadrature.’ Modelling synthetic topologies/repealing quadrature’ or ‘ The sound of the plough blunting the carriage’s roof.

Joan Truckenbrod - Confronting Tradition ------Joan Truckenbrod is creating artwork that is part of the new genre of art emerging at the intersection of electronic technology and contemporary culture. She has exhibited her artwork internationally, including the IBM Gallery in New York City, the Smithsonian Institution in Washington, D.C., Museu de Arte Moderna in Rio de Janeiro, Musee d’Art Modern de la ville de Paris, Paris, Les Cite des Arts et des Nouvelles Technologies de Montreal, Galerie Eylau’5 in Berlin and the Villa Chianni in Lugano, Switzerland. She has been a Visiting Artist at numerous Universities and Colleges, and has given presentations of her artwork at various conferences throughout the US and Europe.

Joan will present and discuss her interactive scrapbook interface, as exemplified in her work Confronting Tradition at the Science Museum event, and the installation will be incorporated into the activities at Intermedia Arts. This interactive installation questions the traditional prescription for constructing families and raising children. In America, people are not free to form partnerships and families of their choice; and they do not have social, economic or political support for raising children. The intention of this installation is to activate viewers to address these issues. This installation is immersive - in the physical

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 4 sense, not the virtual. It ventures into the controversial area of domesticity in art. As the artwork addressed issues of partnerships and newform families, the setting is a living room environment. The home is one of the most fertile areas in one’s memory for stimulating a response. It is one of the most vital areas of emotional experience. An interactive scrapbook with corresponding computer movies, triggers their personal memories. The viewer is entangled in the sticky matrix as their own memories surface. Dynamic tensions result from the disparity between images in the scrapbook and their own personal narrative. The real interface between this artwork and the participant becomes their own memories evoking powerful emotions. This artwork reverberates - both positively and negatively- like the ripples in a pond.

David Revill - Meditations ------David Revill is an English composer and percussionist who has performed, lectured and broadcast in countries such as Austria, Canada, France, Germany, Poland, Romania and the USA. He was commissioned composer at the University of Wisconsin - River Falls (1994), Guest Composer at the UW-Eau Claire (1996), and next year will be based in Minnesota as McKnight Visiting Composer. Revill will create different versions of his work Meditations for the Science Museum and Intermedia Arts events. Meditations mixes live performance with sound recordings and computer projections, examining the relations between science, art and technology through detailed theoretical analysis, improvisation upon other presentations - and playful mosaic and anecdote suggestive of the balance in our lives between diversity and saturation. Different versions of Meditations will be presented at the Science Museum and Intermedia Arts events.

Patrick Maun & Carl DiSalvo - Orchestration of the Opticon ------Patrick Maun is a media artist working with combinations of video, sculpture, interactive installation, online communications, sound, and still work. His work explores issues in communications, community, history, and myth. His work has been in both solo and group exhibitions and festival nationally, in Europe and South America. Most recently he has shown in the Digital Salon in New York, and currently has a solo exhibition at the International Gallery of Contemporary Art in Minneapolis.

Carl Francis DiSalvo is a media artist and theorist interested in the technologically mediated knowledge experience. His work bridges the disciplines of philosophy, information science, and art, through research, writing, and visual experimentation. Most recently he published an article on typography and the visual experience in Emigre, and his CD-ROM “Blinded...”, on the philosophy of George Bataille, is circulating the media festival circuit.

During the performance events at Intermedia Arts and The Science Museum as part of Sonic Circuits IV Patrick Maun and Carl Francis DiSalvo will provide multiple and manipulated views of the ongoing performance to the audience via video/audio inputs, realtime manipulation of said signals, and their subsequent outfeed to monitors set about the room.

Craig Harris - Configurable Space Environment ------Craig Harris is a composer, media arts/design consultant, writer and educator. His artwork includes works for concert performance, music theater and performance art, dance, video, multimedia and

5 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 art installation. Harris is Executive Editor of the Leonardo/MIT Press electronic journal Leonardo Electronic Almanac, and is contributing author for the Leonardo Book Series. In the fall of 1995 he was the Guest Artist at the Brazilian Symposium on Computer Graphics and Image Processing, and Guest Composer at the School of Music at the Universidade Federal de Minas Gerais, in Belo Horizonte, Brazil. The American Composers Forum and the Jerome Foundation awarded a 1996 Composers Commissioning Program grant to create a recital work for opera singer RenŽe Fleming. His multidimensional Configurable Space environments have reached international acclaim, acting as a nexus for exploring issues of culture and communication. He is designing one of his Configurable Space eventsat Intermedia Arts, incorporating the work of all participating artists into a fluid multimedia experience.

Takashi Harada - Untitled ------Takashi Harada, internationally-acclaimed performer of the Ondes Martenot, has appeared with leading orchestras and soloists, and has had extensive involvement performing and composing for NHK (Japanese Broadcasting Corporation) and numerous musical groups. His repertoire covers a wide range of 20th-century works and runs the gamut of musical genres, including rock, jazz and improvisation. He has played more than 170 new pieces for the ondes Martenot, and has received the Global Music Promotion Award, the Idemitsu Music Award and the Hida Furukawa Music Award. Takashi Harada is the only ondist in Japan, and one of the best in the world. His performances and compositions are released on the JVC, Fontec, Decca and other labels.

Charles Mason - Mirrors, Stones, and Cotton ------Mirrors, Stones, and Cotton for guitar and tape was composed during a residency at the Hambridge Center. It was realized in the Birmingham-Southern Electronic Music Studio. The title relates to the sound colors, composing envoronment, and the nature of the piece itself.

Charles Norman Mason has degrees from the University of Miami and the University of Illinois. He is the recipient of numerous awards including those from NEA, the Dale Warland Singers, The Alabama Council of the Arts, BMI Young Copmposers Competition, the Panoply of the Arts competition, the Delius Award, the Seaside Institute as an “Escape To Create” residency, First Prize in the City Stages Classical Music competition, and the International Bourges Electro-Acoustic Composition Competition. He currently serves as vice president of programming on the board of SEAMUS and is Managing Editor of the international new music journal, LIVING MUSIC. He is also chair of the division of fine and performing arts at Birmingham-Southern College. His music is published by ACE and is recorded on the Innova, North/South Consonance, Living Music, and Seamus labels.

Christopher Kachian, guitarist and blues harpist, has given over 400 performances in the UK, Ireland, Austria, Italy, Germany, Luxembourg, France, Russia, Africa and throughout the USA and South America. Since 1986, he has performed regularly with three German orchestras: Heidelberger Kammerorchester, Kammerensemble Cologne and Radio Symphonie des Hessischer Rundfunk. American performances have included over 1000 solo and chamber music concerts, the vast majority of them dedicated to works written in the last twenty years.

Reynold Weidenaar -

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 6 Long into the night, Heavenly Electrical Music Flowed out of the Street ------“Long into the night, heavenly electrical music flowed out of the street” prtrays an incident in the history of musical technology that took place on October 21, 1907. On that day, electricians of the New York Electric Music Co. were servicing a transmission wire that ran underneath Broadway and which connected the output of the Telharmonium -the first electrical music synthesizer - to subscribers. At quitting time, the men left a receiver in a manhole connected to the wire. The music emanating from the manhole was so strange, that the resulting rush-hour traffic jams in busy Madison Square so immense, that the event made front-page headlines in all the papers. The work begins with a brief, straightforward explication. Then the key visual and musical elememts are reconstructed as pictorial-aural rhythms of layered fragments--symbols of memory. Their continua having been ruptured, the dismantled images on the monitor become ephemeral. Yet their period context secures these shattered fragments in an encased reality of suspended time, conveyed as an exaggerated morphology, a fantasy of early technology. The source materiels for this work are historical photographs and drawings, recordings of antique autos, and one of the popular tunes that was heard by the crowds that gathered--”Kiss Me Good-bye and Go, Jack” (1901).

Reynpld Weidenaar, born in 1945, is a composer and video producer. He began composing electronic music in 1965 upon taking the first factory seminar on the Moog synthesizer. He remained in Trumansburg, N.Y., to found the Independent Elecyronic Music Center with Robert Moog and to become editor of Electronic Music Review. He later worked in Cleveland as a recording engineer, recording the weekly concerts of the Cleveland Orchestra under George Szell for broadcast syndication. He received a B.Mus. degree from the Cleveland Institute of Music in 1973, where he was valedictorian. After several years of working with electronic images on film, he moved to New York to pursue this interest. His second film, Wavelines II, received 15 awards. After receiving an M.A. from New York University in 1980, he began to work with video. His first concert video, “Love of line, of light and shadow: the Brooklyn bridge”, for clarinet, color video, and electronic sound, received the Grand Prize at the Tokyo Video Festival and numerous other awards. Since then he has produced five more concert videos; these works have received over 75 awards, 350 live performances, and over 2,500 screenings and broadcasts in their tape versions. He received a Ph.D. from N.Y.U. in 1989 and has been awarded an NEA Composer Fellowship, and Fulbright and Guggenheim Fellowships in video. He is Assistant Professor of Communication at William Paterson College, Wayne, New Jersey.

David Claman - ‘70 ------During the 1980’s I lived in Boston, and was peripherally involved in its then quite active punk/underground rock scene. “ ‘70 “ atteps to explore and transform certain elemental aspects of this music, including its tibral spectra and visceral power, and to suggest the athmosphere of exhuberance combined with danger which often suffused performances. At high volumes, sound seems to become a physical object pressing against you (thus this piece is meant to be pleyed loud.) At other times one may have a sensation of great speed, but simultaneously and strangely, stasis. David Claman (b.1958) comes from Denver, Colorado. He received a bachelor’s degree from Wesleyan University. where he studied the muisic of South India. He studied at the Longy School in

7 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 Cambridge, Massachusets, received a Master’s Degree in theory and composition from CU Boulder in 1993, and is currently a Ph.D candidate in composition at Princeton University.

Mark Applebaum - S-tog ------S-tog is an improvisational scheme based on the Copenhagen metro system. Players, while synchronized by stopwatches, take independent yet interactive trips of any chosen duration by following the time-tables and arriving, at specific times, at domains of cognitive influence (stations, renamed with abstract and musically suggestive names). S-tog was premiered in a trio format at AV-ART (Copenhagen) in 1991. Subsequent performances include a theatric arrangement commissioned by MANUFACTURE (Tokyo) in 1995 (12 players), a two piano version with Anthony Davis (1995), and a 90-minute solo performance with the Merce Cunningham Dance Company (1993).

Mark Applebaum was born in 1967 in Chicago. He sudied composition with Brian Ferneyhough at the University of California at San Diego from which he received his Ph.D. His music may be divided into three categiries: (1) Formal concert works, such as the recent Janus Cycle (including commissions from the Minnesota Composers Formu and The Paul Dresher Ensemble and performances by the Arditti String Quartet, percussionist Steven Schick, and cellist Eric Bartlett); (2) Trans-idiomatic improvisation, often employing self-designed and -constructed sound-sculptures made of hardware and junk mounted on electro-acoustic soundboards (including commissions from the Merce Cunningham Dance Company and the Tokyo ensemble MANUFACTURE); and (3) Jazz piano improvisation heard principally in the Mark Applebaum Trio (featured recently in a live simulcast concert on KSDS, jazz radio San Diego). In the fall Applebaum will teach at Carleton College as the Dayton- Hudson visiting Artist -in-Residence and fulfill a commission from Zeitgeist.

Fritz Bergmann - Ain’t Nothing but... ------Ain’t nothing but... is a blues for interactive computer-driven snthesizers and blues soloist. The piece cinsists of a number of discrete events (sequences) which are triggered by the performer using a foot pedal. The events range from longer harmonic/textural elements to single notes, cymbal strokes, or drum patterns. In the course of the piece these elements are triggered sequentially and/or layered in various ways. The soloist improvises over these “changes” and controls their flow based on his/her own pace. While these elements and their order are set, their timing is vary plastic, allowint fro tremendous variety in performance. Durations of performances have ranged from 10 to 15 minutes. Ain’t nothing but... was premiered in May 1995 by Chris Kachian.

Fritz Bergmann studied composition at Hamilton Coleege and at the University of Pennsylvania with Richard Wernick, George Crumb, and Ralph Shapey. His recent works explore improvisational structures in group or solo settings. In addition to his work in composition Fritz is an active member of the American Composers Forum, and has served as its Director of Development since 1987.

Christopher Kachian, guitarist, has given over 400 performances in the UK, Ireland, Austria, Italy, Germany, Luxembourg, France, Russia, Africa and throughout the USA and South America. Since 1986, he has performed regularly with three German orchestras: Heidelberger Kammerorchester, Kammerensemble Cologne and Radio

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 8 Symphonie des Hessischer Rundfunk. American performances have included over 1000 solo and chamber music concerts, the vast majority of them dedicated to works written in the last twenty years.

Pamela Z - Geekspeak ------Pamela Z is a San Francisco-based performance musician and composer who works primarily with voice, electronic processing, and sampling technology. She creates lush textures and frenetic rhythmic structures from fragments of her voice trapped in electronic processers during live performance and combines these sounds with melodic lines and spoken texts and punctuates them with found percussion instruments and exquisite gestural movement. She has a wide vocal range and employs a diverse array of styles from experimental extended techniques to operatic “Bel Canto”. Although she specializes in New Music, she also performs pieces from earlier periods, and her own work often straddles the ever blurring line between avant garde classical music and other categories of experimental modern music. Pamela Z has done solo performances in Bay Area galleries, theater spaces, and clubs since 1984 and has done numerous tours including appearances at the Knitting Factory and CBGB’s Gallery in New York and LACE in Los Angeles. She has done live and recorded vocal work for other composers, and has composed, recorded and performed original scores for choreographers and for film and video artists. Pamela Z, along with composer Donald Swearingen, has produced numerous multi-media/ multi-artist events in the series “Z Programs” in which her own work has been featured along with that of other artists doing experimental work in various genres. She composes for The Qube Chix, an interdisciplinary ensemble comprised of herself, vocalist Julie Queen, and choreographer Leigh Evans. She has done several concerts and experimental theater pieces with New Music Theatre (including their John Cage festivals) and has sung soprano with The San Francisco Symphony Chorus. She is currently developing new solo work utilizing a MIDI controller called The BodySynthTM which allows the performer to trigger sounds with physical gestures. Pamela Z holds a music degree from the University of Colorado at Boulder. Pamela Z created Geekspeak during a creative residency at the Xerox Palo Alto Research Center (PARC), where she had an opportunity to spend time with research scientists and technology developers.

Maggi Payne - Apparent Horizon ------I’m very much drawn to the desert landscapes and it occurred to me that it might be interesting to see what might be “revealed” from an overhead view. I used NASA footage taken by the Space Shuttle and Apollo series astronauts. It is at times difficult to distinguish earth views from space fron those I took on the earth’s surface. I took constant human chatter and transposed those sounds into sounds somewhat reminiscent of nature’s sounds or transformed them into somewhat “otherwordly” sounds. Sound sources consisted of transmissions from/through space from astronauts, satellite transmissions, ans shortwave radio broadcasts.

Maggi Payne is Co-Director of the Center for Contemporary Music, Mills College, where she teaches recording engineering, electronic music and composition. She received grants from the NEA, Mellon Foundation and Western States Regional Media Arts Fellowships Program. Works are available on Lovely Music, Music and Arts and Centaur labels.

9 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 Erik Belgum - Life’s Big Dream Home ------Recorded and mixed in 1995 during a residency at STEIM (Studio for Electro Instrumental Music) in Amsterdam, Life’s Big Dream Home uses heavily processedsynthesized speech to articulate the unspoken subtext of this dream home.

Erik Belgum’s book Star Fiction was published in 1996. Over the past 10 years, his writing has been published in over two dozen literary journals. The Dictionary of the Avant-Gardes calls him “Among the best of the younger writers of fiction, let alone experimental fiction.” His opera Retiremant Fund, written in collaboration with composer Eric Lyon, was released on CD at the end of 1996 and Retirement Fund II: The Audit premieres at the BONK! Festival in Florida in March, 1997. [[email protected]]

Shane Oslund - The Idiot Box ------“The Idiot Box” is a sarcastic musical commetary on television and its ever evolving role as teacher, mother, and cognitive pacifier. It opens with an associative improvisation between turntables, bass guitar, sampler, and a mid-sixties vacuum tube television. Impatient style changes and tempo shifts are combined with flashes of white noise to create the channel surfing effect that purveys the piece. Writing the composition began with collective improvisations based on stimuli provided via random samples of television, radio, film, video games, etc. I observed and collected the innate responses of the musicians and then used them as source material for the piece.

Shane Oslund was born September 15, 1973 in Coon Rapids, Minnesota. He is active primarily in improvisational and experimental/contemporary music circles as a composer and performer. Some of the artists he has worked with include, Metaphor, Leslie Ball, Dean Magraw, Tal Farlow, Roger Ames, The New Music Theatre Ensemble, members of Zeitgeist, Your Neighborhood Trio, The Dana Decker Quintet, and The Liars Club.

Carei Thomas - Connective, Collective Eye(i) ------Carei F. Thomas has been associated for a number of years with the literary, visual arts, dance, music, recovery, neighborhood, and Buddhist communities of the Twin Cities. Thomas is a 1993 Bush Fellowship recipient known throughout the arts community for his creative improvisational music (brief realities), spiritual energy and interdisciplinary vision. His compositions are multifaceted. They encompass an historic range of musical styles, always expressing social and personal experiences and observations. Thomas has a special interest in the healing aspects of sound and color and is developing a “jazz” form, easily accessed by all levels of humanity. Connective, Collective Eye(i) combines Thomas’ poetic expressions, music, imagery and improvisational commentary employing a variety of styles and resources. ************************************************************* < @art gallery - Pleasured Spaces >

Joseph Squier Email: [email protected] (ad319)

@art gallery URL: http://gertrude.art.uiuc.edu/@art

Pleasured Spaces

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 10 Barbara Degenevieve Paula Levine Lauren Weinger

@art gallery announces the opening of its latest exhibition, Pleasured Spaces, being held concurrent with a physical installation at the N.A.M.E. Gallery, Chicago, Illinois, USA.

The physical installation takes on pleasure, from subtle persuasions to legislation, the intent being to create a public dialogue and gather material on the pursuit and experiences of pleasure in fiction, fact, fantasy and everyday life.

The online component offers a glimpse into the sights and sounds of the installation, and will ultimately feature realtime video stills transmitted from the installation space.

Viewers are invited to visit the Pleasure Register, where they can contribute descriptions of their own pleasures. These will be incorporated into the evolving installation.

@art gallery is a project sponsored by the Center for Graphic Technologies and the Advanced Information Technolgies Group, University of Illinois at Urbana-Champaign. Exhibitions are curated by Nan Goggin and Joseph Squier. ************************************************************* < The Lumonics Web Site - Transformative Art--Multi-Media Theatre of the Future >

Dorothy Tanner and Marc Billard Lumonics 3017 N.W. 60 St. Ft. Lauderdale, FL 33309 Tel: 954-979-3161 URL: http://www.lumonicslightandsound.com

Mel and Dorothy practiced their art in New York exploring painting and sculpture in an abstract mode. In search of something more, they left for Europe in 1965 to try to find a more satisfying and expressive existence. Europe was another physical space that could not yield what was being sought after. They returned to the United States and stopped to visit in Miami. Twelve years later they were still there! What transpired in a parking lot in 1969 was nothing short of magic. Mel was struck by a beam of light that was a reflection from a jet airplane flying overhead; suddenly he was seeing himself on both sides of the parking lot simultaneously. His consciousness was transformed. Inside a split second he gained a completely different view of the world. This experience was transmitted to Dorothy, who having initiated the search for another direction, was in a ready state of understanding. Light, shape, color, sound, and water were to be their tools. A new artform arose out of this remarkable experience. All previous expertise with painting and sculpture were to be incorporated into Lumonics. The result of this encounter was the beginning of The Lumonics Light and Sound Theatre and Music Video production.

The intention of The Lumonics Light and Sound Theatre is the expansion of consciousness and the furthering of human potential. Our new website (10/24/96) is our attempt to reach a worldwide audience via the internet with a unique and creative artform. The Lumonics Theatre, creation of artists Mel and Dorothy Tanner, originated in Miami in 1969. It has also been presented in San Diego, Boston, and now resides in Ft. Lauderdale.

11 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 Our web site focuses on our multi-media performance theatre; comprised of lighted acyrlic sculpture, lasers, water sculpture, video, and music; all of which combine to create a healing and uplifting vibration; an antidote to the frenetic and often disturbing pace of life today.

We have developed an unusually effective approach to education using our abstract video tapes to stimulate creativity and inspire personal growth for students of all ages. The unique nature of the music and the multilayered imagery in the videos expand the consciousness as well as relax and energize.

Editor:Roger Malina Coordinating Editor:Kasey Rios Asberry Editorial Advisors:Chet Grycz, Judy Malloy, Annick Bureaud, Marc Battier

Review Panel (includes): Rudolf Arnheim, Marc Battier, Robert Coburn, Shawn Decker, Jose Elguero, Michele Emmer, Geoff Gaines, Bulat M. Galeyev, Thom Gillespie, Francesco Giomi, Istvan Hargittai, Gerald Hartnett, Paul Hertz, Curtis Karnow, P. Klutchevskaya, Richard Land, Barbara Lee, Roger Malina, Diana Meckley,Youri Nazaroff, Simon Penny, Clifford Pickover, Sonya Rapoport, Henry See, Kasey Rios Asberry, Jason Vantomme, Rainer Voltz, Christopher Willard, Stephen Wilson

< Film Review: Kisses Sweeter Than Wine - By Vyvind Fahlstrvm >

(a documentary from 9 Evenings: Experiments in Theatre and Engineering, Oct. 13-23, 1966.)

Billy Kluver, Producer, Barbara Schultz, Director. Anthology Film Archives, New York, Sept. 27, 1966.

Reviewed by Diana Meckley Email: [email protected]

In 1966, 9 Evenings: Experiments in Theatre and Engineering were held at the Armory in New York. Sponsored by Experiments in Art and Technology (founded in 1960 by scientist Billy Kl|ver and artist Robert Rauschenberg), 9 Evenings presented the work of eleven artists including Rauschenberg, Yvonne Rainer, and John Cage, who for close to a year had worked in collaboration with engineers from Bell Laboratories. Culled from original footage, Kisses Sweeter than Wine is the first in a series of eleven planned documentaries of the 9 Evenings. Through skillful editing, Vyvind Fahlstrvm’s complex work (“initiation rites for a new medium, Total Theater.”), is artfully recaptured.

Combining theater, sound, movement, music, film, and slides, Falhstrvm’s work was not atypical for a decade in which

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 12 technically adventurous, multi-media performances (with ties to Fluxus and happenings) were prevalent. Nonetheless, he merged his theatrical vision with technology in ways often surprising and memorable: large, undulating, tentacles made of “bubbles”, handfuls breaking off occasionally and floating away; men on swings with light-tipped “spears” implanted in their backs, repetitive sounds echoing their movements; steam emanating from a man’s side. Diverse socio-political elements^Wa man who recalls streams of pointless data; street reactions to demonstrators carrying posters of Bob Hope and Mao; a totem-like head (Lyndon Johnson’s), and a survey that asks “Are you happy?”^Wcoalesce in this thoughtful, ironic, and humorous work that is both a platform for and response to sixties technology. Kisses is not only an important historical “find” but illuminating for the interactive nineties. ======< Cd-ROM Review: Folklore - By Forrest Fang >

Cuneiform Records P.O. Box 8427 Silver Spring, MD 20907-8427, U.S.A. 1995

Reviewed by: Axel Mulder Email:[email protected]

On her CD entitled “Folklore”, Forrest Fang exercises the epic art of storytelling - from the 11th-century Sung Dynasty story of how Ts’ai Hsiang built the Chuan-Chou bridge, and the visionary diaries of the 16th-century Hispanic explorer Cabeza de Vaca, to Italo Calvino’s contemporary novel “Invisible Cities”, a fantasy based on historical accounts of 15th-century Mongol emperor Kublai Khan and his wife Chabui. The production company “Ominous Thud” has put down its foot with almost earthshaking consequences - there is no lack of pounding and pulsing thunders. These “thuds” are contrasted with dream-like sounds that can be melodious and harmonious, but refrain from any indulgent chord progressions. The choice of instruments used is wide - to name just a few, unusual instruments such as the mbiras from Botswana, the sanshin, i.e an Okinawan lute, Burmese gongs as well as a whole slew of other percussive instruments from Asia and the Pacific, Zulu and Yaqui cocoon pods as well as flower pots are all used with great creativity. These diverse and ancient sound traditions have been mixed down and orchestrated well - a balanced use of reverbs, a regulated density that however sometimes crosses over in chaos, a high level of presence and clarity, all supported by solid bass sounds have resulted in well articulated sound recordings. While these aspects of the quality of the recording are easily appreciated there are some stylistic elements that may sometimes annoy. The piece “An offering of wood” reminded me too much of the “New Age” type of music - dream-like music that seems to lack any motivation. In addition, the violin seems to be too electronic or artificial. In other parts of the CD, the often recurring lamenting sounds made me feel irritated. Nevertheless, there is no reason one wouldn’t enjoy most of this CD - let the omens thunder their ancient prophecies to you ! ======< Catalogue Review: The Interaction ‘95: Dialogue with Media Art >

International Academy of Media Arts and Sciences (IAMAS) Ogaki Japan

13 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 1995 55 pp., color illustrations English, Japanese Reviewed by: Axel Mulder Email:[email protected]

The celebration of the opening of the Gifu Prefectural International Academy of Media Arts and Sciences, an institution for the multimedia age, was accompanied by the publication of this little booklet containing small bits of information (text and graphics) about a variety of interactive artists such as Jeffrey Shaw, Agnes Hegedus, Michael Naimark, Luc Courchesne, Christa Sommerer and Laurent Mignoneau, just to name a few. The booklet is interesting because there aren’t many sources of information that present a variety of interactive artworks or artists together - given that the bits of information are very brief. The introduction to the booklet is a nice attempt to capture the field of interactive art in its current stage of development. The author, Itsuo Sakane, makes a point by saying that the art in interactive artworks “ ... exists because of interaction. A physical interface links the art work and the viewer. Only when a viewer manipulates that interface is the work completed”. So simple and clear. I like simple explanations in this complex world. Nevertheless, I guess you can follow me if I say it’s not an encyclopedia, but it’s one of these Sunday afternoon (for some it may be Monday morning ...) readers that are informative. The availability of this booklet may be limited due to the special occasion it was published for. ======< Book Review: Brain Asymmetry - edited by Richard J. Davidson and Kenneth Hugdahl >

MIT Press, Cambridge, MA, U.S.A., 1996. 735 pp. $35.00. ISBN: 0-2620-54079-7.

Reviewed by Istvan Hargittai Email: [email protected]

Bart Giamatti, a former scholar and Yale University president, subsequently became commissioner of baseball. He died suddenly of heart attack a few days after he had announced that the great baseball hitter Pete Rose was banned from baseball for gambling on baseball games. Richard D. Lane of the University of Arizona and J. Richard Jennings of the University of Pittsburgh discuss the possible connection between hemispheric brain asymmetry and the problem of sudden cardiac death. This is but an example of how far-reaching the implications of brain asymmetry may be. There is growing interest, even among the general public, in symmetry and asymmetry matters. The New York Times (February 8, 1994, “Why Birds and Bees, Too, Like Good Looks”), Newsweek (June 3, 1996, “The Biology of Beauty: What Science Has Discovered About Sex Appeal”), and even NBC’s Dateline (August 10, 1996) have recently devoted considerable space to them.

Since the mid-1950s physics has made big waves about the violation of parity although it concerns a tiny fraction of symmetry-related phenomena only. In materials science, the discovery of quasicrystals by Danny Schechtman characterized by previously “forbidden” fivefold crystallographic symmetry necessitated remaking the definition of what a crystal is. Brain asymmetry is a

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 14 massive phenomenon that has attracted the attention of generations of scientists virtually since the beginning of the nineteenth century. From early times the asymmetry of the brain was linked to handedness and language. Thus asymmetry was initially also associated with the human brain although its much more general nature was eventually recognized.

Today the study of brain asymmetry covers an extraordinarily broad and diverse range of research, including such disciplines as psychology, cognitive science, social studies, neurosciences, psychiatry, anatomy, endocrinology, and others. The editors of this volume took up an enormous task of bringing together an overview of the current status of brain asymmetry research by primarily U.S. authors, with contributions also from Canada, Germany, and Norway. The editors did not merely invite contributions; they also set up some guidelines for their authors. These guidelines consisted of questions referring to the model used in the investigation of cerebral laterization, the relationship of this particular model to other models, the methodology of the research by the authors and, finally, the major unanswered questions in the research of any particular area. The formation of these questions not only facilitated consistency in presentation, which always poses a great difficulty in multi- authored/edited books, but implicitly ensured that all authors involved would be active workers in their respective fields.

The total of 23 contributions are divided into nine sections: I. Historical Overview; II. Phylogenetic Antecedents and Anatomic Bases; III. Perceptual, Cognitive, and Motor Laterization; IV. Attention and Learning; V. Central-Autonomic Integration; VI. Emotional Laterization; VII. Interhemispheric Interaction; VIII. Ontogeny and Developmental Disabilities; and IX. Psychopathology. The book is nicely produced, at a remarkably low price. It will be of interest to all interested in symmetry/asymmetry matters, much beyond those who work in the immediate areas covered by the book.

Istvan Hargittai is Distinguished Visiting Professor for 1996-97 at the University of North Carolina at Wilmington, on leave from the Budapest Technical University. ======< Exhibition Review: SFMOMA/ISEA96 >

San Francisco Museum of Modern Art Electronic Media: 1996 SECA Awards September 12, 1996 to January 7, 1997

Reviewed by Sonya Rapoport Email: [email protected]

Because of Roger Malina’s comments about ISEA96 Rotterdam (in the RHIZOME CONTENTBASE web site http://www.rhizome.com) that the term “electronic art” is losing meaning - that it (the term) doesn’t group together related art making, and the additional comments by James Faure Walker who fears homogeneity and consensus, I am tempted to add to this dialogue because of my recent visit to the San Francisco Museum of Modern Art. Presented is an exhibition of this year’s Society for the Encouragement of Contemporary Art (SECA) Awards, “recognition of Bay Area artists of notable accomplishment and exceptional promise”. This is the first year that an award in Electronic Media is included and the impact of the cool, elegant venue in which the work of the four electronic winners is displayed is impressive after returning from the casual installation environment at the World Trade Center in Rotterdam. I didn’t realize until later that the electronic art on display in

15 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 the museum is being swallowed into the screened filter of sophisticated museumship and the work no longer appears to be cradled in the category of electronic art. I don’t know if this is good or bad; I had always felt that art is art and there should be no such categorical differentiations. In the museum the transition from electronic to art is seamless as I behold in a large dark room Jim Campbell’s life size erotic physical interaction via the video projection of two figures on an iceberg of virtual sheets. This version of another of his untitled odes to Heisenberg is a transformation from his Buddha in a small box, no stranger to us, and discussed by Barbara London in her plenary address at ISEA96. Displayed in another area are the antiquarian turn tables of Paul Di Marinis, sound heir to Tinguely. There composite sculptures pose majestically on pedestals. The conceptual use of technology of these two innovative electronic artists is subsumed by their smooth visual presentations. The exhibition of the electronic media prize becomes a compatible variety of electronic styles with the inclusion of Carol Selter’s scanned live little animals merging into 2D captivating photographic prints. While, on the other hand, Rebeca Bollinger’s work, the subject of Peter Lunenfeld’s presentation at ISEA96, reverses this dimensional process by transposing 2D words into a large 3D projection with sound. The barrier between electronic art and art continues to dissolve on the floor above where one of the traditional art SECA winners also employs video projections. Lacking in the exhibition is the cacaphony of experimental mismatches that I have observed and enjoyed at ISEA . Nobody ever had to remind me of their “electronic category”. However, sometimes I had to ask myself, “is it art?” Now I am beginning to feel uneasy about the assimilation.

Back to ISEA96, it’s excitement and vitality. Thank you, the Netherlands, for your hearts. We were all touched as well as enriched. And now to future ISEAs and the exhibitions at hand...

(the balance of this review appears at http://www- mitpress.mit.edu/Leonardo/reviews/books/rapo10.html) ======< Reviewer’s Bio: Diana Meckley >

DIANA MECKLEY, is a composer, writer, arts administrator, educator, and consultant. She has more than fifteen years experience in the field of arts administration, particularly in the creation and development of artistic and educational programs. She has been the Associate Director of New Music Distribution Service, Inc., and Associate Director and Acting Co-Director of Harvestworks, Digital Media Arts, where she directed the Artist- in-Residence and Commissioned Works/Sponsored Projects Programs, among others. She is currently a program writer, editor, and research assistant for ArtsConnection, a nonprofit arts-in- education organization. She has organized and sat on panels that award residencies and fellowships to performing, media, and visual artists and has developed and curated various programs including Harvestworks’ Listen In, a series of lectures and presentations featuring some of the most innovative and accomplished composers and media artists working today. Meckley received her B.A. in English (Summa Cum Laude) from the University of Colorado. She continued graduate work in Interdisciplinary Art Forms at New York University’s School of Education, where she specialized in electronic and electro-acoustic music.

Meckley’s work has been performed and broadcast in the United States, Canada, and Europe, and she has appeared both as a soloist and with her own ensembles. She has composed for a wide variety of instruments and sound sources--from electronically altered

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 16 voice to string quartet--and is the recipient of a number of grants and commissions including those from the New York State Council on the Arts, the Mary Flagler Cary Charitable Trust, Meet the Composer, New Radio and Performing Arts, and Arts Midwest. Conceptual “templates” from outside the musical realm (from linguistics, biology, complexity theory, etc.) often inform the overall formal structure of her work. More recent works focus on setting up interactions and juxtapositions between the same or similar material presented in different forms--acoustic ensemble or solo performers in combination with sampled and computer-edited material derived from those acoustic sources. Commenting on the premier performance of The Evolving Artifact (1991, for trumpet, trombone, and sampler/controlling keyboard), Village Voice critic and composer Kyle Gann wrote: “Meckley’s concept is to fold and stretch musical materials, using sampler and live instruments to turn noises into harmonies into melodies and vice versa--the first audible new metaphor that’s surfaced downtown in many years.”

Along with her work at ArtsConnection, Meckley also sits on the Board of Advisors for Harvestworks and acts as a consultant to arts organizations including the Pauline Oliveros Foundation. Her professional affiliations include Art and Science Collaborations, Inc., the American Association of Museums, and the College Art Association. In all her endeavors she has worked to; support the creation of new, often experimental, work by contemporary artists; to develop artistic and educational programs that are engaging and enlightening; and to encourage dialog about the arts and the place of the arts in our society. ======< Digital Review Notes >

Leonardo Digital Reviews is a review journal published regularly as a section of the Leonardo Electronic Almanac. Leonardo Digital Reviews covers publications, conferences, events and publicly presented performances and exhibits. The focus is the work of artists, scientists,technologists and scholars dealing with the interaction of the arts, sciences and technology. Topics covered include the work of visual artists, composers and multimedia artists using new media and technologies in their work, artists dealing with issues and concepts from contemporary science, the cultural dimensions of science and technology and the work of scholars and historians in related fields.

Specifically, we publish:: a) Reviews of publications in electronic formats (CD, CDROM, CDI, on-line, diskette, WWW, etc ...). b) Reviews of print publications, events, conferences, and exhibits dealing with art, science and technology. Accepted reviews will be published in Leonardo Digital Reviews. Reviews of key works will also be considered for publication in the Leonardo Journal and Leonardo Music Journal published in print by MIT Press. Selected reviews will also be republished in the Leonardo Almanac book published by the MIT Press.

Authors, artists and others interested in having their (physical) publications considered for review in Leonardo Digital Reviews should mail a copy of the publication to Leonardo, 236 West Portal Ave,#781, San Francisco, Ca 94127, USA. Event and exhibit organizers, and authors of virtual/electronic publications and events interested in having their event reviewed should send information in advance electronically (only) to: [email protected]

17 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 Individuals interested in being added to the Leonardo Digital Reviews review panel should email (only) their curriculum vitae to: [email protected]

We are particularly seeking reviewers who can review material in other languages than English. Unsolicited reviews are not accepted by LDR. ======< End Leonardo Digital Reviews October 1996 > ======______| | | PUBLICATIONS | |______| < CDCM Series releases V. 23 >

Larry Austin CDCM P.O Box 50888 Denton, TX 76206 USA TEL: 817-591-8128 FAX: 817-565 -2002 EMAIL: [email protected]

CDCM: Consortium to Distribute Computer Music announces the release, October, 1996, of its newest compact disc , “The Composer in the Computer Age--VI,” Volume 23 of the ongoing CDCM Computer Music Series on Centaur Records. Included are recent works by computer music composers Insook Choi, James Phelps, Zack Settel, and Frances White, performed by soprano Margaret Ball, members of the Cassatt Quartet, saxophonist Stephen Duke, and percussionist Brent Van Dusen. The works range in media from Choi’s “Lit” (1992-93), a composition for computer-generated sounds on tape; to Phelps’s “Sax Houses,” for soprano saxophone, NeXT computer and computer music on tape; to Settel’s “Hok Pwah” (1993), for soprano, percussion, and live electronics; to White’s “Trees” (1992), for two violins, viola, and computer music on tape. ======______| | | ANNOUNCEMENTS | |______|

< CONSCIOUSNESS REFRAMED - Art and Consciousness in the Post-Biological Era >

Roy Ascott, CAiiA Director Email: [email protected]

Joseph Auer, Conference Coordinator Email: [email protected]

Conference Coordinator, CAiiA Newport School of Art & Design University of Wales College, Newport

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 18 Caerleon Campus, Newport NP6 1YG UK Phone/Fax +44 (0)1633 432174 Email: [email protected] URL: http://caiiamind.nsad.newport.ac.uk

The 1st International CAiiA Research Conference “CONSCIOUSNESS REFRAMED - Art and Consciousness in the Post-Biological Era” is being organised by CAiiA - the Centre for Advanced Inquiry in the Interactive Arts, University of Wales College, Newport, UK, on 5 & 6 July 1997. LEA reported a brief mention in LEA 4-9, and here is additional information about this event.

This is an international conference to look at new developments in art, science, technology and consciousness. Papers, posters, multimedia presentations and performances are invited from artists, professionals, theorists and researchers in the arts, architecture, communications, education, biology, cognitive science, complexity and artificial life, and other relevant fields.

Deadline for Paper Abstracts and Multimedia Presentation proposals: 1 December 1996 Notification of acceptance: 10 January 1997 Deadline for Final papers, detailed Multimedia Proposals and/or CD ROM: 1 April 1997

CAiiA is a Research Centre of the University of Wales College, Newport, based in the Newport School of Art and Design, offering MPhil and PhD research programmes in the Interactive Arts. Fellows and post-graduate students are based onsite or online.

Newport School of Art & Design is located on the Caerleon Campus in a striking new building which has some of the best Art and Design facilities in Europe including studios, laboratories and workshops for Film, Animation, Sound, Installation, Photography, Telemedia, Electronics, Anamatronics, Multimedia.

University of Wales College, Newport is easily reached by road from the M4, by Rail or Coach (Newport) or by air (Heathrow and Gatwick Airports 3hrs drive, Cardiff International Airport approx. 20 miles). Caerleon Campus, overlooking the ancient village of Caerleon in the Vale of Usk, is located in some of the most beautiful and unspoilt countryside in Britain, from the Wye Valley in the East to the Black Mountains and Brecon Beacons in the North ************************************************************* < Sixth Annual Florida Electroacoustic Music Festival >

Dr. James Paul Sain, Director of Electroacousic Music University of Florida Department of Music P.O. Box 117900/130 Music Bldg. Gainesville, FL 32611-7900 Tel: (904) 392-9313 Fax: (904) 392-0461 Email: [email protected] URL: http://nervm.nerdc.ufl.edu/~fems/emufest6.html

April 10-12, 1997 University of Florida

Composer-in-Residence, Jon Appleton

19 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 A call for electroacoustic art music works that fit into the following catagories:

* works for tape alone * works for tape and instrumental solo - special interest in works including flute, saxophone, horn, trombone, piano, and percussion * works for tape and soprano solo * works utilizing interactive MIDI applications - special interest in works utilizing MAX

Deadline for the receipt of submitted work(s) is:

NOVEMBER 30, 1995

All works that include live performance need be accompanied by a tape of a performance or high quality realization. All submissions must include a performance tape on DAT or CD, performance parts and/or score, brief biography, and program notes. A SASE is _required_ for the return of all materials. Tapes of works selected for performance and those without SASE will become the property of the Florida Electroacoustic Music Studio. Composers selected for performance are expected to attend the festival.

A call for papers and lecture demonstrations dealing with all aspects of electroacoustic music, computer music, acoustics, psychoacoustics, and related topics are sought for presentation during the Fifth Annual Florida Electroacoustic Music Festival. Submissions in the areas of granulation synthesis, physical modeling of musical constructs, fractal composition, and neural network applications in music are encouraged.

Deadline for the receipt of submitted paper(s) is:

DECEMBER 6, 1995

Three copies of the completed paper should be accompanied by a brief biography. All papers submitted will become part of the Florida Electroacoustic Music Studio Library.

In its sixth year, the Florida Electroacoustic Music Festival has featured an international variety of contemporary electroacoustic art music. Past composers-in-residence have included internationally renowned composers such as Hubert S. Howe, Jr, Cort Lippe, and Gary Lee Nelson.

For more information on the electroacoustic music program at the University of Florida point your browser to the Florida Electroacoustic Music Studio home page: http://nervm.nerdc.ufl.edu/~fems ======______| | | OPPORTUNITIES | |______| < Thunder Gulch Arts and Technology Center Seeks Director >

Cynthia Pannucci Founder/Director Art & Science Collaborations, Inc. (ASCI) PO Box 358 Staten Island, NY 10301

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 20 Tel: 718 816-9796 Email: [email protected] URL: http://nttad.com/asci

Thunder Gulch seeks a dynamic Director to lead startup project combining arts and new technologies. Located at the New York Information Technology Center at 55 Broad Street, Thunder Gulch will create opportunities for artists through innovative collaborative ventures between the arts and new technology industries. Projects will take advantage of ITC’s high-bandwidth Internet connectivity and concentration of telecommunications activity. Thunder Gulch is a project of The Lower Manhattan Cultural Council, the arts council for the area south of Houston Street to the Battery. The Director will be responsible for establishing Thunder Gulch in its new space, and launching the Center’s first projects, working in collaboration with a Managing Committee of artists and arts organizations.

Responsibilities include: - Establish and coordinate the Thunder Gulch facility; - Hire and supervise technical staff and consultants, volunteers and interns; - Coordinate publicity and outreach materials such as brochures, event information and press releases, online and through other means; - Develop operating budget, and assist in fundraising for operating expenses and projects; - Represent Thunder Gulch to new media industry representatives, business leaders, funders, artists, arts organizations and audiences; - Assist the Managing Committee in the development, management and evaluation of projects and business ventures; - Coordinate the Managing Committee’s planning process for organizational development and long-term sustainability.

Qualifications: - Demonstrated administrative, programmatic and financial management skills; - Broad knowledge of the non-profit arts sector, and strong interest in the intersection of the arts and new media; - Leadership ability and entrepreneurial spirit; - Direct experience with new media and telecommunications required.

Salary: Mid 30’s plus benefits for a four day per week position from December 1 to June 1, 1997. Position may become permanent after that date.

Send resume and references ASAP to:

Thunder Gulch Search Committee Lower Manhattan Cultural Council 5 World Trade Center, Suite 9235 New York, N.Y. 10048-0202

Resumes will be accepted until position is filled. ************************************************************* < Faculty Vacancy: Assistant Professor of Computer Music >

Laura Garrison Computer Music Search Committee iEAR Studios, DCC 135 Rensselaer Polytechnic Institute Troy, NY 12180

21 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 Tel: 518/276-4778 Fax: 518/276-4780 Email: garril@ rpi.edu

Rank: Assistant Professor, tenure track Salary: commensurate with experience Beginning date: August 1997

Primary teaching responsibility: graduate and undergraduate courses in computer music and interactive performance or installation.

Secondary teaching responsibilities may include: a) music or intermedia related hardware and software development, b) music composition, c) electronic arts history.

Non-teaching responsibilities may include: regular academic committee assignments, curatorial and grant writing responsibilities for one of several visiting artist series, student advisement and graduate thesis supervision. Candidate must be willing to become an active member of the Arts Department, with a strong commitment to teaching; must be on campus 3-4 days per week.

Qualifications: Professional activity and visibility as a composer, researcher, or performer are highly desirable, as is previous experience in college teaching or professional art education. This position requires a Doctorate or MFA degree, or equivalent professional accomplishment and recognition.

To apply: Send a resume, a cover letter describing your qualifications, three letters of recommendation, and a sample of your work. Work samples may be in the form of scores, audio tapes (DAT or cassette), videotapes (1/2” or 3/4”), CD-ROM or other appropriate media. Women and minorities are encouraged to apply. Rensselaer is an Equal Opportunity, Affirmative Action Employer. Applications will be considered beginning January 15, 1997, and will be accepted until the position is filled.

The iEAR Studios include state of the art facilities for creative work in computer music, video art, computer imaging and animation, media installation and performance. The Masters of Fine Arts program in Electronic Arts is based on the model of an art school in a sophisticated technological environment, and is clearly focused on the integration of the time-based electronic arts. The undergraduate program in Electronic Media, Arts and Communications is a major new intiative of Rensselaer’s School of Humanities and Social Sciences. Each semester the studios serve up to 200 undergraduate EMAC majors and non-majors, 25 full time graduate students in the MFA program, as well as faculty, staff, and visiting artists. ************************************************************* < Sheffield University Sound Studio - Composer Residencies 1997/8 >

SUSS RESIDENCY c/o Pete Fletcher Departmental Assistant Sheffield University Music Department Taptonville Road Sheffield S10 5BR UK Email: [email protected]

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 22 Sheffield University Music Department is offering four residencies for composers to work in the Sheffield University Sound Studio (SUSS). Resident composers will receive a fee of up to 2000 UK sterling and sole use of SUSS Studio 2 (PowerMac running Protools, IRCAM software and other packages, plus outboard processing/monitoring). They will also have access to the main studio (SUSS1).

For more information on the studio facilities see http://www.shef.ac.uk/~mus/facils/studio.html.

Applicants should be established composers, already working in the field of computer/electroacoustic music or, possibly, composers nearing the end of graduate studies in this area. (NB - An academic qualification is not a requirement)

Resident composers are required to use the residency to complete a work for which no other commission fee or payment has been obtained. It is hoped that completed works will be included on a SUSS CD recording. The composer should expect to live in Sheffield, or the vicinity, for the duration of their residency. Residencies are for a period of 5-8 weeks, subject to negotiation with the Department of Music. It is anticipated that residencies will take place from May 1997 onwards.

Resident composers are not required to teach or participate in any other department activities. However, they should willing to discuss their work with student composers and provide occasional seminars on their music for postgraduates and staff.

Please send a detailed proposal, a curriculum vitae (resume) and information on your recent professional activities to the address below. DO NOT send recordings at this stage; shortlisted candidates will be contacted for materials later.

Deadline for proposals is December 15th 1996. ************************************************************* < 1997-1998 IBM POSTDOCTORAL FELLOWSHIP IN MATHEMATICAL SCIENCES >

Dr. Daniel V. Oppenheim Computer Music Center IBM T.J. Watson Research Center P. O. Box 218 (or Route 134) Yorktown Heights, NY 10598 Tel: (914) 945-1989 Fax: (914) 945-3434 Email: [email protected]

The Mathematical Sciences Department of the IBM Thomas J. Watson Research Center invites applications for its 1997-1998 Postdoctoral Fellowship for research in mathematical and computer sciences. This fellowship provides scientists of outstanding ability an opportunity to advance their scholarship as resident department members at the Research Center. The department provides an atmosphere in which basic research is combined with experience on technical problems arising in industry. The program of the Mathematical Sciences Department is organized for research in pure and applied mathematics, and in theoretical and exploratory computer science. On-going research in the department includes work on sequential and parallel algorithms, computational complexity, coding theory, cryptography, numerical analysis, differential equations, mathematical optimization, high- performance computation, logic design, computer algebra,

23 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0 statistics, dynamical systems, continuous complexity, computational linguistics, computer music, user interface technology, and knowledge-based systems. Close interaction with permanent department members is expected, but fellows will be free to pursue their own research interests.

Each candidate must have a doctorate and not more than five years of postdoctoral professional experience when the fellowship commences. The fellowship has a period of one year, and may be extended by another year on mutual agreement. The stipend will be generally in the range of $67,000 to $70,000 per year, depending on experience. In addition, there will be an allowance for moving expenses. The Research Center is located in Westchester County, approximately forty miles north of New York City.

To apply, please submit the following by January 10, 1997: resume, including thesis summary; reprints of publications based on thesis and other research; a research proposal; and visa status. Citizens of countries defined as restricted by the U.S. Department of Commerce are required to have a green card or an equivalent visa status. Please indicate where you first learned about the fellowship. Applicants are responsible for requesting that three or more letters of reference, including one from the thesis advisor, arrive before January 10. Direct all material to:

Committee on Postdoctoral Fellowships Department of Mathematical Sciences IBM Research Division T. J. Watson Research Center P. O. Box 218 Yorktown Heights, NY 10598

One fellowship will be awarded. Each applicant will be notified individually as soon as the committee has reached a decision on the application, no later than March 14, 1997. ======______| ACKNOWLEDGMENTS | |______|

LEA and Leonardo/ISAST gratefully acknowledges Interval Research Corporation for its continuing support of Leonardo Electronic Almanac. ______| LEA | | WORLD WIDE WEB | | AND | | FTP | | ACCESS | |______|

The LEA Word Wide Web site contains the LEA archives, including all back issues, and the Leonardo Electronic Gallery. The Profiles and Feature Articles have been extracted from the back issues, and reside in their own sections of the site. It is accessible using the following URL: http://www-mitpress.mit.edu/LEA/home.html

Back issues, submission guidelines and LEA Gallery files are available via ftp anonymous, using the following method: ftp mitpress.mit.edu login: anonymous password: your_email_address

OCTOBER 1996 VOL 4 NO 10 LEONARDOELECTRONICALMANAC 24 cd pub/Leonardo/Leonardo-Elec-Almanac ______| LEA | | PUBLISHING & | | SUBSCRIPTION | | INFORMATION | |______|

Editorial Address: Leonardo Electronic Almanac 718 6th Street SE Minneapolis, MN 55414-1318 Tel: (612) 362-9390 Fax: (612) 362-0097 Email: [email protected] ______

Copyright (1996) Leonardo, the International Society for the Arts, Sciences and Technology

Leonardo Electronic Almanac is published by:

The MIT Press Journals 55 Hayward Street Cambridge, MA 02142 USA

Reposting of this journal is prohibited without permission of Leonardo/ISAST, except for the posting of news and events listings which have been independently received. Leonardo/ISAST and the MIT Press give institutions permission to offer access to LEA within the organization through such resources as restricted local gopher and mosaic services. Open access to other individuals and organizations is not permitted. ______< Ordering Information >

Leonardo Electronic Almanac is $15 to Leonardo/ISAST members and to subscribers to the journal Leonardo. The rate for Non-Leonardo subscribers is $25.00

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25 LEONARDOELECTRONICALMANAC VOL 4 NO 10 ISSN 1071-4391 ISBN 978-0-9833571-0-0