ELEETHIIN,IC No Flrrfltjue R.1Edji9 STUUY / 13Uffj9lei
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ELEETHIIN,I C No flRRflT J UE 51ITl1RDR 5 OECENBER 89 19134 10 FIM, 10 Me SUN DFIY 5 OECEIeBER 9, 1984 - 10 F1M - 3 PNI The ELECTRONIC NPRRf1TJUF symposium will explore the ways in which storytelling has changed, is changing and will change as a result of emerging electronic technologies, especially those of video, home computer systems and videodisc . These technologies suggest new methods of synthesizing the various forms of artistic expression, new ways of constructing and organizing narrative elements and new conceptions of the role of the reader/viewer. The ELECTRONIC Nf1RRATJUE is organized around three topics: ELECTRONIC OPERA, ELECTRONIC SVNTFX and ELECTRONIC JNTERAC- TIUITV. Electronic Opera extends a traditional notion of opera as a synthesis of all available art forms and technologies - i .e., theatre, literature, music, dance, sculpture - into the realm of electronics. Several video artists and composers have embraced this concept, employing advanced analog and digital image and sound processing tools to create elaborate and exciting works for television . ELECTRONIC 5YNTA8 arises from the notion that electronic technology suggests, invites, even demands, styles of organizing narrative information distinct from those employed by practi- tioners of cinema . With ELECTRONIC INTERPCTIUITV, the viewer participates in creating, or determining the direction of the storyline through the use of interactive videodisc and computer software for interactive fiction . JUhCi OUMEY, a kinetic sculptor who pioneered JOHN 5HNBORN is an award-winning video ar- small-format video as an artform in the 1960 s, tist and producer of video music clips. As has received numerous awards and one-man director of composer Robert Ashley's widely shows internationally. He is currently produc- acclaimed three-and-a-half hour opera for ing an interactive videodisc based upon the television, PEHTECT LIVES, he designed a com- musical structures of 1.S . Bach, and an ex- plex, state-of-the-art visual score to accom- perimental educational series on perception pany music and text . and aesthetics for public television . ROODY URSIILKR is a pioneer in the production RICH GOLD is a composer, author, performer and theory of the electronic image. His design and computer artist whose "computer perfor- of new tools for analog and digital video mances" relate linguistic codes to social special effects has influenced artists and com- behavior. He is currently Senior Digital Sound mercial producers, and he has been the reci- Designer for Sega Enterprises, El Segunda, pient of virtually every major award and grant California . in the field. THE COWi5SIUN is a video opera he produced based upon the infamous rela- ERNE5T GUEELLH creates fragmented, impres- tionship between Paganini and Hector sionistic musical narratives, blending a poetic Berlioz. with a pop sensibility. His works are in the col- lection of the Museum of Modern Art in New GRFHAC1E REINRRfN is currently completing a York as well as in museums throughout three-disc, touch-screen, interactive video Europe and South America. work, ERLMNG, based upon Schubert's lieder opus t and Goethes first published poem, BRiPN HENDER5ON is a film historian whose from which the viewer can select different im- theoretical and historical writingson film are ages that are connected narratively and widely published and include the book, I'l associatively. He was supervising film and tape CRITIQUE Of FILM THEORY (Cutton) . editor, as well as creative input for the U.S. GERALD O'GRP0V, media theorist, historian and Pavilion Interactive Video Display at the 1982 educator, is Director of the Center for Media World's Fair in Knoxville. Study, State University of New York at Buffalo, and Executive Producer of THE INUEPENUENTS, a satellite cable series for The Learning Channel . ADDITION& FRRTICIPf1NT5 TO BE FINN0U7fEL . Ernest Gusella as Paganini in Woody Vasulka's The Commission REGI5TRATION FOR THE ELECTRONIC URRPTIUE is $10. Checks should be made payable to Media Study/Buffalo, 207 Delaware Avenue, Buffalo, New York 14202 . This symposium is made possible with the support of The Media Bureau . Media Study/Buffalo is supported, in part, by funds from the New York State Council on the Arts and the National Endowment for the Arts. For further information please call (715) 847-2555 . r.1EDJi9 STUUY / 13UFFJ9LEi 207 DELAWARE MEN LIE, BUFFALO, NEW YORK odd-mod 1csW % e"a-averred lzNed ere aca*ured aw 4e4a*cd CAMERA RECEIVER CAMERA RECEIVER upon a time 2. There was a little girl once Ionsmitted ` Named Red Riding Hood - 3 Who lived with her grandmathcr to receiver In a large forest 5 lines lines scanned lines of first lines content scanned in second field seen by scanned of first in second field interlaced viewer due to field in first field with lines of persistence of field first field vision Lm2 drawings from 8asir 7efew5+nn by A. 5chure. 5958 SdIHS MdS H11M d3SSM SY'M A1 3DN0 868 *ON }iw.lad -KN ole4n8 Ci I 'd d ZOZti L )IJ0A nnaN "ole#n8 3)diSOd 's'n anuaAV aaenneiaa LOZ -E)HO IIJOad-NON oiegn8 / Apni5 eipaW ELECTRONIC NARRATIVE UNDER GRAND MUSIC PRODUCTION STAFF Los Angeles Philharmonic Association Ernest Fleischmann, executive vice-presidentlmanogingdirector; Ara Guzelimian, artistic administrator ; Laura Dixon, program coordinator, David Brown, directorof marketing; Steven A. tinder, assistant director of marketing ; Norma Flynn, director of publicity and promotion; Vanesso Butler, associate director of publicity and promotion ; Jeannette Bovard, associate director of publicationsand archives ; Thomas L. Gill, Jr ., piano technician, The Museum of Contemporary Art Richard Kosholek, director; Julie Lazar, curator ; Bonnie Born, program coordinator; Rebecca McGrew-Yule, curatorial secretary; RandyMurphy, faciities and operotionsmcnager; Mary Jane Arnoto, boxoffice manager; Catherine Gudis, editor; Cynthia Compoy, press officer; Sylvia Hohri, marketing and graphics manager ; Angela Escobar, communications secretary; David Bradshaw, technical manager for intermedio projects; Leslie Marcus, manager, support programs; Edward Solsomedo, chief of security . Under Grand Music was initiated by Los Angeles County Supervisor Edmund D . Edelman with support provided by Los Angeles County, the City of Los Angeles Cultural Affairs Department, The Museum of Contemporary Art, and the Los Angeles philharmonic . Special thanks are due to David f.. Abell Fine Pianos, far providing the Yamaha piano used in the performances, and John von Homersveld, for providing the cover graphic . UNDER GRAND MUSIC TUESDAYS, THROUGH APRIL 24, 1990 12.00 - 1 :00 p.m. at MOCA's Ahmanson Auditorium 250 South Grand Avenue, Los Angeles, Ca 40012 FORTHCOMING PROGRAMS : APRIL 10 Amy Gerstler, poet and writer, reads from her works. The texts, written by Gerstler for several voices, address themes of speech and silence, illness and recovery . The readings will be interspersed with selections of Beethoven's music. Portions of this program will be signed for the hearing impaired . ` " APRIL 17 Carl Stone, composer, uses electronic techniques to transform the traditional into the new . Stone and pianist Gloria Cheng will perform two new works together with their original counterparts by Satie and Schubert . APRIL 24 Michiko Akao, flutist, draws upon the rich musical tradition of the Japanese flute, playing works of timeless folk origin as well as new music written expressly for the instrument by Japanese composers . Advance reserved seating recommended as seating is limited . Call the MOCA Box Office at (213) 626-6828 for reservations. Reserved tickets must be picked up by 11 ;45 a.m . the day of the performance . fully accessible to people with disabilities . For those who require special seating arrangements, please call the Box Office in advance of the performance . The taking of photographs or tape recordings during performances is strictly prohibited. Eating, drinking, andsmoking are not permitted in the building . Thank you for your cooperation, UNDER GRAND MUSIC UNDER GRAND MUSIC roproduced by The Los Angeles Philharmonic Association FRANKLYN D'ANTONIO (violin) joined the Los Angeles Philharmonic in and 1987 . He was a member of the Detroit Symphony from 1977 to 1981 and The Museum of Contemporary Art, Los Angeles played with the Chicago Symphony from 1981 to 1986 . He has performed in chamber music concerts and with orchestras in Detroit and Chicago . Under Grand Music is a free, noontime series of live performances providing new perspectives D'Antonio began studying the violin at the age of four with his mother, on chamber music with dance, video, and the spoken word. Presented Tuesdays, March 6 violinist Joy Lyle, and later became a pupil of his only other teacher, Paul through Apri124, 1990, 12 :00 to 1 :00 p. m . Under Grand Music was initiated by Los Angeles Shure. He attended El Camino Real High School and the University of County Supervisor Edmund D. Edelman with support provided by Los Angeles County, the City of Los Angeles Cultural Affairs Department, The Museum of Contemporary Art, and the Los Southern California, where at sixteen he was a member of Joscha Heifetz's Angeles Philharmonic . Master Class. He has been a member of the American Youth Symphony, the Young Musicians Foundation Debut Orchestra, and, at age seventeen, became the youngest member of the Los Angeles Chamber Orchestra . TUESDAY, APRIL 3, 1990 NICCOLO PAGANINI WOODY VASULKA was born in Czechoslovakia, where he studied metal CAPRICE NO . 24 IN A MINOR technologies and hydraulic