<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
--></style><title>Leonardo Electronic Almanac vol.12 no.1 January
2004</title></head><body>
<div><font face="Courier New" color="#000000">
/ ____<br>
/
/ /\<br>
/ /-- /__\<br>
/______/____ / \<br>
_____________________________________________________________________<span
></span>____<br>
<br>
Leonardo Electronic Almanac volume
12, number 2, February 2004<br>
<u>http://lea.mit.edu<br>
<br>
</u
>____________________________________________________________________<span
></span>_____<br>
<br>
ISSN #1071-4391<br>
<br>
<span
></span
> <span
></span> ____________<br>
<span
></span
> <span
></span>
|
|<br>
<span
></span
> <span
></span> | CONTENTS |<br>
<span
></span
> <span
></span> |____________|<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<br>
INTRODUCTION<br>
------------<br>
<br>
FEATURES<br>
--------<br>
<br>
< Recursive Audio Systems: Acoustic Feedback in Composition, by
Christopher Burns and Matthew Burtner ><br>
<br>
< Turn/Stile: Remixing Udo Kasemets' *Calendaron*, by tobias c. van
Veen><br>
<br>
<br>
LEONARDO REVIEWS<br>
----------------<br>
<br>
< A Culture of Fact - England, 1550-1720, reviewed by Stefaan Van
Ryssen ><br>
<br>
< American Modernism: Graphic Design, 1920 to 1960, Reviewed by Roy
R. Behrens ><br>
<br>
< A Thing in Disguise: The Visionary Life of Joseph Paxton,
reviewed by Dennis Dollens ><br>
<br>
< The Book of the Pharaohs, reviewed by Enzo Ferrara ><br>
<br>
<br>
LEONARDO JOURNAL<br>
----------------<br>
<br>
< *Leonardo*, vol. 37, no. 2 (April 2004) - table of contents and
selected abstracts ><br>
<br>
<br>
LEONARDO ABSTRACTS SERVICE<br>
--------------------------<br>
<br>
< Portrait of the Artist in Red Ink, by Jennifer Henderson ><br>
<br>
<br>
OPPORTUNITY<br>
------------<br>
<br>
< Faculty Position: Asst or Assoc Prof, New Media Arts<br>
University of California San Diego ><br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<span
></span
> <span
></span> ________________<br>
<span
></span
> <span
></span>
| <span
></span> |<br>
<span
></span
> <span
></span> | INTRODUCTION |<br>
<span
></span
> <span
></span> |________________|<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<br>
LEA SPECIAL ISSUE - GROOVE, PIT AND WAVE: RECORDING, TRANSMISSION AND
MUSIC, PART II<br>
IN CONJUNCTION WITH *LEONARDO MUSIC JOURNAL* VOLUME 13<br>
<br>
This month, in Part II of our special LEA/LMJ issue (see the LEA
January 2004 issue for Part I), we include two feature articles:
"Recursive Audio Systems: Acoustic Feedback in Composition,"
by Christopher Burns and Matthew Burtner, in which the authors discuss
the use of feedback systems in their compositional and performance
techniques and "Turn/Stile: Remixing Udo Kasemets' *Calendaron*,"
by tobias c. van Veen, in which the author provides a lively narration
of his attempts to update composer Udo Kasemets' work, thus
interweaving DJ turntable techniques with compositions based on the
Mayan calendar.<br>
<br>
*Leonardo Music Journal* Volume 13 (LMJ13) and this accompanying
special issue of LEA (part two of two) focuses on the role of
recording and/or transmission in the creation, performance and
distribution of music. In the print issue, these topics are discussed
by Peter Manning, Yasunao Tone, Douglas Kahn with Christian Marclay,
Nick Collins, David First, Matthew Burtner, Guy-Marc Hinant, Caleb
Stuart, Álvaro Barosa, Holger Schulze, Sérgio Freire and Philip
Sherburne.</font></div>
<div><font face="Courier New" color="#000000"><br>
LMJ13 includes *Splitting Bits, Closing Loops: Sound on Sound*, an
audio CD curated by Philip Sherburne. The CD features pieces from an
eclectic mix of composers/performers: AGF, M. Behrens, Alejandra &
Aeron, DAT Politics, Stephan Mathieu, Francisco López, Institut fuer
Feinmotorik, Janek Schaefer, Steve Roden, Scanner and Stephen
Vitiello.<br>
<br>
LEONARDO MUSIC JOURNAL<br>
<br>
The LMJ series is devoted to the aesthetic and technical issues in
contemporary music and sonic arts. Currently under the editorship of
Nicolas Collins, each thematic issue features artists/writers from
around the world, representing a wide range of stylistic viewpoints,
and includes an audio CD or CD-ROM. LMJ is available by subscription
from the MIT Press.<br>
<br>
LMJ13, "Groove, Pit and Wave: Recording, Transmission and Music,"
can be purchased via the MIT Press at<u>
http://mitpress.mit.edu/LMJ</u> or<u> journals-orders@mit.edu</u>.<br>
<br>
More info about the issue is available at:<u>
http://lmj.mit.edu</u>.<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span> |<br>
<span
></span>
|
FEATURES
|<br>
<span
></span>
|______________________________|<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<br>
RECURSIVE AUDIO SYSTEMS: ACOUSTIC FEEDBACK IN COMPOSITION<br>
<br>
by Christopher Burns and Matthew Burtner<br>
<br>
Christopher Burns, CCRMA, Department of Music, Stanford University,
Stanford, CA 94305-8180, U.S.A.<br>
<u>cburns@ccrma.Stanford.EDU</u><br>
<u>http://www-ccrma.stanford.edu/~cburns<br>
<br>
</u>Matthew Burtner, 1607 Mulberry Ave, Charlottesville, VA 22903,
U.S.A.<br>
<u>mburtner@virginia.edu</u><br>
<u>http://www.burtner.net</u> <br>
<br>
<br>
ABSTRACT<br>
<br>
Compositional and performance experience with a wide variety of audio
feedback systems suggests a number of traits common to feedback
processes. These systems share not only certain sonic qualities, but
also offer highly linked relationships between pitch, timbre,
amplitude and time characteristics. These unconventional
parameterizations, along with the often unpredictable response of
feedback systems to control and input, lead almost necessarily to an
improvisational approach in composition and performance. In this
article, the authors consider Matthew Burtner's *Study 1.0 (FM)* for
radio transceiver and *Delta* for electric saxophone, Christopher
Burns' *Letters to André* and *Calyx* for networked effects
processors and a realization of John Cage's *Electronic Music for
Piano* using a feedback software synthesis instrument.<br>
<br>
_____________________________<br>
<br>
<br>
INTRODUCTION: FEEDBACK AND SYSTEMIC EXPRESSION<br>
<br>
Our compositional work with feedback joins the tradition of creatively
repurposing artists' tools. Matthew Burtner's *Studies for Radio
Transceiver* considers the broadcast and reception of an FM radio
system's self-noise, while his *Delta* re-imagines the amplified
saxophone as a dynamic network of resonances producing feedback [1].
Christopher Burns' *Letters to André* and *Calyx* exploit commercial
multi-effects processors for waveguide synthesis and his realization
of John Cage's *Electronic Music for Piano* translates this idea into
an unusual form of real-time software synthesis. In each case,
acoustic feedback is used to reinvent the capabilities of a given
technology.<br>
<br>
These reinventions can be thought of as a form of system analysis,
where the expressive qualities of the chosen tools (FM radio, the
saxophone, effects processors) are revealed. Recursive loops expose
the inherent properties of a system, diverting our attention from the
content that ordinarily passes through the system to the behavior of
the system itself. A central task in composition with feedback is the
construction of compelling systems and loops.<br>
<br>
These four projects were conceived and realized separately, employ
different techniques, and express different musical intentions.
However, in discussing them, we noticed that they share a number of
common properties: the use of acoustic feedback had substantial
ramifications, both for the compositional processes we employed and
for the sonic qualities of the resulting music. Feedback seems to have
a "nature," aspects of which appear across these divergent
musical works. Each shares in the dynamic, articulate, potentially
explosive sound of acoustic feedback and in its idiosyncratic response
to control.</font></div>
<div><font face="Courier New" color="#000000"><br>
EFFECTS PROCESSORS AS WAVEGUIDES: *LETTERS TO ANDRÉ* AND *CALYX*<br>
<br>
*Letters to André* and *Calyx* were composed with a hybrid
digital/analog feedback system using off-the-shelf electronic music
equipment. The feedback system was planned as a low-cost environment
for music-making with a unique sonic fingerprint. This system was used
actively from 1996 through 1998 to produce fixed-media compositions
(recorded first to cassette and later to CD); it was also occasionally
pressed into service as an instrument for improvisation.<br>
<br>
The system was inspired by André Tavares' experiments with
guitar-effects "stomp boxes" connected in feedback loops. An
exciting feature of these experiments was the system's ability to
generate sound without external input: the self-noise of the analog
components of the network could be shaped via feedback into complex
sonic textures. The concept of Tavares' guitar-effects network was
replicated by recursively patching two digital multi-effects
processors through an analog mixer. The new system added the feature
of MIDI control over the effects processors, via a computer running
sequencing software.<br>
<br>
The works composed with this system were essentially all real-time
activations of the system, scripted by MIDI control. A single system
configuration was used for each piece, without any changes to the
audio routing or effects processor patches that would require human
intervention in performance or produce audio glitches. The output of
the system was recorded without any further editing or manipulation:
the feedback loop was treated as the "performer" rather than
as a source of material for additional compositional refinement.<br>
<br>
The use of feedback and the philosophy of system "performance"
as finished work produced very tight constraints on the compositional
process of these pieces. Composition began with configuration of the
system hardware, patching together inputs and outputs. Each piece used
its own routings between the mixer and the two processors, ranging
from a circular stereo path to more complicated parallel
configurations.<br>
<br>
After connecting the hardware, the next task was programming the
effects processors. Standard effects algorithms like reverb, chorus,
flanging, pitch shifting, delay and equalization could be selected and
combined in parallel or series configurations. The parameters (such as
delay time or chorus rate) were then set for each algorithm, with
eight parameters designated for real-time MIDI control. Configuration
of the system was necessarily done on a speculative and interactive
basis; different audio routings and effects settings were tested until
a system resulted that produced a promising set of textures for
composition.<br>
<br>
In use, the behavior of the feedback network was extremely sensitive
to its current conditions. The array of sonic possibilities for
"the next moment" was totally dependent upon the current
state of the system. However, the network was not genuinely chaotic.
If musical events were generated from stable rest conditions, they
could be reproduced again from those same conditions, not only in
broad outlines but also in their precise sonic details. In order to
maximize the system's stability and reproducibility, "fussy"
mixer settings were generally avoided by setting the faders and sends
at unity or maximum. The dynamics of the system (including
"start" and "stop") could be controlled using the
built-in gain controls of the effects processors (automated via a MIDI
sequencer and thus reproduced precisely time after time) - as a
result, there was no need to change the mixer settings during the
course of a given composition.<br>
<br>
Because the sequencer facilitated stable, reproducible output, the
system's "performances" could be and were shaped and revised
over many months. While the system output was treated as a
compositional endpoint, work-in-progress was listened to, critiqued,
revised and re-thought as many times as desirable. However, the
sensitivity of the system to its current state meant that the flow of
composition could only proceed from the beginning of the work towards
its end: a change to the parameter data at the beginning of a piece
would alter the sonic results throughout. As a result, composition
proceeded in chunks. After a short phrase or section was developed and
polished, it was fixed, becoming an immutable part of the piece and
influencing the development of future materials.</font></div>
<div><font face="Courier New" color="#000000"><br>
*Compromise,* the second and shortest of the four *Letters to
André,* provides a relatively simple and direct example of the system
in use. The piece is an inverted arch: a decrescendo followed by a
crescendo, with the loudest moments defined by noisy textures and the
quieter segments characterized by echoing, continuously sliding
pitches. *Compromise* used a parallel system configuration in which
the output of each effects processor was routed to its own input and
also the input of the other processor. Both effects processors used
pairs of processing algorithms in series: the first box offered a
pitch detuner chained to a parametric equalizer; the second used a
pitch shifter (with a wider possible range of pitch shifting than the
detuner) chained to a delay.<br>
<br>
[See Figure 1: system diagram for *Compromise* - Ed. note: the figures
referenced in this article can be viewed in the online version of LEA
at<u> http://lea.mit.edu</u>]<br>
<br>
The inverted arch was created by reducing and then increasing the
input levels to the detuner, pitch-shifter and delay; additional
timbral modifications were produced with simple curves for the
parametric equalizer and pitch-shifter settings. The most obvious use
of the equalizer comes at the end of the piece, when low cuts and high
boosts concentrate the sonic energy into high-frequency noise; the
most dramatic change in the pitch-shifting comes at the bottom of the
arch, when upward pitch shifts give way to downward
transpositions.<br>
<br>
The feedback system used for *Compromise* and related works implements
what is essentially an idiosyncratic form of waveguide synthesis. Most
of the varieties of signal processing available in multi-effects
professors, whether pitch-shifting, chorusing or reverberation, can be
understood as variations on the basic process of delay. When the
feedback routing provided by the audio mixer is also considered, the
system is essentially an implementation of the recursive delay
structures which are the building block of waveguides. The analogy has
more to do with principle than practice - one would be hard pressed to
implement waveguide models of acoustic instruments using this
equipment, and there are no real-world acoustic interpretations of the
processor networks. However, the system shares an articulate and
continuously varying sonic character with more conventional forms of
waveguide synthesis.<br>
<br>
The recursive nature of the audio path makes the system dependent upon
its analog components for tolerance of overload. Both the mixer and
the inputs to the effects processors occasionally overload or clip;
with careful gain settings, the overloads can be concentrated in the
analog sections of the network and digital clipping minimized.
However, the system is not sonically pristine: audible grit and
clicking are a necessary part of the music.<br>
<x-tab> </x-tab><br>
FEEDBACK IN THE DIGITAL DOMAIN: *ELECTRONIC MUSIC FOR PIANO*<br>
<br>
Inspired by the waveguide analogy, more recent projects have involved
fully digital implementations and variations of the hybrid feedback
system described above, using software synthesis platforms like Pd and
Common Lisp Music. One important difference between the hybrid
analog/digital model and the software versions is that all-digital
systems require external excitation. Software models have no
self-noise and will not sound without some kind of input stimulus. The
software networks must be excited by injection of an impulse, a noise
burst, an arbitrary sound recording or a live microphone input.<br>
<br>
A larger challenge for software implementations is gain control;
digital feedback structures have an extremely small threshold between
silence and explosive clipping (The problem can be avoided by using
damped feedback - that is, feedback scaled by a coefficient less
than unity - and continuous excitation, as in traditional waveguide
applications for physical modeling. However, the models for these
projects are self-generating and essentially undamped). Complex
network topologies only become possible when automatic gain control
techniques like peak-limiting compression or waveshaping are applied
[2].</font></div>
<div><font face="Courier New" color="#000000"><br>
One software feedback system was implemented for a realization of John
Cage's *Electronic Music for Piano*, first performed by Christopher
Burns and pianist Christopher Jones in May 2002. *Electronic Music for
Piano* is perhaps one of Cage's most permissive scores. While the
range of possibilities - electronics and piano or pianos - is more
circumscribed than in works for indeterminate groups of performers
like the Variations series, *Electronic Music for Piano* lacks the
systems of discipline associated with that series. The handwritten
prose score (complete with Cage's strikeouts and emendations) consists
only of lists of potential technical means - "feedback, and
changing sounds (microphones, amplifiers, loudspeakers - separate
system for each piano)," and suggestive metaphors to guide action
("observation of imperfections in the silence in which the music
is played" [3].)<br>
<br>
*Electronic Music for Piano* is dedicated to David Tudor; presumably
the "permissive" characteristics described above have much
to do with Cage's trust in his friend and colleague Tudor, as well as
the shared culture they developed through extensive collaboration. The
dedication can also be viewed as another kind of suggestion for
performance. Our realization of *Electronic Music for Piano* is not
only a digital translation of the work with hybrid feedback systems,
but also an homage to David Tudor's homebrew analog feedback systems
[4], now reinvented with digital components and deterministic
controls.<br>
<br>
The feedback network is implemented in Pd, with a circular array of
delay lines feeding each other and eight loudspeakers. Audio signals
are passed around the circle in both clockwise and counterclockwise
directions, with waveshaping functions to prevent clipping at every
stage where signals are combined. Each delay time is continuously
varying, with linear interpolations between randomly generated values
over randomly selected lengths of time. This process was developed in
response to another of Cage's suggestions:<br>
<br>
as though there were<br>
take a drawing of the controls<br>
(volume, tone) available and -<br>
on a transparency - transcription<br>
for astronomical atlas suggesting<br>
were it
would<br>
which (^ superimposed) ^ gives<br>
suggestions for use of controls (not explore)[5]<br>
<br>
The electronics operator - through a series of control parameters -
and the pianist, via the microphone inputs, have influence over the
feedback network. However, they do not have command of the process;
the randomly generated parameters and the generally idiosyncratic
behavior of feedback make the output of the system unpredictable.
Sometimes the feedback imitates events played at the piano very
precisely, sometimes it remains quiet during busy passages and
sometimes it bursts into noise in the middle of a long silence.<br>
<br>
[Figure 2: system diagram for *Electronic Music for Piano*]<br>
<br>
This is the unusual aspect of this realization and instrument; the
electronics are designed to guide the operator's musical choices, just
as the operator guides the electronics. There is a symbiosis of piano,
pianist, electronics and operator; in performance the situation is one
of improvising with the electronics, rather than using the electronics
to improvise. David Tudor said, "I want to find ways of
discovering something you don't know at the time that you
improvise.... The first way is to play an instrument over which you
have no control, or less control than usual" [6]. In this
realization, the instability of the feedback system makes it an equal
partner in the improvisational process.<br>
<br>
As with its analog/digital model, the software feedback system
produces complex sonic textures, articulate melodic gestures and other
interesting emergent behaviors. It creates a rich palette of unusual
and continuously evolving sounds; the unpredictability of the feedback
provides both a compelling musical element and an interesting
challenge to the performers in the semi-improvisatory environment of
*Electronic Music for Piano*.<br>
<br>
THE ELECTRIC SAXOPHONE AS A FEEDBACK CONTROLLER: *DELTA*<br>
<br>
The musical use of acoustic feedback is closely tied to the
development of amplification. In musical instrument design, feedback
is especially important for the development of the electric guitar.
Perhaps most famously, Jimi Hendrix redefined guitar performance with
his groundbreaking performance of "The Star Spangled Banner"
at Woodstock in 1969. Hendrix abandoned traditional notions of guitar
performance, using the instrument as a feedback controller. Hendrix's
performance practice, and especially the Woodstock "Star Spangled
Banner," inspired the composition of *Delta* (2001), a work for
solo saxophone. The electric guitar, as played by Hendrix, provides a
model for the reimagination of the saxophone as an electric feedback
instrument.</font></div>
<div><font face="Courier New" color="#000000"><br>
In *Delta*, small microphones embedded inside the saxophone are used
to capture resonances within the air column. Feedback between the
internal microphones and external loudspeakers is generated and then
controlled by opening and closing keys and by changing the air
pressure in the column. The saxophone body becomes a filter,
dynamically modifying the feedback signal via changing instrumental
resonances.<br>
<br>
The electric saxophone grew out of the Metasaxophone Project [7], an
ongoing effort since 1997 to extend the properties of the saxophone
through new performance techniques and technologies. The saxophone is
enhanced as both a computer controller and as an acoustic signal
generator. The idea to explore the saxophone as an electric feedback
instrument arose from a desire to carefully capture the audio signal
as a control signal for use in interactive electroacoustic music.<br>
Using sensor technology and a microcontroller on the bell of the
instrument, the Metasaxophone captures constantly changing performance
data and converts it to continuous MIDI control change messages. This
data is used to extend the gestural interface of the acoustic
saxophone; the player can generate control data with techniques such
as finger pressure and saxophone position, which do not affect any
simultaneous acoustic activity with the instrument. The Metasaxophone
as a MIDI controller debuted in 1999, in performances of *Noisegate
67*. This new controller continues to be used in a number of ways to
extend the instrument [8].<br>
<br>
Because the sensor-based modifications to the Metasaxophone do not
alter the acoustic sound of the instrument, the native sound of the
saxophone can be used in performance or interpreted as another type of
control parameter. The continuing acoustic viability of the instrument
makes amplification and acoustic feedback possible; hence the
"electric saxophone," or Metasaxophone Audio System. The
electric saxophone is based on a set of small electret condenser
microphones inserted inside the instrument. The electret capsules used
are Panasonic WM60-ATs, chosen because they feature good frequency
response (20 to 20,000Hz), less than 2.2kOhm impedance and resilience
under difficult environmental conditions, vibration and shock.
Additionally, the omnidirectional polar pattern of the microphones
aids the propagation of feedback in the air column.<br>
<br>
The microphones, along with a long copper "arm" and a
shielded cable, were threaded through heat-shrink tubing [Figure 3].
The resulting bendable arms are then rearranged to suit the specific
miking situation desired. The three arms attach at the top of the bell
of the saxophone [Figure 4]; from there, the three shielded audio
cables are combined into a snake that runs to the audio equipment. The
microphones each have a different audio output, so that their signals
can be routed independently.<br>
<br>
Once the microphones were operational, experimentation helped define
the saxophone performance techniques that would enable the
instrumentalist to control acoustic feedback. With the microphones in
place, a series of acoustic measurements were taken of the interior of
the saxophone. These tests suggested the range of filter responses the
saxophone will exhibit when placed in an audio feedback loop, and
demonstrate the relative efficacy of various techniques applied in
performance.<br>
<br>
In *Delta* (2001), the Metasaxophone audio system becomes the basis
for an electric feedback instrument. The continuous control properties
exhibited in the acoustic tests became meaningful musical controls,
extending the capabilities of the saxophone. [Figure 5 shows the
technical setup for *Delta*.]<br>
<br>
The saxophone sound is picked up by the microphones in the bell and
output through the loudspeaker, where it is again picked up by the
microphones inside the bell, now filtered through the body of the
saxophone. The instrument feeds back and the performer can control the
resonant frequency by changing the properties of the tube with
fingerings. In keeping with Hendrix's inspiration, the microphone
outputs are sent through a distortion box that emulates the type of
overdrive distortion characteristic of electric guitars and tube
amplifiers.</font></div>
<div><font face="Courier New" color="#000000"><br>
Because the saxophone body is not solid, the instrument cannot be
overdriven, and attempts to create true overdrive distortion only
overdrive the microphones. The distortion box creates the sound of
distortion without the need to increase the gain of the audio system
to unmanageable levels. In addition, the use of distortion introduces
a wider frequency range that approaches the noise signals used in the
acoustic tests. The broad spectrum allows for the activation of a
variety of resonant frequencies in the air column.<br>
<br>
The performer controls the feedback loop by forming an embouchure and
applying different air pressures through the mouthpiece, and by
changing keys on the instrument, either rapidly or in a slow,
deliberate fashion: as with the Metasaxophone's pressure-sensitive
sensors, the intention is to transform the discrete switches of the
saxophone keys into continuously variable controls. Performance
confirms that the frequency response of the instrument changes
slightly as keys are slowly depressed or released. The changing
internal state of the saxophone alters the air column, creating
different, and often multiple, resonant frequencies.<br>
<br>
The feedback loop has a pronounced effect on instrumental performance
practice. In an ideal performance, no audible sound emits from the
saxophone, and the audience hears simply the changing distortion and
feedback as it is shaped by the saxophone body and activated by key
clicks. In reality, however, the rapid changes in air pressure in the
instrument inevitably cause acoustic byproducts - high squeaks, air
hisses and honks - that are then amplified, distorted and fed back
into the system.<br>
<br>
*Delta* is highly unstable, and as such is permitted to be different
for each performance. A score prepared for use in concerts in 2001
outlines in a tablature notation the fingering combinations to be
used, embouchure pressure changes over time, and the formal conditions
of the performance in the form of time-line energy changes. From the
score, it appears that the performer has great freedom to shape the
dramatic flow of the piece, but in actuality the freedom of the
performer is closely curtailed by the instability of the system. Much
like surfing on a breaking wave, the performer of *Delta* makes
decisions about movement "on-the-fly," responding
immediately to the system in order to keep the piece alive. The score
outlines ideas that are always modified in performance due to the
unpredictability of the system. [Figure 6 shows the score of Delta
prepared for a performance at Stanford's CCRMA in 2001.]<br>
<br>
The score contains up to five staves for the saxophone part. The
"Sound" staff gives a graphic overview of the time/energy
development of the piece and includes indications such as
"cause/allow beatings," "very light tonguing to bring
out squeaks," "changing key clicks" and "teeth on
reed." The "Fingering" staff provides suggested key
fingerings and gives descriptive "microkeying" indications
such as "Ad lib low Bb attack to G#, insert periodically,"
"very slow changes of key - slight closing/opening," and
"lift Bb key 1/4." In the beginning of the score, a
"Sounding Pitch" staff appears at the top of the page,
revealing the tritone structure that acts as the opening of the piece.
This staff disappears on subsequent systems as pitch becomes something
difficult or irrelevant to control. The "Air Pressure" staff
uses a notation for pressure and gives indications such as "talk
into horn while playing." The "Electronics" staff was
used to give indications of changes in the distortion boxes or any
other electronics.<br>
<br>
In the performance this score was prepared for, a computer drum
machine (the polyrhythmicon) was used to create frenzied accelerating
beats behind the electric sax. A dense polyrhythm with a tempo
relationship of 90 BPM (beats-per-minute): 60BPM: 120BPM gradually
accelerates to 120BPM:180BPM:250BPM. This electronic part is not
necessarily a permanent feature of the piece, and like all other
aspects of the piece it can be changed or ignored. It was added to
augment the tension of a hyper-frenetic performance
system.</font></div>
<div><font face="Courier New" color="#000000"><br>
Despite the existence of a score, the composition of the piece was
worked out in rehearsal and it is always recomposed in performance.
The score is simply a guide for the performer, a repertoire of ideas
and a memory aid for an instrument that can be quite disconcerting to
play. Although the piece is different every time, it does have a clear
identity and the score helps capture that, even as the system
simultaneously subverts repetition.<br>
<br>
The Greek letter (Delta), originally meaning "door," is
a threshold or barrier at an opening, such as a sandbar at the mouth
of a river. It is also the mathematical symbol for change. The
saxophone body is viewed as a type of threshold or doorway into a
world of rich change and dynamic transformation. Subsequent
performances of the piece will use the same title, possibly with
version numbers for significant changes.<br>
<br>
CONCLUSIONS: SYSTEM DESIGN AND COMPOSITIONAL PROCESS<br>
<br>
Although the works described here display different approaches to
performance and aesthetic intentions, the common use of acoustic
feedback leads to a number of other similarities between pieces. Most
obviously, the sonic fingerprints of feedback are present in each.
Whatever other sounds may be present, each composition trades in some
way on the whistling, melodically articulate resonances characteristic
of feedback. Grit, distortion, and other "lo-fi" artifacts
are also common, even in the software implementation of *Electronic
Music for Piano*.<br>
<br>
In each case, system design was a major component of the compositional
process. As with much electroacoustic music, the arrangement and
configuration of the electronics determined the range of sonic and
compositional options for each piece. The most extreme example
presented here is *Study 1.0 (FM)*, where the compositional work was,
in essence, the conception and design of the electronic system.<br>
<br>
The configurations of our feedback loops rarely allow for the direct
and independent control of important musical parameters like pitch,
rhythm and timbre. The performer of *Delta* fingers an E on the
saxophone; at least some sonic change will be initiated and, at best,
the system will resonate at some frequency in the harmonic series
above the fingered E. Similarly, the composer working with a network
of effects processors might change the length of a delay line in the
hopes of creating a glissando or other variation in pitch. The
composer and performer have the feeling of influencing the system,
rather than controlling it.<br>
<br>
This sense of engaging with a system, rather than commanding it, is
strengthened by the dependence of feedback systems upon their current
state. In each of the systems described here, the range of available
sounds is highly dependent upon the current contents and conditions of
the system. Typically, composers and performers have nearly their
entire chosen sonic palette available at any moment. With feedback
systems, this is not the case; future activity is limited and
channeled not only by the composer's decisions, but also by the
history of the audio system itself. A texture or sound, achieved with
a certain system configuration or parameter setting at one point in a
piece, may not be repeatable at another moment.<br>
<br>
As a result, much of our compositional work with feedback systems is
improvisational, even when the completed work is relatively fixed, as
with *Study 1.0 (FM)* and *Compromise*. The potentials of the system
at any moment and the range of influence of the controls can only be
explored through improvisation. The complex, "messy"
responses of feedback systems necessitate an intuitive approach in
composition and performance; formal and sonic complexities result from
the emergent properties of the system, interacting in the moment with
the composer and performer. Feedback systems will speak for
themselves.<br>
<br>
_____________________________<br>
<br>
<br>
REFERENCES AND NOTES<br>
<br>
1. A detailed discussion by Burtner of this work is available in the
current issue of *Leonardo Music Journal* (LMJ 13, "Regenerative
Feedback in the Medium of Radio: Study 1.0 (FM) for Radio
Transceiver," by Matthew Burtner). For a brief description of the
article, see<u>
http://mitpress2.mit.edu/e-journals/Leonardo/isast/journal/toclmj13.h<span
></span>tml</u>.</font></div>
<div><font face="Courier New" color="#000000"><br>
<br>
2. See Christopher Burns, Stefania Serafin and Matthew Burtner,
"Musical Applications of Multichannel Generalized Digital
Waveguides," in *Proceedings of the Stockholm Music Acoustics
Conference 2003* and Christopher Burns, "Emergent Behavior from
Idiosyncratic Waveguide Networks," in *Proceedings of the
International Computer Music Conference 2003*.<br>
<br>
3. John Cage, *Electronic Music for Piano* (New York, NY: C. F.
Peters, 1968).<br>
<br>
4. See John D.S. Adams, "Giant Oscillations: the birth of
*Toneburst*," in *Musicworks*, Vol. 69 (1997) pp. 14-17 and Joel
Chadabe, *Electric Sound* (Saddle River, N.J.: Prentice Hall,
1997).<br>
<br>
5. See Cage [3].<br>
<br>
6. Richard Kostelanetz, ed., *Conversing with Cage* (New York, NY:
Limelight, 1987).<br>
<br>
7. See Matthew Burtner, "The Metasaxophone: Concept,
Implementation, and Mapping Strategies for a New Computer Music
Instrument," in *Organised Sound*, Vol. 7, No. 2 (2002).<br>
<br>
8. See Matthew Burtner and Stefania Serafin, "The Exbow Metasax:
Compositional Applications of Bowed String Physical Models Using
Instrument Controller Substitution," *Journal of New Music
Research*, Vol. 31, No. 2 (2002).<br>
<br>
_____________________________<br>
<br>
<br>
ABOUT THE AUTHORS<br>
<br>
Christopher Burns<br>
<br>
Christopher Burns' recent compositional activity focuses on chamber
music. His experience as a computer music researcher is a major
influence on his acoustic composition; his newest works are written
with pitch and rhythmic structures that are created and transformed
using custom software. One of these pieces, a sextet entitled *<i>The
Location of Six Geometric Figures*</i>, was recently awarded first
prize by the Hitzacker Summer Music Festival. This work has been
performed by ensemble recherche in Germany, ensemble Gageego! in
Sweden and the San Francisco Contemporary Music Players in
California.<br>
<br>
Burns is the Technical Director of the Center for Computer Research in
Music and Acoustics (CCRMA) at Stanford University, where he has
completed a doctorate in composition, and is pursuing a second in
computer music research. He has studied composition with Brian
Ferneyhough, Jonathan Harvey, Jonathan Berger, Michael Tenzer and Jan
Radzynski. His research interests include algorithmic composition
techniques, the application and control of feedback in sound
synthesis, and the study and preservation of sketch materials produced
by electroacoustic composers.<br>
<br>
Burns co-curates the *<i>sfSoundSeries*</i> concerts in San Francisco
and the *<i>Strictly Ballroom*</i> concert series at Stanford; both
venues feature contemporary music performed by local and international
guest artists. These concert projects are also an outlet for his
interest in the realization of classic electroacoustic music; recent
projects include the creation and performance of new versions of works
by Cage, Ligeti, Lucier, Nancarrow and Stockhausen.<br>
<br>
<br>
Matthew Burtner<br>
<br>
Matthew Burtner's music has been described by *The Wire* as "some
of the most eerily effective electroacoustic music I've heard,"
and *21st Century Music* writes "There is a horror and beauty in
this music that is most impressive." His work regularly combines
instrumental ensembles, computer technology, interactive acoustics and
multimedia.<br>
<br>
Burtner is currently Assistant Professor of composition and computer
music at the University of Virginia, where he is associate director of
the VCCM Computer Music Center. A native of Alaska, he studied
philosophy, composition, saxophone and computer music at St. Johns
College, Tulane University (BFA, 1993), Iannis Xenakis' UPIC Studios
(1993-94), the Peabody Institute of the Johns Hopkins University (MM
1997) and Stanford University's CCRMA (DMA, 2002). He has been
composer-in-residence at the Banff Centre for the Arts, Simon Fraser
University in Vancouver and the IUA/Phonos Institute in Barcelona. His
original computer music research is presented regularly at
international conferences and it has been published by journals such
as *Organized Sound*, *The Journal of New Music Research* and the
*Leonardo Music Journal*. His music has been recorded for Innova
(USA), DACO Records (Germany), *Computer Music Journal* (MIT Press)
and Norway's Eurydice label.</font></div>
<div><font face="Courier New" color="#000000"><br>
<br>
ARTICLE RECEIVED 16 NOVEMBER, 2003<br>
<br>
<br>
==========================<br>
<br>
<br>
TURN/STILE: REMIXING UDO KASEMETS' *CALENDARON*<br>
<br>
by tobias c. van Veen, Dept. of Communications, McGill University, 853
Sherbrooke Street W., Montreal, PQ H3A 2T6, Canada.<br>
<br>
<u>tobias@quadrantcrossing.org</u><br>
<u>http://www.quadrantcrossing.org</u><br>
<br>
<br>
ABSTRACT<br>
<br>
Udo Kasemets' *CaleNdarON*, a sound-script that engages the Mayan
calendar to give birth to random-chance composition, poses unique
difficulties in the electronic age. As a "techno-turntablist"
- and potential hermeneutist - of *CaleNdarON* at the Vancouver New
Music Society's Link-Age Festival (2002) [1], I cut an approach to
grasping this challenging script for 60 minutes of sound by six
musicians. It proved deceptively exhaustive to play the turntable over
the laptop, to scratch the binaries of nature/culture and mind/body
through the manifold temporalities of Mayan numerology, and to face
the demands of the *scriptual-logos* while catalyzing a questioning of
the script, the technology and the techniques through a collision of
historical records: the present-day turntablist clasping a living
member of yesterday's avant-garde, Udo Kasemets.<br>
<br>
_____________________________<br>
<br>
<br>
SPINNING THE CONTEXT<br>
<br>
It is a sad epitaph of the history of modernity that phonographic
experimentation and multiple directions of the avant-garde were forced
into hiatus and perhaps never fully recovered after their dispersal
during the two world wars. However, Douglas Kahn notes that "in
the two decades following World War II, an abundance of artistic
activities incorporated new approaches to sound" [2]. It was
during these two decades that Estonian composer Udo Kasemets attended
the Kranichstein Institute for New Music in Darmstadt (1950), studying
Ernst Krenek, Edgard Varèse and Hermann Scherchen before immigrating
to Canada in 1957. It was around 1960 that Kasemets "totally
abandoned the above concepts and moved toward open forms, special
notations, mixed media, audio-visual interactions, sound texts and
electroacoustics" after being exposed to the work of John Cage
[3]. Kasemets' movement toward what Kahn calls the *all sound* and
*always sound* of Cage was dedicated [4]: "He withdrew most of
his earlier compositions from circulation and concentrated solely on
creating and presenting music and mixed-media art reflecting rapid and
vigorous changes taking place in the culture and technologies of the
latter half of the century" [5].<br>
<br>
There are three junctures to be traced in this development. The first
is the proliferation of the avant-garde of the early twentieth
century, from the futurists to Dada and sound poetry; the second is
the later generation, separated form the first by two wars and to
which Kasemets belongs, which included the developments of Fluxus and
happenings, Iannis Xenakis, electroacoustic music and minimalism. John
Cage, it could be said, straddled the first and second junctures. The
third juncture is the flourishing of "contemporary electronic
music," from pop and rock permutations ("Kraut rock,"
new wave, industrial music) to African-American innovations (funk,
disco, Chicago house, Detroit techno, electro, hip-hop and their
Afro-futurist movements), including their "avant-garde"
tendrils (IDM, minimal techno, lowercase and microsound, microhouse,
clicks 'n' cuts).<br>
<br>
As someone at the tail end of the third juncture, I find myself
magnetized by the tragically short *first* exploration of technology
and it is this desire that awakens a fourth juncture in the history of
"electronic" music where, at the limits of today's
"experimental" scene, a return to considering the technology
and apparatus of performance and the very means of composition places
the "producer" at the heart of a nascent history. This
thirst for productive experimentation, which so drove Russolo (even in
his dark passion for war) and Varèse, is sampled as a catalyst for
combating the pessimism of the postmodern milieu.<br>
<br>
Today's phonographists and computer musicians are turning to the
surviving members of the second juncture to learn of the first forays
into the technological unknown of aurality. Unfortunately, the average
DJ knows little of these junctures (which are sketched here only as
arbitrary histories to facilitate an understanding in this context).
Conversely, among the academy, an appreciation of the African-American
traditions of rhythm and percussion - what was considered "the
music of the future" by Cage - is scant [6].</font></div>
<div><font face="Courier New" color="#000000"><br>
Thinking of another turn-of-the-previous-century author, Proust, it is
perhaps worth recalling that to move forward is to remember. A
turntable rotates endlessly to circulate the movements of sound. To
*turn* back, to glance behind, is to scratch out a history in the
revolutions of wax. At the juncture of *chance* - temporal
performativity - the apparently antiquated phonograph eclipses the
computer. Wax, the loop and the turn prepare the way for scripting
Kasemet's junctured sound in tactile ways, which the circuitry of the
laptop renders untouchable. Beyond tactility, the laptop encodes
multiple time as variables, determining, in the process, the process
of process itself, making *possible* an algorithm of generative
numerosity. Until the laptop can be tampered, decodified, *broken* -
it remains a control device.<br>
<br>
There is more to be said of the laptop and the turntable (we shall
return to this), for the turntable, like the failure of the script,
demands impossible time and impossible touch. To perform at that
moment where the performance cannot be performed, where the script
becomes impossible to follow, when the moment of impossibility or what
would be judged as codified failure - a new *stile* in the dial of
time, a new time of listening (and to consider this time as unique) -
is to cut the grooves into skips and smooth them through burns. To
turn a new stile of sound - *Turn/Stile*. To work with Udo Kasemets
and to re-turn a century-aged tradition of phonographic
experimentation so that it rotates face-to-face with postmodern DJ
histories and techniques, scratched through the mediation of
post-Cagean composition and cut and burnt with an avid ear for the
panaural, is to solder these traditions and histories, to conjure and
mix inspiration from wax and wires, and to sonically sound the way
into unnoted sound/scapes.<br>
<br>
<br>
Stile: \Stile\, n. [See Style.] 1. A pin set on the face of a dial, to
cast a shadow; a style. 2. Mode of composition. May I not write
in such a stile as this? - Bunyan.<br>
<br>
PARAMETERS OF THE *CALENDARON*<br>
<br>
Kasemets' conceptual score for an undetermined number of
electroacoustic, electronic or otherwise amplified musicians presents
a unique conundrum. This dilemma arises in the interpretation of the
script, which calls for a prepared, yet improvised, reading of the
graphic "event-sounds." These pictographemes are numerative
illustrations sampled from Mayan calendar permutations, presented for
the musicians as sonic events to produce in a certain timeframe. The
temporal is delimited by the random drawing of shuffled playing cards,
by each performer, to ascertain an event's duration.<br>
<br>
This interpretative intensity - already a matter of lightning-speed
poetic hermeneutics - is compounded when a musician cannot easily
construct the two sample sets as required, as in the case of irregular
uses of a turntable, where sources cannot be quantified beforehand. By
engaging tactile technology that, at base, wires the temporalities of
the Mayan script, the difficulties of inhabiting the historical
disjunctive are embodied in the momentum of the performer. The *remix*
that follows proceeds from Kasemets' allowance for "mental
abstracts" in interpreting the script. The necessity of
abstraction conjoins an equally necessary physicality, as the mindwork
of preparation meets the bodywork of improvisation, a work of manifold
temporalities in the performance of sound.<br>
<br>
The script calls for a (re)interpretation of its body from the
beginning. The permutations of the script, in their immediacy, call
for an engaged *embodiment in performance* at the same time that
mental abstracts are schematized, before the actual performance, to
de/construct a *performative hermeneutics*. The primacy of the mental
conjoins the body, as question mark, through the force of touch, while
an embodied immediacy calls for the challenge of interpretation in the
demands of otherness from the script's graphic-logic. To fail to
perform this script, or to perform it poorly, in my mind and felt with
the strains of my body, would be to fail to struggle with the demands
of its peculiar *scriptual-logos*.</font></div>
<div><font face="Courier New" color="#000000"><br>
The representation of *logos*, as the sign of *possible logic*, or
performative order, is questioned here through the manifold nature of
the Mayan calendar used to construct scriptual authority. Whereas the
Gregorian calendar sets into stone the demarcation of days and their
purposes in a fixed manner, the Mayan calendar permeates each day.
According to Kasemets' script, the Mayan calendar combines 52 solar
cycles, each consisting of 18 months of 20 days, plus 5 extra
"unlucky" days, totaling 365 days, which are permutated with
73 ritual cycles, which are "intermeshing rotations of 20 day
names and [the] numbers 1 to 13," totaling 260 days. The
"same combinations of month and day names and numbers recur only
[once] in 52 years" [7]. (One can possibly experience every day
as unique during one's lifetime.) The "nameless days"
fissure, that which is beyond or before the *logos*, consists of days
of fasting and mourning. The Mayan calendar autodeconstructs a *logos*
that, if we continue to utilize these Western philosophical paradigms,
dances an embrace with *khõra*, the mourning of futurity and the
difference of each moment.<br>
<br>
SCRIPT TEMPORALITIES: NUMBERS<br>
<br>
Along with the complex score of 52 chronologically sequenced
notations, temporally delimited by randomized playing cards,
"each performer prepares two distinct sets of sound 'samples.'
Each 'sample' has to be of such a nature that it can be treated in
multiple ways in matter of durations, amplitudes and other parameters,
and also that it can be comfortably combined with other 'samples,'
either linearly or simultaneously." The "samples" are
broken into two groups: set 1 consists of 20 samples represented by
the binary numerals (the 20 day names of the Mayan calendar). The
corresponding day names and their symbolic meanings provided by
Kasemets offer further signifying material.<br>
<br>
Playing proceeds as follows:<br>
<br>
The score indicates which "samples" are to be activated
(either singly or jointly) during a given time segment. The Arabic
numeral accompanying a given binary set indicates the number of
"events" to be presented during the segment. The<u>
underlined</u> numeral represents the name of the day of the segment,
thus denoting a somewhat predominant treatment.<br>
<br>
Set 2 consists of four samples - x, y, z, Ø - which represent the
"names of three Mayan months and the sequence of five nameless
days." These "samples" should be, if possible, original
or modified recordings of nature sounds (e.g. water, wind, whales,
insects, birds). They may or may not mix with, or influence, or be
influenced by the "samples" of the other set.<br>
<br>
In my performance of the work, Set 2 consisted of four records of Top
40 pop tunes. These included the 1999 Grammy Award winners for rap
double-pack, 12" remixes of Donna Summer and remixes of
recordings by TV actor William Shatner (these records were given away
to eliminate all records of these records). The choice of highly
culturally encoded pop records over "natural" sounds
constituted a way to begin acknowledging the technological medium
inherent to the production of permutative temporal sound. The first
set of samples was *processed* from the burning and cutting of the
second set, operations determined by the "relative durations of
the activation of the 'sample' of the given letter. A vertical line
(I) stands for a long(er), a dot (.) for a short(er) sound."<br>
<br>
Amplification was determined through the playing cards. The cards
themselves signify the following attributes: red - loud(er); black -
soft(er); rounded (hearts, spades) - sustained, smooth, long(er);
pointed (diamonds, clubs) - detached, edgy, short(er), as well as
determining the set time for a series of actions (3 = 30 seconds,
etc.). The performance should end at the same time for all performers,
despite each performer working with a unique and random time-line.<br>
<br>
*TURN/STILE* PROCESS: LAPTOP VS. TURNTABLE<br>
<br>
Although I have previously performed experimental turntablism [8], it
was the *quantitative impossibility* of the turntable, unlike a
laptop, that irrupted the phonograph as a manifold time-machine. To
assemble 24 samples in software such as Max/MSP and to code a patch
that simply accounts for the variables *executes* the *body* of the
script [9]; the lack of performativity and the ease with which the
software would negotiate the challenges of the script scrubs the body
of its sweat. The laptop becomes William S. Burroughs' "Grey
Room," the center of *control*: a deep schematization of random
elements is established and the laptop recites its enclosed domain of
*techne*. Would there climax the erotic, the number-stroking
card-flipping intensity? Would one love the machine or watch idly?
Would there become the ability to radically interact with the machine
as a de-territorialized instrument, the way the turntable became? For
the script is already *techne*, the code of the prosthetic body or
soft-machine, that which temporalizes the sweat of
impossibility.</font></div>
<div><font face="Courier New" color="#000000"><br>
Although the "lack of gestural theater" inherent to laptop
performance decodes pop-music spectacle, as Kim Cascone suggests [10],
its newfound status as the academic acousmatic leaves *much to be
desired*. The lack of gestural theater allegorizes a broader
schematic: the negation of interpretative impossibility through
technological control [11]. Although there exists the possibility of
improv-coding software patches during performance, is it possible that
we mime only an *encoded* impossible, an impossible not at all?<br>
<br>
Thinking of Baudrillard, I realized that I would not be watching the
laptop, but that the laptop would be watching me and the audience
would be watching me being watched [12]: a double panopticon, double
simulacrum of power-gazing, control of control. To where is the rift
assigned: the script or the software? To where is manifold, Mayan
memory encoded? To be memory-lost and moment-forsaken in having
*neither record nor way of reproducing that same performance again*,
is it possible to use a digital encoding system? To perform times of
multiplicity is to *touch* duration, not program the memory bank of
our current incarnations of the binary machine.<br>
<br>
During the practice of *CaleNdarON*, Kasemets would say, "It's
all music." The transactions between performers - as this script
calls on six bodies not only to interpret the script but to watch and
hear the others - was by far the most pronounced amongst those who
could conjure sound with impossible speed. With two performers on
laptops, two on CD players, one on an electric violin and myself on
turntable, the dominant sonic-cues were between myself and the
violinist. Yet to conclude the purity of an atechnology or Ludditism
would erase the ways in which one transacts with the machine through
the other, the body of the script, which is to say, the bodies of the
*other* performers, wired as the machinic-ensemble.<br>
<br>
SCRIPTING TURNTABLISM<br>
<br>
The turntable has a history with script, not only through the
avant-garde, but also in the realm of hip-hop. Several
script-notations for scratching vinyl, including all manner of fader
tricks and manipulations, have been developed, as well as scores for
"hip-hop operas." A competitor in the DMC Championships for
scratch-turntablism and beat-juggling is working from her own
composition, which determines the timing and placement of records and
the tricks to be utilized [13]. Although in the past this script has
been memorized aurally and through touch, scripts by the likes of DJs
such as Radar, A-Trak and Jon Carluccio [14] have inscribed these
difficult routines.<br>
<br>
My own history burns another path, of the experimental, of
African-American music, if not Afro-futurist, via the advent of
Detroit techno. Unlike hip-hop turntablism, the recognition of
techno-turntablism has been scarce among academia and the electronic
music world. Focused less upon the scratch, techno-turntablism
emphasizes the speed and improvisation of each mix. Although
scratching is common, it is the cutting of faders and the inventing of
disruptive tricks - such as feedback utilization and off-beat
synchronization, while engaging the moving bodies of the audience
through the transactive composition of a sonic voyage - that
challenges the techno-turntablist [15]. Techno-turntablism is only at
the dawn of its efforts to engage avant-garde techniques, including
those pioneered by Janek Schaefer, Philip Jeck, Martin Ng, Martin
Tétreault and others, as well as the turntable-instruments of Schaefer
and Kitundu [16].<br>
<br>
It is with a desire for rhythm and the otherworldly (the alien
technologies of techno) that the first set of samples became
*differential processes* upon the four records of the second set,
which were also not the "nature" sounds Kasemets called for.
Given the permutative *nature* of the script, it became *necessary* to
revolve the binary with manifold temporality - from high-art
"culture" to *pop culture*. At a surface, yet institutional,
level, Kasemets' script is considered avant-garde, at the edge of
pop-culture. If the script *is culture*, pop culture must be, by force
of the binary (note the uses of *binary numbers* in this script),
*nature(al)*. By embodying a logic that *spins* the *scriptual-logos*
- a (dj) *mix* of theory and practice - the performative
interpretation affects not through representation, similitude or
mimesis but through the movement of the permutative "nature"
of the script itself.</font></div>
<div><font face="Courier New" color="#000000"><br>
SMOOTH SPACE, STRIATED SPACE: TWO TECHNIQUES, CUT AND BURN<br>
<br>
There are two primary processes that construct the samples in Set 1:
cuts and burns. To parse the set, 20 sounds from and for each record
letter were marked, using tape, where either knife or fire were
employed (remixed from the script, where 0 is "fire," 1 is
"knife").<br>
<br>
Smooth and cut space [17]:<br>
<br>
1. In *cutting* vinyl, one striates space across a predetermined
spiral of grooves that rotate a highly structured arrangement of
sound. By cutting the record's grooves, one engages the pre-cut groove
through the slicing and carving of grooves, the incision of
inadvertent grooves (or skips or loops). Eventually, a heavily
striated surface will cease to be normatively playable and a multiple
temporality of playing and listening must arise, as we cut this
paragraph, as something beyond demonstration, with the knife itself.
The Mayan calendar is a cut-up (the cut-up according to Burroughs is
erotic); the sounds cut-up IN *CaleNdarON* - to cut is to think - have
been cut before this thought.<br>
<br>
2. In *burning* vinyl, one melts the groove to smooth, soft space,
warm to the touch, accentuating the random travel of the needle across
glacial sound-space. Eventually, a heavily-burnt surface will cease to
contain grooved sound, save for the whirring rotations of the
turntable system and sounds normally unheard (such as electrical hum).
"Silence," as *heard* by John Cage [18] - the amplification
of miniscule sound, the vibration of warm record-molecules and sound
of melting, dripping wax - liquefies the burn, calling for a *burning
ear*.<br>
<br>
ASSEMBLY MARKINGS<br>
<br>
i. After cutting or burning the vinyl, a number of separate and
distinct sounds, as called for by the script, are performed, utilizing
turntablist aspects (EQ, fader techniques, tone-arm rubber bands,
mixer effects, reverse-playing, feedback, line noise). As these sounds
are in relation to the *notes of duration*, an element of
impossibility often arises, consisting of more durations than sounds.
This means that *one of the durations has to be an amount of silence*.
The performance became the work of a complex and unfolding remix,
random and desperately haptic.<br>
<br>
ii. When the record became so fully manipulated and affected that it
became, in a movement of fury and love, *a time* to play the needle
directly across spinning surfaces, such as the platter, tinfoil and
sandpaper (as the Mayan letter became effaced), the subjectile was
touched there - as the rip, the surface beyond surface - and *heard*
[19].<br>
<br>
iii. When faced with a scriptual notation, such as "Event-Sound
13," performance process became *machinic* (scratch marks from
this turntable beast). Body and hermeneutics became an
all-encompassing act of irruptive and interruptive interpretation.<br>
<br>
Event-Sound 13 is as follows:<br>
<br>
Record: Ø<br>
Duration note: .<br>
Predominant Binary: 01<br>
Further Binaries:<br>
0101 1101 0011 1011 0111 1111 00001 10001 01001 11001 00101 10<br>
<br>
With record Ø, one short duration, from a burn, of 13 sets of binary
coda, drawn a 3 of clubs, calling for quiet, and the total event
(preparation, interpretation, in/decision and action) to resound
within 30 seconds. This meant one had to incorporate silence with one
single duration of 13 distinct sounds, through one quick sonic
movement from the surface of a burn. Simultaneously, the process was
as follows: scratching the burn, the echo parameter on the mixer, EQ
mid-hi and taps to the needle-head, final sideways scratch, the needle
off the record, with the lighter held under its point, resulting in
the needle catching fire and acidic smoke.<br>
<br>
iv. Beyond the capacity of interpretation, although perhaps not the
senses, was the symbolism of the Mayan day. Kasemets' *temporalities*
abandon at least one element to evade the *script* (although it might
be sounded, even in its absence). Just as there is silence, there is
an interperformative gap where the meanings of the script resound via
*infiltration*, as the moments of random accumulation, mixture,
construction and destruction cut-up silence. One grasps
*interpretative silence*, a moment where *bodymind* can neither
account nor perform. The script, as the demands of manifold, Mayan -
if not alien - temporalities, overwhelms the performer's dedication
(or lack thereof) to the *scriptual-logic* of the script. The script
rips itself apart. It temporalizes rifts, and these are heard, even in
their evasion. The script rips its scriptuality. It is at such a
moment - and such moments abound - that movements of disjunction and
synchronicity transact with the performers, the machinic-ensemble. Too
absorbed in the script itself, the *movements of failure* constituted
the ensemble's improvisation as a bodymind machine failing its
programs, failing to grasp all variables and, in their failure, giving
chance to manifold time, to an experience of time beyond linearity, to
alien, Mayan temporalities. The playing of the impossible calendar,
from riotous cacophony to solitary silence, becomes
*CaleNdarON*.</font></div>
<div><font face="Courier New" color="#000000"><br>
_____________________________<br>
<br>
<br>
ACKNOWLEDGEMENTS<br>
<br>
UK; VT; GM; optic mystic; CP.<br>
<br>
_____________________________<br>
<br>
<br>
REFERENCES AND NOTES<br>
<br>
1. See<u> http://www.newmusic.org/</u>.<br>
<br>
2. Douglas Kahn, *Noise Water Meat: A History of Sound in the Arts*
(Cambridge, MA: MIT Press, 2001) p. 12.<br>
<br>
3. See<u>
http://www.musiccentre.ca/CMC/dac_rca/eng/k_/Kasemets_Udo.html/</u>
(1998) and<u> http://kalvos.org/kasemet.html/</u>. Accessed August
2002.<br>
<br>
4. Kahn [2], p. 158.<br>
<br>
5. See<u> http://tictocfestival.org/symphony3.html</u>, 1994.<br>
<br>
6. See "The Future of Music: Credo," in *Silence: Lectures
and Writings by John Cage*. (Hanover: Weslayan University Press, 1973)
p. 5. Also see *Social Text* No. 71 (2002).<br>
<br>
7. Udo Kasemets, *CaleNdarON*, from 12 . 19 . 1 . 11 . 1 CHUEN 9 CUMKU
to 12 . 19 . 9 . 4 . 2 . 13 IK 15 UO (Toronto: 2002).<br>
<br>
8. Tobias, *Claustrophobia* (Vancouver: <ST> Communications,
1999). Cassette tape mixwork.<br>
<br>
9. See<u> http://www.cycling74.com</u> for information on Max/MSP
software.<br>
<br>
10. See Kim Cascone, "Laptop Music - Counterfeiting Aura in the
Age of Infinite Reproduction," in *Parachute:
électrosons_electrosounds*, No. 107 (2002) 53-58; K. Cascone,
"Deleuze and Contemporary Music," in *Intersects: Between
the Disciplines*, Vol. 1, No. 1 (2001);<u>
http://www.iisgp.ubc.ca/whatsnew/intersects/</u>; K. Cascone,
"Post-Digital Tendencies in Contemporary Computer Music," in
*Computer Music Journal, Vol. 24, No. 4 (2000) 12-18. Also see tobias
c. van Veen, "Laptops & Loops: The Advent of New Forms of
Experimentation and the Question of Technology in Experimental Music
and Performance," Conference Paper, (Calgary, Canada: University
Art Association of Canada, 1 November, 2002),<u>
http://www.quadrantcrossing.org/papers.htm/</u>; William Ashline,
"Clicky Aesthetics: Deleuze, Headphonics, and the Minimalist
Assemblage of 'Aberrations,'" in *Strategies: Journal of Theory,
Culture, Politics*, Vol. 15, No. 1 (2002) 87-104; Tim Hecker,
"Sound and the 'Victorious Realm of Electricity,'" in
*Parachute: électrosons_electrosounds*, No. 107 (2002) 60-68.<br>
<br>
11. Martin Heidegger, "The Question Concerning Technology,"
in *Basic Writings*, Trans. W. Lovitt (New York: Harper and Row,
1977).<br>
<br>
12. See Jean Baudrillard, *Simulacra and Simulation* (Ann Arbor, MI:
University of Michigan Press, 1994).<br>
<br>
13. See<u> http://www.dmcworld.com/</u>.<br>
<br>
14. See Oliver Wang, "Scratch Transcription," in *Urb*
(2000),<br>
<u>http://www.djradar.com/urb100.html/</u>, and "Higher Science:
Better Deejaying through Turntablature," in *LA Weekly* (25-31
August, 2000),<u>
http://www.laweekly.com/ink/00/40/music-wang.php/</u>.<br>
<br>
15. See tobias c. van Veen, "Vinyl/auralism: A Manifesto of Sonic
Wax," in *Discorder* (March - April 2002).<br>
<br>
16. See Kitundu's website:<u>
http://www.cpcarts.org/kitundu/instruments.htm/</u>, and
Schaefer's:<u> http://www.audioh.com/</u>. In the context of North
American techno-turntablists, a few notable practitioners are (among a
growing contingent) Toronto's Jeff Milligan, Montreal's the Mole,
Windsor's Richie Hawtin, Winnipeg's Fishead, and Detroit's Claude
Young and Jeff Mills.<br>
<br>
17. See Gilles Deleuze and Félix Guattari, "1440: The Smooth
and the Striated," in *A Thousand Plateaus: Capitalism and
Schizophrenia*, trans. Brian Massumi (Minneapolis: University of
Minnesota Press, 2000): "Smooth space is constantly being
translated, transversed into a striated space; striated space is
constantly being reversed, returned to a smooth space" (p.
474).<br>
<br>
18. Kahn considers Cage's "silence" in *Noise Water Meat*.
See [2], pp. 158-241.<br>
<br>
19. See Jacques Derrida, "To Unsense The Subjectile," in
*The Secret Art of Antonin Artaud*, Trans. Mary Ann Caws (Cambridge,
MA: MIT Press, 1998) pp. 59-148.<br>
<br>
_____________________________<br>
<br>
<br>
ABOUT THE AUTHOR<br>
<br>
Tobias c. van Veen is a sound and Net artist, techno-turntablist and
writer. He has been enmeshed with musical resistance culture since
1993, curating, DJing, performing and provoking via interventions and
events, sounds and words. Hailing from Vancouver, BC, tobias was
intricately involved in the West Coast anarcho-techno scene as founder
of the <ST> Projekt and techno.ca's technoWest.org. Tobias holds
editorial and columnist positions for several arts, music and politics
publications, including *FUSE*, *e|i*, *Capital*, *Dustedmagazine.com*
and *Discorder*. He has freelanced for *The Wire*, the CBC and Austria
Kunstradio.</font></div>
<div><font face="Courier New" color="#000000"><br>
His tactical media, performance and Net-art have surfaced on
CTheory.net, 120seconds.com, Rhizome.org, Javamuseum.org,
thisistheonlyart.com, Juniradio.net, at the Centre for Contemporary
Culture in Barcelona, Steim.nl in Amsterdam, and the Museum of
Contemporary Art, Denver. A DJ set still resides on Betalounge.com. He
is author of the 2003 Canadian Electronic Music Directory and is
currently writing a book on the politics of sound and postsubcultures.
Although he can be found in the halls of McGill's Department of
Communications, his blog resides at<u>
http://www.quadrantcrossing.org/blog</u>.<br>
<br>
<br>
ARTICLE RECEIVED 15 NOVEMBER, 2003<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<span
></span>
_________________________________<br>
<span
></span>
| <span
></span
> <span
></span>
|<br>
<span
></span>
| LEONARDO
REVIEWS |<br>
<span
></span>
|
2004.02 <span
></span> |<br>
<span
></span>
|_________________________________|<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<br>
This month, *Leonardo Reviews* includes contributions from new members
of the panel, Malcolm Miles and Enzo Ferrara. In addition, reviewers
whose names will be familiar to regular readers ensure that the latest
listings reflect the intellectual breadth of the *Leonardo*
constituency. Stefaan van Ryssen's review, featured below, responds to
a formidable piece of scholarship by Barbara J. Shapiro, while Rob
Harle has taken time out to experiment with discursive form in his
review of *Intermedia*. Amy Ione, Robert Pepperell and Roy Behrens
continue to feature among our reviews, while newer members Denis
Dollens, Chris Cobb and Aaris Sherin have also filed copy this month,
making it a rich and fascinating selection of topics and styles.
Finally, a special welcome to the familiar names of George Shortess
and Kasey Asberry, who make a return with fascinating contributions to
*Leonardo Reviews* after a brief absence.<br>
<br>
Altogether, a rich and varied selection that can be accessed in full
at:<br>
<br>
<u>http://leonardoreviews.mit.edu<br>
<br>
</u>Michael Punt<br>
Editor-in-Chief<br>
Leonardo Reviews<br>
<br>
_____________________________<br>
<br>
<br>
Reviews Posted February 2004:<br>
<br>
The Abyss of Representation: Marxism and the Postmodern Sublime, by
George Hartley<br>
Reviewed by Malcolm Miles<br>
<br>
American Modernism: Graphic Design, 1920 to 1960, by R. Roger
Remington with Lisa Bodenstedt<br>
Reviewed by Roy R. Behrens<br>
<br>
Art, Not Chance: Nine Artists' Diaries, edited by Paul Allen<br>
Reviewed by Rob Harle<br>
<br>
An Atlas of Rare City Maps: Comparative Urban Design 1830-1842, by
Melville C. Branch<br>
Reviewed by Kasey Asberry<br>
<br>
Beyond Productivity: Information Technology, Innovation, and
Creativity<br>
by William J. Mitchell, Alan S. Inouye, and Marjory S. Blumenthal,<br>
Editors, Reviewed by Amy Ione<br>
<br>
The Book of the Pharaohs, by Pascal Vernus and Jean Yoyotte<br>
Reviewed by Enzo Ferrara<br>
<br>
A Culture of Fact, England, 1550-1720, by Barbara J. Shapiro<br>
Reviewed by Stefaan Van Ryssen<br>
<br>
Digital Magazine Design, by Paul Honeywill and Daniel Carpenter<br>
Reviewed by Rob Harle<br>
<br>
Heteroptera: The Beautiful and the Other or Images of A Mutating
World, by Cornelia Hesse-Honegger<br>
Reviewed by Robert Pepperell<br>
<br>
The Industrial Design Reader, edited by Carma Gorman<br>
Designing for People, by Henry S. Dreyfuss<br>
Industrial Strength Design: How Brooks Stevens Shaped Your World, by
Glenn Adamson<br>
Reviewed by Roy R. Behrens<br>
<br>
INTERMEDIA: alteridem.exe, edited by G. Sabau et al<br>
Reviewed by Rob Harle<br>
<br>
Introduction to Imaging, by Howard Besser<br>
Reviewed by George Shortess<br>
<br>
Spectral Evidence: The Photography of Trauma, by Ulrich Baer<br>
Reviewed by Robert Pepperell<br>
<br>
Teaching at the Bauhaus, by Rainer K. Wick<br>
Reviewed by Roy R. Behrens<br>
<br>
A Thing in Disguise: The Visionary Life of Joseph Paxton, by Kate
Colquhoun<br>
Reviewed by Dennis Dollens<br>
<br>
Les Unites Semiotiques Temporelles, Nouvelles cles pour l'ecoute<br>
(Outil d'analyse musicale), CD-ROM by MIM (Laboratoire Musique
Informatique de Marseille)<br>
Reviewed by Chris Cobb<br>
<br>
Women, Art and Technology, edited by Judy Malloy<br>
Reviewed by Aaris Sherin<br>
<br>
_____________________________<br>
<br>
<br>
A CULTURE OF FACT - ENGLAND, 1550-1720</font></div>
<div><font face="Courier New" color="#000000"><br>
by Barbara J. Shapiro, Cornell University Press, Ithaca, 2000, 284
pp., trade. ISBN: 0-8014-8849-4.<br>
<br>
Reviewed by Stefaan Van Ryssen, Hogeschool Gent, Jan Delvinlaan 115,
9000 Gent, Belgium.<br>
<u>stefaan.vanryssen@pandora.be <br>
<br>
<br>
</u>Over the past decades, critical observers and suspicious citizens
have learned to mistrust reports about the facts of military
campaigns, corporate (ir)responsibility, royal mishap and scientific
success. The media, we have gradually come to understand, are as
easily creating "facts" as they are hiding others from
public view. Misters Bush and Blair "know for a fact" that
the former Iraqi regime was producing and hiding weapons of mass
destruction, and it is a well known "fact" that man never
walked on the moon. Yes, Elvis lives, as a matter of fact, I have met
him at a recovery center in the South of France, where lady Di has
gone in hiding too.<br>
<br>
Facts are no longer facts, it appears, but how have they ever become
facts in the first place? What does this overworked four-letter word -
derived from the Latin "factum" or "man-made thing"
- really stand for? When was it used and what were the events or
pieces of information that received this seemingly untouchable label?
Who elevated mere descriptions, stories, anecdotes and gossip to the
semisanct status of undoubtable, solid and fool-proof status of
factual evidence?<br>
<br>
Barbara Shapiro, a professor of history in the Graduate School at the
University of California, Berkeley, retraces the early history of the
concept of "fact" in the United Kingdom in the sixteenth and
seventeenth centuries. It starts in the courts, when juries and judges
were urged by early modern thinkers to ground their verdicts on facts
as witnessed by reliable and trustworthy observers. Sir Thomas More
and Sir Francis Bacon (himself a professional lawyer), among many
other lesser-known philosophers, contributed to the advancement of the
"fact" in the legal arena, although it may come as a
surprise that they thought gentlemen to be more reliable than
commoners and men more trustworthy than women.<br>
<br>
In a matter of decades the concept gradually spread from law to
historiography, chorography and travel reporting. By the end of the
sixteenth century, reporters of "marvels," "wonders"
and other "news" in the periodical press had adopted the
practice of quoting witnesses and their antecedents to support the
factual status of their stories and with the founding and the
development of the Royal Society, "facts" became part and
parcel of scientific discourse. Finally, at the beginning of the
eighteenth century, the use of the word had become so common in
English culture that it appeared even in religious texts.<br>
<br>
Barbara Shapiro has taken the work of Shapin and Shaffer (see
*Leviathan and the Air Pump, Hobbes, Boyle and the Experimental Life*,
Princeton, 1985 - a landmark work on the development of early
scientific thought and on the societal nature of science and
knowledge) to heart and clearly demonstrates how the fact originated
in law, not in science, and how this epistemological concept moved
from one realm to the other, reshaping the structure of knowledge in
its wake. She does so in eight thematically arranged chapters, rather
than one chronologically ordered narrative, giving enough side
information for the reader to get the complete picture. She draws from
a truly formidable range of reference, appropriately organized in the
footnotes to keep the prose clear and readable, and she strikes a
balance between "factual" description and epistemological
interpretation. This makes this book a good read for both historians
and amateurs - in the modern sense - of intellectual and cultural
history.<br>
<br>
_____________________________<br>
<br>
<br>
AMERICAN MODERNISM: GRAPHIC DESIGN, 1920 TO 1960<br>
<br>
by R. Roger Remington with Lisa Bodenstedt, New Haven CT: Yale
University Press, 2003. 192 pp., 250 color illustrations. Paper,
$35.00. ISBN: 0-300-09816-2.<br>
<br>
Reviewed by Roy R. Behrens, Department of Art, University of Northern
Iowa, Cedar Falls, IA 50614-0362, U.S.A.<br>
<u>ballast@netins.net<br>
<br>
<br>
</u>To the extent that any country is a melting pot, its culture is
indebted to the traditions that were brought in by its emigrants,
whether European, Asian, African or whatever. But with luck, those
same traditions mix, through synergistic alchemy, into new and
original cultural forms, of which perhaps the most famous example is
jazz. At times, related claims are made about a cluster of graphic
designers who flourished in the U.S. in the years before and after
World War II, and whose styles are sufficiently different from other
influences as to merit the special, distinguishing tag of
"American Modernism."</font></div>
<div><font face="Courier New" color="#000000"><br>
A surprising number of these designers were born and raised in the
Midwest (e.g. Merle Armitage, Lester Beall, Bradbury Thompson, Noel
Martin and Charles Eames), while others grew up in the cities (Paul
Rand, Saul Bass and Alvin Lustig). Without exception, they were
wonderfully smart and resourceful; they were also eager for
experimentation, so much so that they all embraced the European
avant-garde (in particular De Stijl, surrealism, the Bauhaus, and
Tschichold's new typography), acquired firsthand in some cases by
working side by side with recent emigrants, among them Ladislav
Sutnar, Alexey Brodovitch, Herbert Bayer and Will Burtin. At the same
time, they did not complacently align with that influence, but
practiced what in retrospect is a seamless amalgam of European
modernism and American regionalism, in the sense that its softened
geometry is not unlike the art produced by Grant Wood, Thomas Hart
Benton, Edward Hopper, Charles Sheeler, and others who were active in
the WPA-era.<br>
<br>
The author of this beautiful book, design historian R. Roger
Remington, is as well-informed about this subject as anyone, and is
widely known for his efforts as the founder of the Graphic Design
Archives, a large collection of printed ephemera and other research
materials in the Wallace Library at the Rochester Institute of
Technology. This volume, which is his fourth and largest study of
various aspects of this segment of design history, begins in the
nineteenth century and retraces the emergence of the European
avant-garde. It slows down as it looks more reflectively at the major
representatives of American modernism, then resumes speed as it
surveys the 40-year period near the end of the twentieth century, in
which modernism is replaced by the maze that we currently find
ourselves in. In addition to Remington's wonderful text, it is
exquisitely designed (as it really has to be, to practice what its
text promotes) by Brad Yendle and stunningly illustrated by 250 color
illustrations of the finest, most unforgettable works from an historic
period in which not just graphic design, but cinema, literature,
dance, popular music and other forms of expression were produced at a
very high level.<br>
<br>
(Reprinted by permission from *Ballast Quarterly Review*.)<br>
<br>
_____________________________<br>
<br>
<br>
A THING IN DISGUISE: THE VISIONARY LIFE OF JOSEPH PAXTON<br>
<br>
By Kate Colquhoun, Fourth Estate, London 2003. £18.99.<br>
<br>
Reviewed by Dennis Dollens, Department of Genetic Architecture,
Universitat Internacional de Catalunya, Barcelona.<br>
<u>exodesic@mac.com<br>
<br>
<br>
</u>Joseph Paxton, when he is remembered, is known for his design and
supervision of the Crystal Palace - the 1851 cast-iron and glass
structure that transcended its garden heritage (evolving from
greenhouses) to become the world's most advanced, technological
structure. Enclosing 21 acres and erected in a few months, the Crystal
Palace housed England's first blockbuster international exhibition.
Media and promotional support was so great during its development that
the building became the exhibition's main attraction. Its physical
structure came to embody early Victorian ideals of work and industry,
as its image seeded future visions affecting urban building typologies
such as glass atria, shopping arcades and railroad stations.
Interestingly, the Crystal Palace's appeal and vision crossed social
boundaries, receiving the early support of Prince Albert and Queen
Victoria, then subsequently garnering working-class support in the
form of massive attendances (it was one of Cook's Tours first
destinations and workers could pay travel expenses through advanced
weekly subscription). Such a building would be the life's triumph of a
great engineer or architect, but a gardener built the Crystal Palace;
and it was only one of Joseph Paxton's many triumphs.<br>
<br>
So, while Kate Colquhoun's chapters describing the Crystal Palace are
full of revelations, those surrounding them tell a fairytale-like
story of a developing genius. They reveal Paxton's autodidactic path
and his ongoing and deep relationship with his patron and later friend
and colleague, the sixth Duke of Devonshire. Paxton's training ground
was the Duke's Chatsworth estate where, over his lifetime, he
transformed landscape, garden, waterworks and eventually architectural
history, concurrently transforming himself into a Victorian icon of
work and intelligence. His collaboration with the Duke resulted in
botanic expeditions that added new and formerly unknown trees, plants
and orchids to England's botanic patrimony; together, the Duke and
Paxton made Chatsworth the botanic showplace of Europe. Through
channels independent of the Duke, Paxton wrote and edited garden
magazines and later founded a general London newspaper, hiring Charles
Dickens as editor. Even as writing supplemented his healthy Chatsworth
income, he also took on independent design work (notably designing
Baron Mayer de Rothschild's 1855 estate), as well as serving as a
board member and consultant for various railways.</font></div>
<div><font face="Courier New" color="#000000"><br>
If one nineteenth-century structure could represent the seed of a new
architecture - and like botanic seeds, there are an abundance of
architectural seeds - Paxton's 1835-38 "Great Stove" (as his
greenhouse masterpiece was known) would be my foremost candidate.
Looking at pictures of it (it was demolished in 1920), one could be
looking at a prismatic or origami-like structure from today's
avant-garde. As a piece of pre-Victorian design it is dazzling,
anticipating Bruno Taut's crystal architecture by almost 80 years. The
Great Stove is a set of continuous folding facets or, as Colquhoun
tells us, "furrow and ridges," arched and curved to cover an
enormous 30,000 square feet.<br>
<br>
Primarily a wood-framed building, the stove's elements were
steam-milled on site. Its glass scales were the largest panes
available (48 x 6 in) and, when inserted into the skeletal-like frame,
created a lightweight, undulating skin supported by 36 interior,
cast-iron columns. A material hybrid not possible before the
industrial revolution, this building's morphological shape also owed
nothing to architectural history. Yet, it was effectively Paxton's
testing-ground for prefabrication and a model for techniques he later
refined for the Crystal Palace. Therefore, if the Crystal Palace is
considered the beginning of enormous-scale prefabrication projects,
eventually leading to modernism, the Great Stove and other works at
Chatsworth, especially the glasshouse sheltering the gigantic
Amazonian water lily, Victoria regia, were its germinating bed.
Colquhoun's book rights this neglected parentage.<br>
<br>
*A Thing in Disguise* charts Paxton's development as gardener,
landscape designer, writer, architect, politician, family man and
friend; all part of his historic role in nineteenth-century England.
Paxton was a determined, hard worker who became a national figure -
the common man who worked his way to the top - he was elected to
Parliament and knighted by Queen Victoria. This is a benchmark
biography and deserves an honored place on every library shelf serving
architects, engineers, gardeners and those interested in Victorian
technology and culture.<br>
<br>
_____________________________<br>
<br>
<br>
THE BOOK OF THE PHARAOHS<br>
<br>
by Pascal Vernus and Jean Yoyotte, translated from the French by David
Lorton, Cornell University Press, Ithaca and London, 2003, 233 pp.,
illus. Cloth, $35.00, ISBN: 0-8014-4050-5.<br>
<br>
Reviewed by Enzo Ferrara, IEN Galileo Ferraris, Materials
Department,<br>
Strada delle Cacce, 91, 10135 Turin, Italy.<br>
<u>ferrara@ien.it<br>
<br>
<br>
</u>"The universe rests on the pharaoh, who is mandated on earth
by the creator god to repel evil and chaos" - Christiane Ziegler
(Louvre Research Unit Director)<br>
<br>
The term "pharaoh," handed down through the Bible, comes
from the Egyptian "per-aâ," which originally designated
the royal palace but later referred to its ruler, emblem of the rich
and complex Egyptian civilization. The pharaohs, almighty kings of
many forms, dominated the whole Egyptian perspective on human life and
ruled over a huge, unified territory spanning 4,000 kilometers along
the banks of the Nile.<br>
<br>
Egyptian society could not have functioned properly without the
pharaoh's presence. The importance and the role of the pharaoh as an
intermediary between the natural and supernatural realms can be
appreciated through the quantity of his effigies, multiplied
everywhere in ancient Egypt to grant that divine forces take care of
human affairs. The most eminent pharaohs amount to no more than 50;
among them, the names of kings such as Cheops, Akhenaten, Ramesses,
Tutankhamon and Alexander the Great have become part of popular
culture. Their profiles are well-known, extensively sketched in
portraits, busts, decorated heads and bas-reliefs worldwide.<br>
<br>
However, the images of the pharaoh we have inherited are always
stereotyped, as imposed by the ideology to respect and testify to the
continuity of Egyptian culture and art. For all the tombs, statuary
and other relics that have survived, little deals with the daily work
of the government, the court, or the private life of the royal family.
Historians can scarcely uncover the individuality of kings, although
they can scrutinize the policy and warfare during each period and each
reign. Thus, this effort by the French Egyptologists Vernus and
Yoyotte to write down *The Book of the Pharaohs* is appreciable. Their
volume examines what lies behind the formalism and monumental majesty
of the pharaohs, offering critical and practical information for an
objective characterization of the reigns and personalities of the
"great" pharaohs, but also to make account of the greatest
possible number of less-celebrated sovereigns.</font></div>
<div><font face="Courier New" color="#000000"><br>
As suggested by the original title of the French edition,
*Dictionnaire des pharaons* (1996), the book resembles an
encyclopedia, with alphabetically ordered short essays on the places,
dynasties, subjects and themes relating to the kings and their rule in
ancient Egypt. Each entry contains information on the etymologic
origin of the name, along with genealogical and historical data, and
most of them conclude with an essential bibliography for further
reading on the major sources of Egyptian history. Entries on specific
cultures such as Hyksos, Hurrians and Hittites have been integrated
and, to broaden the cultural "landscape," brief chapters
also deal with non-royal personalities, institutions, practices and
concepts.<br>
<br>
It is difficult to recognize plain chronological connections in the
history of ancient Egypt. For the Egyptians, time was a cyclic
progression: the ascension to the throne of a pharaoh marked the first
year of a new era, to be ended with his death. Everything written or
materially reproduced thus became eternal or, more properly, outside
of time: artistic expressions, whether utilized in a tomb or a temple,
mainly served a functional, rather than an artistic end. Thus, the
sequences of dynasties, the classification of reigns and periods with
coeval sovereigns are not easy to reconcile with the continuity
apparent in the artistic tradition.<br>
<br>
Vernus and Yoyotte recognize this limitation: "The dates in this
table, as well as those in the entries ... cannot pretend to fix in
time precisely and irrevocably the important moments and the major
events. The textual and archaeological realities condemn us to this
humility ... or rather, to this humiliation" (p. VIII). Even so,
they offer information to place the monarchs, at least approximately,
in the historical context of their respective periods and the volume
contains entries devoted to the "Kingdoms" and
"Intermediate Periods" and to each of the dynasties as they
succeeded one another.<br>
<br>
Queens are considered as well, from Hatshepsut, the first, to
Cleopatra VII Philopator, last representative of the Ptolemaic dynasty
and, after Teye and Nefertiti, the fourth female pharaoh of Egypt. The
last entry is the "Zero Dynasty," inserted in the revised
English edition. This is a strange but appropriate indication of the
pre-dynastic period that was recognized as have existed earlier than
the foundation of Memphis and the unification of Low and High
Reigns.<br>
<br>
The Egypt of the pharaohs still attracts scholarly attention and
highly publicized exhibits continuous to inspire popular fascination.
*The Book of the Pharaohs* is intended for a wide audience. It
efficaciously spans, although concisely, 3,000 years of history of the
Egyptian kings, offering readers a reference to the human reality of
royal Egypt.<br>
<br>
The volume includes a bibliography of recent books for general readers
and a chronological table that organizes the major periods of Egyptian
history, along with the most illustrious royal names.<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<span
></span>
_________________________________<br>
<span
></span>
| <span
></span
> <span
></span>
|<br>
<span
></span>
| LEONARDO
JOURNAL |<br>
<span
></span>
|_________________________________|<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
<br>
LEONARDO, VOL. 37, NO. 2 (APRIL 2004) - TABLE OF CONTENTS AND SELECTED
ABSTRACTS<br>
<br>
=====================================<br>
<br>
<br>
EDITORIAL<br>
<br>
< Robert Root-Bernstein: ArtScience: The Essential Connection
><br>
<br>
_______________________<br>
<br>
<br>
SPECIAL SECTION - @RT OUTSIDERS FESTIVAL<br>
<br>
< Jean-Luc Soret: Introduction: @rt Outsiders Festival: The New
Alchemists of Creation ><br>
<br>
< Chu-Yin Chen: *Quorum Sensing*: An Interactive Installation
><br>
<br>
< Magali Desbazeille and Siegfried Canto, with Christine Beigel:
*You Think, Therefore I Am (Following You) (Tu penses donc je te
suis)* ><br>
<br>
< Christophe Luxereau: An Aesthetic of Emptiness ><br>
<br>
< Daniel Mange and Gianluca Tempesti: BioWall - An Electronic
Tissue That Pulsates Like Skin ><br>
<br>
Artists' Statements from selected participants in the Third @rt
Outsiders international digital art festival, 18 September-20 October
2002, Paris. </font></div>
<div><font face="Courier New" color="#000000"><br>
Participating in the creation of a genetically modified and living
work; touching a "biological wall" and seeing artificial
life emerge; creating creatures that visibly evolve before our eyes
within a virtual jungle; observing a living microcosm activated by our
footsteps: This was the passionate journey that awaited visitors to
the third @rt Outsiders international digital art festival, which took
place 18 September-20 October 2002 in Paris and on<u>
www.art-outsiders.com</u>.<br>
<br>
_______________________<br>
<br>
<br>
ARTIST'S NOTE<br>
<br>
< Franc Solina: *15 seconds of fame* ><br>
<br>
ABSTRACT<br>
<br>
*15 seconds of fame* is an interactive installation that every 15
seconds generates a new pop-art portrait of a randomly selected
viewer. The installation was inspired by Andy Warhol's ironical
statement that "in the future everybody will be famous for 15
minutes." The installation detects human faces and crops them
from the wide-angle view of people standing before the installation.
Pop-art portraits are then generated by applying randomly selected
filters to a randomly chosen face from the audience. These portraits
are then shown in 15-second intervals on the flat-panel computer
monitor, which is framed as a painting.<br>
<br>
_______________________<br>
<br>
<br>
GENERAL ARTICLES<br>
<br>
< Roy Ascott: Planetary Technoetics: Art, Technology and
Consciousness ><br>
<br>
ABSTRACT<br>
<br>
As the planet becomes telematically unified, the self becomes
dispersed. The convergence of *dry* silicon pixels and biologically
*wet* particles is creating a moistmedia substrate for art where
digital systems, telematics, genetic engineering and nanotechnology
meet. A technoetic aesthetic will not only embrace new media,
technology, consciousness research and non-classical science but will
also gain new insights from older cultural traditions previously
banished from materialist discourse as esoteric or shamanic. As the
century progresses, we may find ancient plant technology allied to the
emerging moistmedia technologies of our constructed realities and new
or rediscovered realms of consciousness contiguous with new domains of
the planetary web. In the present post-9/11 crisis, with its competing
ideas of reality and morality, collaborative transdisciplinary
research is needed if a truly planetary culture is to emerge that is
techno-ethical as well as technoetic. Entirely new organisms of
communication, learning and creativity must be engendered.<br>
<br>
< Robert Thill: Intellectual Property: A Chronological Compendium
of Intersections between Contemporary Art and Utility Patents ><br>
<br>
ABSTRACT<br>
<br>
The author presents a group of projects in which the roles of
inventor, artist, amateur and institution variously overlap, merge and
blur, offering new perspectives on the relationship between
contemporary art and patents. Addressing issues of originality,
aesthetics, labor, ownership and value, these projects demonstrate a
continuous link between art and patents and encourage thoughtful
speculation about shared concerns, guiding ideologies and forms.<br>
<br>
_______________________<br>
<br>
<br>
ARTIST'S ARTICLE<br>
<br>
< Katherine Lubar: Color Intervals: Applying Concepts of Musical
Consonance and Dissonance to Color ><br>
<br>
ABSTRACT<br>
<br>
Throughout the centuries, there have been numerous attempts to
correlate elements within the fields of music and visual art. The
author compares the 12-tone musical scale to the 12-hued subtractive
pigment color wheel commonly used by artists and applies the
principles of consonance and dissonance in musical intervals to their
counterparts in color "intervals." The main function of this
paper is to put forth a paradigm that can be used by artists as a
point of departure for their own explorations into the use of color as
well as to create a possible method of analyzing works of art to
understand why certain color combinations may work well together.<br>
<br>
_______________________<br>
<br>
<br>
STATEMENTS<br>
<br>
< Kok Kee Choy, *T2000* ><br>
<br>
< Thomas Jacobsen, Kandinsky's Color-Form Correspondence and the
Bauhaus Colors: An Empirical View ><br>
<br>
_______________________<br>
<br>
<br>
SPECIAL SECTION - ARTMEDIA<br>
<br>
< Annick Bureaud: Introduction: From Aesthetics of Communication to
Net Art: The ArtMedia VIII Symposium ></font></div>
<div><font face="Courier New" color="#000000"><br>
< Wolfgang Strauss and Monika Fleischmann: Artistic Practice as
Construction and Cultivation of Knowledge Space ><br>
<br>
Selected papers from the international symposium Artmedia VIII: From
Aesthetics of Communication to Net Art, co-organized by Fred Forest,
Mario Costa and Annick Bureaud, Paris, December 2002.<br>
<u>http://www.olats.org/projetpart/artmedia/2002eng/mono_index.html<br
>
<br>
</u>ABSTRACT<br>
<br>
This article presents the netzspannung.org Internet platform, a media
laboratory on the Internet that not only collects high-quality
information on digital culture and media production but also
interlinks this information, contextualizes it and makes it available
on-line as a constantly expanding knowledge space that, like a
library, can be explored by the public as an interactive installation
and an educational space. In the broadest sense, the aim of this
project is to visualize and semantically network information to create
"knowledge spaces" that can be explored interactively and in
real time and that are accessible to the user through play.
Technologies, on-line tools and intuitive interfaces are being
developed that support communication between the digital and physical
spaces and investigate new forms of knowledge acquisition as
"knowledge-based arts."<br>
<br>
< Maurizio Bolognini: The *SMSMS* Project: Collective Intelligence
Machines in the Digital City ><br>
<br>
ABSTRACT<br>
<br>
The author's *SMSMS* project, a computer-based interactive
installation, is presented, and some implications concerning art and
new technologies are discussed. *SMSMS* derives from a previous work,
*Computer sigillati*, in which 200 machines have been programmed to
produce an endless flow of random images and left to work indefinitely
without being connected to a monitor. In *SMSMS*, one of the *Computer
sigillati* programs is employed to create images that are visible and
can be modified by the public using cell phones. It is argued that
*SMSMS* could be considered indistinctly as either an exercise in
collective intelligence or, in contrast, as a disturbance to the
perfectly unpredictable working of the machine. It is concluded that
this apparent contradiction, as well as the oppositions between
control and randomness, intelligence and chaos, should itself be
recognized as one of the most significant themes for artistic research
using new technologies.<br>
<br>
_______________________<br>
<br>
<br>
HISTORICAL PERSPECTIVE<br>
<br>
< Rui Moreira Leite: Flávio de Carvalho: Media Artist Avant la
Lettre ><br>
<br>
ABSTRACT<br>
<br>
This paper examines the work of Brazilian artist Flávio de Carvalho
(1899--1973) from the perspective of contemporary media art,
highlighting his practical and theoretical legacy. Initially
associated with the Anthropophagy art movement, Carvalho used mass
media creatively and incorporated insights from psychology, sociology
and anthropology into his art. He realized events that went beyond
"performance art," including a pioneering presentation on
television in 1957. This article offers a brief overview of Carvalho's
trajectory.<br>
<br>
_______________________<br>
<br>
<br>
LEONARDO REVIEWS<br>
<br>
< Reviews by Fred Andersson, Wilfred Niels Arnold, Roy R. Behrens,
Sean Cubitt, Dennis Dollens, Allan Graubard, Dene Grigar, Rob Harle,
Amy Ione, Michael R. (Mike) Mosher, Robert Pepperell, Stefaan Van
Ryssen ><br>
<br>
_______________________<br>
<br>
<br>
LEONARDO NETWORK NEWS<br>
<br>
______________________________________________________________________<br
>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span> |<br>
<span
></span>
| LEONARDO
ABSTRACTS |<br>
<span
></span>
|
SERVICE
|<br>
<span
></span>
|______________________________|<br>
<br>
_____________________________________________________________________<span
></span>__<br>
<br>
<br>
The Leonardo Abstracts Service (LABS) is a listing of Masters and
Ph.D. theses in the art/science/technology field, for the benefit of
scholars and practitioners.<br>
<br>
LEA also maintains a discussion list open only to faculty in the
field. Students interested in contributing and faculty wishing to join
this list should contact<u> leo@mitpress.mit.edu</u>.<br>
<br>
_____________________________<br>
<br>
<br>
AUTHOR</font></div>
<div><font face="Courier New" color="#000000">Jennifer Henderson<br>
<u>jenniferhenderson@sbcglobal.net<br>
<br>
</u>LANGUAGES FAMILIAR TO THE AUTHOR<br>
English<br>
<br>
THESIS TITLE<br>
Portrait of the Artist in Red Ink<br>
<br>
ABSTRACT<br>
"Portrait of the Artist in Red Ink" was an installation of
artists' financial portraits on canvas. The work, which resulted from
the application of twentieth-century capitalist financial analysis
models to artists shows, through application of these socio-economic
research models, the precise, albeit estimated, economic and class
impact of the artist's occupation.<br>
<br>
Extensive interviews with artists about their professional, lifestyle
and family goals as well as income, expense, debt load and desired
geography form the basis for the custom interactive financial model I
created of the artist's financial future. This model enabled the
artist to explore different choices and see the effect on income and
expense for his life expectancy. Lastly, I created the art object, a
financial portrait that contains symbols of class from portraiture
(such as home, pet and children) combined with contemporary business
graphics (income and expense graphs) to represent the desires of the
artist against the reality of existence.<br>
<br>
The application of financial planning models to artists highlights the
flaws in the art economy that an artist must contend with and shows
that living a life with enough money to create art is perhaps the most
creative endeavor of all.<br>
<br>
KEYWORDS<br>
capitalist, financial analysis, modeling, agency, portrait, money, art
economics, design science, installation, business graphics, class<br>
<br>
YEAR PUBLISHED/EXAMINED<br>
2003<br>
<br>
URL<br>
<u>http://www.jennifer-henderson.com/id27.htm<br>
<br>
</u>ORIGINAL LANGUAGE OF THESIS<br>
English<br>
<br>
COPYRIGHT OWNERSHIP<br>
Jennifer Henderson<br>
<br>
THESIS SUPERVISOR<br>
Joel Slayton, San Jose State University; Professor and Coordinator of
CADRE (Computers in Art, Design, Research and Education) in the Art
and Design Department;<u> jslayton@email.sjsu.edu</u><br>
<br>
UNIVERSITY WHERE THESIS WAS CREATED<br>
San Jose State University/CADRE<br>
<br>
THESIS AVAILABLE UPON REQUEST: contact author<br>
<br>
______________________________________________________________________<br
>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span>
|<br>
<span
></span>
|
OPPORTUNITY
|<br>
<span
></span>
|_________________________________|<br>
<br>
_____________________________________________________________________<span
></span>__<br>
<br>
Faculty Position: Assistant or Associate Professor, New Media
Arts<font size="+1"><br>
</font>University of California San Diego<font size="+1"><br>
</font>The University of Californa, San Diego Division of Arts and<br>
Humanities (<u>http://dah.ucsd.edu</u>) invites applicants for an
assistant<br>
or beginning associate professor of new media arts, to begin July
1,<br>
2004. Salary will be commensurate with qualifications and
experience<br>
and based upon UC pay scales.<font size="+1"><br>
</font>Candidates should have creative and/or theoretical work
that<br>
demonstrates a substantial engagement with computing in any field
of<br>
the arts such as (but not limited to) the visual arts, music,
theatre<br>
and/or dance. The position will be affiliated with the New Media
Arts<br>
area of the California Institute of Information Technology and<br>
Telecommunications [Cal-(IT)2 -<u> http://www.calit2.net</u> ], and
with the<br>
Center for Research in Computing and the Arts (CRCA -<u>
http://www.crca.ucsd.edu</u>). The position will involve
teaching within<br>
the Interdisciplinary Computing in the Arts Major and the
development<br>
of new digital arts graduate programs. The candidate will join
one<br>
of the departments of Visual Arts, Music, or Theatre and Dance.
PhD,<br>
MFA or commensurate professional experience is required.<font
size="+1"><br>
</font>To apply, please send a letter of intent including a statement
of<br>
qualifications and research interests, curriculum vitae, samples
of<br>
creative work and/or publications, along with names and addresses<br>
(including email addresses) of three references to:<font
size="+1"><br>
</font>Digital Arts Search Committee<font size="+1"><br>
</font>CRCA 0037<font size="+1"><br>
</font>UC San Diego<font size="+1"><br>
</font>La Jolla, CA 92093-0037<font size="+1"><br>
</font>The application deadline is March 10, 2004, or until the
position is<br>
filled. Please reference position #4-332-fAf in all
correspondence.<br>
Enclose self-addressed postcard for acknowledgment of application
and</font></div>
<div><font face="Courier New" color="#000000">SASE for return of work
samples.<font size="+1"><br>
</font>UCSD is a major research university that promotes and
supports<br>
creative work and advanced research in all forms of the arts<br>
including practice, history and theory. One of the ten campuses
in<br>
the world-renowned University of California system, UCSD has
rapidly<br>
achieved the status as one of the top institutions in the nation for
higher education and research. Total current campus enrollment is
nearly 25,000. Generous research funding and excellent studio
facilities are available. Teaching will include both graduate
seminars and undergraduate classes and active involvement with a new
interdisciplinary graduate program currently<br>
in development.<font size="+1"><br>
</font>UCSD is an Equal Opportunity/Affirmative Action Employer with
a<br>
strong institutional commitment to excellence through diversity.<font
size="+1"><br>
</font
>____________________________________________________________________<span
></span>___<br>
</font><font face="Times New Roman" size="+1"
color="#000000"> ___________________<br>
</font><font face="Courier New" color="#000000">
| <span
></span> |<br>
| <span
></span> |<br>
|
CREDITS |<br>
| <span
></span> |<br>
|___________________|<br>
<br>
<br>
Nisar Keshvani: LEA Editor-in-Chief<br>
Patrick Lambelet: LEA Managing Editor<br>
Michael Punt: LR Editor-in-Chief<br>
Andre Ho: Web Concept and Design Consultant<br>
Roger Malina: Leonardo Executive Editor<br>
Stephen Wilson: Chair, Leonardo/ISAST Web Committee<br>
Craig Harris: LEA Founding Editor<br>
<br>
Editorial Advisory Board:<br>
Irina Aristarkhova, Roy Ascott, Michael Naimark, Craig Harris,
Julianne Pierce<br>
<br>
Gallery Advisory Board:<br>
Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Fatima Lasay, Kim
Machan<br>
<br>
fAf-LEA corresponding editors:<br>
Ricardo Dal Farra, Elga Ferreira, Young Hae-Chang, Fatima Lasay,
Lee<br>
Weng Choy, Jose-Carlos Mariategui, Marcus Neustetter, Elaine Ng, Marc
Voge<br>
<br>
_____________________________________________________________________<span
></span>____<br>
___________________<br>
| <span
></span> |<br>
|
LEA |<br>
| WORLD WIDE WEB |<br>
|
ACCESS |<br>
|___________________|<br>
<br>
<br>
For over a decade, Leonardo Electronic Almanac (LEA) has thrived<br>
as an international peer-reviewed electronic journal and web<br>
archive, covering the interaction of the arts, sciences and<br>
technology. LEA emphasizes rapid publication of recent work and<br>
critical discussion on topics of current excitement. Many<br>
contributors are younger scholars and artists, and there is a
slant<br>
towards shorter, less academic texts.<br>
<br>
Contents include Leonardo Reviews, edited by Michael Punt,<br>
Leonardo Research Abstracts of recent Ph.D. and Masters theses,<br>
curated Galleries of current new media artwork, and special<br>
issues on topics ranging from Artists and Scientists in times of<br>
War, to Zero Gravity Art, to the History of New Media.<br>
<br>
LEA is accessible using the following URL:<u> http://lea.mit.edu<br>
<br>
</u
>____________________________________________________________________<span
></span>_____<br>
_________________<br>
|
LEA |<br>
| PUBLISHING |<br>
| INFORMATION |<br>
|_________________|<br>
<br>
Editorial Address:<br>
Leonardo Electronic Almanac<br>
Studio 3a, 35 Place du Bourg-de-four<br>
1204 Geneva, Switzerland<br>
<br>
E-mail:<u> lea@mitpress.mit.edu</u><br>
_____________________________________________________________________<span
></span>____<br>
<br>
Copyright (2004), Leonardo, the International Society for the<br>
Arts, Sciences and Technology<br>
<br>
All Rights Reserved.<br>
<br>
Leonardo Electronic Almanac is published by:<br>
<br>
The MIT Press Journals, Five Cambridge Center, Cambridge, MA 02142<br>
U.S.A.<br>
<br>
Re-posting of the content of this journal is prohibited without<br>
permission of Leonardo/ISAST, except for the posting of news and<br>
events listings which have been independently received.<br>
Leonardo/ISAST and the MIT Press give institutions permission to<br>
offer access to LEA within the organization through such<br>
resources as restricted local gopher and mosaic services. Open<br>
access to other individuals and organizations is not permitted.<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
< Ordering Information ><br>
<br>
<u
>http://mitpress.mit.edu/catalog/item/default.asp?ttype=4&tid=27<span
></span>&mode=p</u><br>
<br>
Leonardo Electronic Almanac is free to Leonardo/ISAST members and<br>
to subscribers to the journal Leonardo for the 2004 subscription<br>
year. The rate for Non-Leonardo individual subscribers is
$35.00,</font></div>
<div><font face="Courier New" color="#000000">and for Non-Leonardo
institutional subscribers the rate is<br>
$77.00. All subscriptions are entered for the calendar year only.<br>
<br>
All orders must be prepaid by check (must be drawn against a U.S.<br>
bank in U.S. funds), money order, MasterCard, VISA, or American<br>
Express. Where student subscription rates are available, a<br>
verification of matriculant status is required.<br>
<br>
Note: In order to place orders electronically, you must be using<br>
a browser that is SSL-compliant. If you are unable to open the<br>
ordering link listed above, then your browser does not support<br>
the security features necessary to use this interface. Please use<br>
the addresses below to submit your order. Address all orders and<br>
inquiries to:<br>
<br>
Circulation Department<br>
MIT Press Journals<br>
Five Cambridge Center<br>
Cambridge, MA 02142-1407 USA<br>
TEL: (617) 253-2889 (M-F, 9-5)<br>
FAX: (617) 577-1545 (24 hours)<br>
<br>
For questions contact:<br>
journals-orders@mit.edu (subscriptions)<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
________________<br>
| <span
></span> |<br>
| ADVERTISING |<br>
|________________|<br>
<br>
Leonardo Electronic Almanac is published monthly -- individuals<br>
and institutions interested in advertising in LEA, either in the<br>
distributed text version or on the World Wide Web site should
contact:<br>
<br>
Leonardo Advertising Department<br>
425 Market St., 2nd Floor,<br>
San Francisco, CA 94105, U.S.A.<br>
Tel: (415)-405-3335<br>
Fax: (415)-405-7758<br>
E-mail:<u> isast@sfsu.edu</u><br>
More Info:<u>
http://mitpress2.mit.edu/e-journals/Leonardo/isast/placeads.html#LEAa<span
></span>ds<br>
<br>
</u
>____________________________________________________________________<span
></span>_____<br>
____________________<br>
| <span
></span> |<br>
| ACKNOWLEDGEMENTS |<br>
|____________________|<br>
<br>
LEA acknowledges with thanks the Rockefeller and Ford Foundations for
their support to Leonardo/ISAST and its projects.<br>
<br>
_____________________________________________________________________<span
></span>____<br>
<br>
< End of Leonardo Electronic Almanac 12 (02) ><br>
_____________________________________________________________________<span
></span>____</font><br>
<font face="Courier New" color="#000000"></font></div>
</body>
</html>