/ ____ / / /\ / /-- /__\ /______/____ / \ ============================================================= Leonardo Electronic Almanac Volume 5, No. 2 February 1997 Craig Harris, Executive Editor Roger Malina, Editor Editorial Advisory Board Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey, Joan Truckenbrod ISSN #1071-4391 ============================================================= ____________ | | | CONTENTS | |____________| INTRODUCTION Craig Harris < LEA 1997 > < This issue > PROFILES < Survey of Recent Works by Greg Garvey > < Music for the XXI Century - This Summer at New York University > LEONARDO DIGITAL REVIEWS Roger Malina et al < Book Review: Dimensions of Creativity, Edited by Margaret A. Boden > Reviewed by Wilfred Niels Arnold < Book Review: Aesthetic Criteria, by Sheldon Richmond > Reviewed by Istvan Hargittai < Book/Event Review: Chaos & Wise Women by Abraham & Shlain > Reviewed by Trudy Myrrh Reagan < Article Review: The neurobiology of kinetic art, by S. Zeki and M. Lamb > Reviewed by Roger Malina < Exhibit Review: Digital Salon Exhibition, Sponsored by Siggraph > Reviewed by Flash Light PUBLICATIONS < Striking Distance > < Venetian Deer - a new CD-ROM by Die Veteranen > OPPORTUNITIES < LEONARDO MUSIC JOURNAL - Editor-in-Chief Position > ANNOUNCEMENTS < Music and Notations: Multidisciplinary Musical Meetings 97 > < Media~Space! > < Horizons in Computer Music at Indiana University School of Music > < Bachelor of Science in Visualization at the Minneapolis College of Art and Design (MCAD) > < JIM'97 - Extended Deadline Announced > < Fourth Brazilian Symposium on Computer Music > < Fourth International Conference on Hypermedia and Interactivity in Museums > < National Conference of the Association for Technology in Music Instruction > ACKNOWLEDGEMENTS LEA WORLD WIDE WEB AND FTP ACCESS LEA PUBLISHING & SUBSCRIPTION INFORMATION ============================================================= ________________ | | | INTRODUCTION | |________________| < LEA 1997 > Craig Harris Leonardo Electronic Almanac is happy to report that Interval Research Corporation is continuing and expanding its support of LEA for 1997. This is exciting news, making it possible for us to expand our technological resources, and to develop the LEA staff. LEA welcomes Pamela Flash to the editorial staff. Pamela brings a diverse background and excellent skills to Leonardo Electronic Almanac in this year of development. Patrick Maun is taking on the challenge of redesigning the LEA web site to improve the look, feel and navigation system. This process will result in making the vast amount of content much more accessible. Patrick is a new media artist, and has been involved in a variety of web art and virtual gallery projects. Brief biography statements appear below. Pamela Flash ------------ Pamela Flash is an educator, poet and freelance editor. Editorial and promotional writing experience includes two years with the San Francisco Bay Guardian and another two with the Bay Areas now defunct New Performance Gallery. While working on her own monologues and performance pieces, Pamela went on to develop a freelance promotion business writing about the work of local visual and performing artists. She even did a small amount of editing for Leonardo in 1986 before going on a West Coast tour with a Canadian horse-drawn theater group. In 1987 Pamela left the stage for the classroom, teaching English and education at UC Berkeley, the School for International Training in Vermont and the University of Minnesota. Currently employed as an educational consultant at the University of Minnesota, she spends her time promoting the kinetic art of effective teaching, raising a young child, renovating an old house, trying to get used to living in the middle of a continent and scrambling to steal time for her own writing. Patrick Maun ------------ Patrick Maun is a media artist working with combinations of video, sculpture, interactive installation, online communications, sound, and still work. His work explores issues in communications, community, history, and myth. His work has been in both solo and group exhibitions and festival nationally, in Europe and South America. Most recently he has shown in the Digital Salon in New York, and recently had a solo exhibition at the International Gallery of Contemporary Art in Minneapolis. < This issue > This month Greg Garvey provides insight into several of his recent works. The profile of the New York University Department of Music and Performing Arts Professions reveals an intensive and varied program. Leonardo Digital Reviews presents a collection of Book, Article, Event and Exhibition Reviews. In the Publications section we get to hear about Die Veteranen's new CD-ROM and Web project, 'Venetian Deer'. See the notes in the description for pointers to the article and interview that we published in LEA back in 1994 about their first project. And 'Striking Distance' is a world-wide web publication presenting articles as well as exhibition and studio tour sections. There are several announcements of new programs and upcoming events that I haven't seen posted in the usual places, so I am including them here this month. Expect to see some dramatic transformations in the coming months, and keep sending in material for publication. Follow that thread of thought that you have been wanting to explore for some time; send in some hyper-media explorations of your recent work. ============================================================= ____________ | | | PROFILES | |____________| < Survey of Recent Works by Greg Garvey > GREGORY PATRICK GARVEY 2213 Hampton Avenue City: Montrial, Quibec CANADA, Postal code: H4A 2K5 Home Ph.: (514) 484-2946 Home Fax: (514) 484-2946 Office Ph.: (514) 848-4749 Office Fax: (514) 848-8627 E-mail: ggarvey@vax2.concordia.ca URL(s): http://www.lightfactory.org/artists.html Over the past 10 years my work has focused on interactive computer based installations and computer graphic portraits which both explore the nature of the digital medium and engage the eye, mind and body of the viewer/participant. Installations such as the SMART STALL or the Automatic Confession Machine, while making satirical use of technology, question our infatuation with the brave not-so-new world of AI, VR, and ubiquitous computing. My work puts the user "on the spot" by requiring a committment or a kind of theatrical "suspension of belief" where the user must make choices presented by the interface that forces an examination of his or her own beliefs and biases in confrontation with the imagined or real agency of computer hardware and software. As Brenda Laurel has noted the potential of computers is "not in its ability to perform calculations but in its capacity to represent action in which humans could participate." SMART STALL: The Master/Slave Duchampian Telecommunications Interface -------------------------------------------------------- The SMART STALL is conceived as an 'immersive' interactive theatrical experience inspired by Antonin Artaud's 'Theatre of Cruelty.' The user's motion triggers 'orders' and 'instructions' from an abusive semi-intelligent agent suffering from multiple personality disorder. In homage to Duchamp's avatar - R. Mutt - this installation looks like a public toilet stall but actually is a telecommunications terminal. Two non functioning bathroom toilet stalls are equipped with digital white boards which digitize handwritten graffiti which then is transmitted from one SMART STALL to the other remote stall over a T3 line where the message are projected. SMART STALL was shown as part of 'The Bridge' Exhibition at SIGGRAPH'96 in New Orleans. GENDERBENDER and the Virtual Personality: Scavenging the Trash Heap of the History of Psychological Testing ---------------------------------------- GENDERBENDER 1.0 is loosely based on the Bem Sex Role Inventory (BSRI) (1974) and the Turing test for Artificial Intelligence. GENDERBENDER allows a user to self-administer a gender test of 20 masculine, feminine or neutral traits. The Morph-o-meter and the Tile-o-matic give instant feedback on whether masculine or feminine characteristics predominate in the user's personality by morphing towards a identifiably male or female visual representation. Based on the user's responses the "Computer Psychologist" will display the message "You are a man!" or "You are a woman!" or "You are androgynous!" It is a kind of time capsule giving insight into how notions of gender are mutable. When personality traits become reduced to and locked in algorithmic descriptions those chosen traits almost inevitably reflect the biases and clichis of what is considered 'normal.' Future releases will introduce a two player internet version and the creation of an online avatar that reflects the gender profile that the user gives it. This avatar can act as a gendered knowbot that will visit chat groups, perform searches and report back to its master and perhaps provide links for actual meat and flesh encounters. The stand alone version can run on most Macintosh color computers and requires the addition of a Connectix Quickcam. The KIOSK housing the computer is optional as is the two player networked version which requires two Mac computers connnected on a network. GENDERBENDER was exhibited at Image du Futur'96 in Montreal. A Portrait of Choreographer Mark Morris --------------------------------------- A work such as 'A Portrait of Choreographer Mark Morris 1994-96' is created by frame grabbing or digitizing the subject live saving full frame images directly to disk. I usually start with a full length shot and then move in for a variety of closeups from different angles. I digitally cut and paste these different views into a composite image which effectively renders different resolutions that I orchestrate to create a false or artificial depth of focus. In fact the patchwork quilt of different angles and resolutions invites the close scrutiny of the viewer. Earlier portraits were printed using a Tektronix thermal wax printer moret recent work is printed using the IRIS Ink Jet printer at Cone Editions in Vermont. THE AUTOMATIC CONFESSION MACHINE: A Catholic Turing Test -------------------------------------------------------- This stand alone Kiosk housing a computer resembles an automatic banking machine where the user must kneel, confess committed sins and receives. a printout indicating how many Hail Marys and Our Fathers must be said for digital absolution and silicon salvation. As the title of the piece suggests the Catholic Turing Test has two fold inspiration: (1) the artist's experiences as a youth with the Catholic Sacrament of Confession and (2) the Turing Test for Artificial Intelligence. This test for judging whether or not a computer can be said to think was first proposed by Alan Turing, in his essay 'Computer Machinery and Intelligence' which appeared in the philosophical Journal Mind in 1950. This work challenges the sinner in the confessional to decide whether or not a priest or a computer programmed to act like priest is hearing the confession. In doing so the user/sinner can experience the ectasy of forgiveness in a Manichean system governed by the binary logic of good and evil where quilt, shame, sin, and salvation, are all input variables that determine the catechism of output: namely how many Hail Marys and Our Fathers must be said for redemption. The Automatic Confession Machine: A Catholic Turing Test was first exhibited at SIGGRAPH'93 as part of the Machine Culture Exhibition. In 1994 the ACM was awarded first prize in the 1994 Toronto Digital Media Awards and was included in Image du Futur in Montreal and ISEA'93 in Minneapolis. It has been covered by such diverse publications as WIRED, and the National Geographic Magazine and has been exhibited across the North America and Europe including Montreal, Boston, Charlotte - North Carolina, Lisbon, Montreux, Zurich and Linz Austria. [Editor's Note: A detailed profile of Greg Garvey's Automatic Confession Machine: A Catholic Turing Test appeared in LEA 2:7, July 1994.] BIOGRAPHY Greg Garvey is Associate Professor, Chair of the Department of Design Art and Coordinator of the new programme in Digital Image/Sound at Concordia University in Montreal. He was a member of the Artistic Organizing Committee for ISEA'95 in Montreal and Co-Chaired the Conference Committee with Cynthia Beth Rubin. Mr. Garvey previously lived and taught in the Boston area, where he was Co-Artistic director of the New England Computer Arts Association (NEWCOMP) and was a Fellow at the Center for Advanced Visual Studies at MIT where he earned his Masters of Science in Visual Studies Degree. ************************************************************* < Music for the XXI Century - This Summer at New York University > Department of Music and Performing Arts Professions NYU School of Education 82 Washington Square East, Room 62 New York, NY 10003-6680 USA URL: http://www.nyu.edu/education/music.summer/ The Department of Music and Performing Arts Professions at NYU's School of Education offers a dynamic new synthesis in music studies designed for students in all areas and styles of music. The program addresses composition, technology and performance. Earn 3 to 12 undergraduate/graduate credits or enroll on a noncredit basis. Portfolio and recommendations required. Early application deadline: April 15. Create. Collaborate. + Direct access to advanced recording and computer music facilities. + Readings of scores in progress. + Recording sessions. + Performances. Mix and Match Classes Design your own summer program. Mix classes in composition, technology, and performance in the way that best suits your talents and goals. Whatever your specialty an NYU Summer offers you an opportunity to work closely wrth your peers in other facets of music - and to break out of me mold. With the approval of your home adviser, you can earn up to 9 credits toward your degree in music or complete an exciting and unusual music minor or elective program as a visiting or special student. Performance ----------- Contemporary Music May 19 - June 5 Explore improvisation, movement for performers, live electronics, and sound processing. Create multimedia works with dancers and students in our Composers Seminar and Tonmeister Studies Program. Stage and produce a public performance with NYU's New Music Ensemble. Study Abroad: Pisa, Italy June 30 - August 3 Combine new instrumental performance with electronic and Interactive computer music and contemporary dance. Create performances for Pisa's Annual International Interactive Arts Festival. Technology ---------- Music Technology Courses Work in state-of-the-art recording and computer music studios. Visiting students may enroll for one or both sessions: May 18-June 6 and June 9-27. Choose from among the following courses: + Recording Technology + MIDI Technology Recording Technology for Nonmajors + Audio for Video, Television, and Multimedia + Advanced Computer Music Synthesis and Composition + Scoring for Film and Multimedia NYU Stephen F. Temmer Tonmeister Studies Program May 1 - June 26 A unique opportunity to gain advanced Tonmeister training. Explore new theories and professional techniques in recording technology under the direction of a European Tonmeister. Collaborate with our guest instrumental ensemble and the NYU New Music Ensemble. Record rehearsals, mix work tapes, make digital masters and a professional-level recording of the NYU Composers Seminar's concluding concert. For advanced students and professionals. Open by permission only. Composition ----------- Fifth Annual NYU Composers Seminars May 19 - June 25 Featuring: + Intensive group and individual instruction for composers age 17 and above + Weekly private instruction. + Advanced interactive media and computer notation programs. + Internet and Web collaborations + Structural analysis in contemporary and classical works. + Extended instrumental techniques. + Open rehearsals and final concert Composers Concert Seminar Collaborate with a resident professional instrumental ensemble, master recording engineers, and students from our Tonmeimer Studies Program. Direct access to instrumental ensembles and music technolagists for readings of scores in progress, rehearsals, and recording sessions. Showcase your compositions in a public concert and bring home a professional-quality CD of your work! (3 credits or noncredit) Seminar in Composition Discuss contemporary styles and techniques with noted guest composers, conductors, and instrumentalists from such premier ensembles as the Chicago Symphony, Philadelphia Orchestra, and Cleveland Symphony Orchestra. Survey techniques and styles ranging from neoromantic, minimalist, serial, and aleatoric to mixed media and electronic music. (3 credits or noncredit) Past guest have included John Corigliano, George Perle, Ned Rorem, and Richard Danielpour (composers); Michael Boriskin (pianist); and Norman Fisher (cellist). Resources --------- + Eleven professional-level recording and computer music studios. + Macintosh-based computer music laboratories. + Power Mac studio for A/V and film music editing + Analog synthesis studio. + Research facilities using Macintosh, IBM and NeXT computers. + Digital audio hardware including Digidesign's Sound Accelerator and ProTools boards and a full Sonic Solutions digital editing system. + Advanced hardware platforms for computer music and multimedia in NYU's Arts Technology Studio + NYU New Music Ensemble. Work with an acclaimed avant-garde group that combines instrumental improvisation with electronics and experimental movement Faculty ------- Lawrence Ferrara Chair. Department of Music and Performing Arts Professions. Noted author and pianist Kenneth Peacock Director, Music Technology Program. Computer music and acoustics. Dinu Ghezzo Director, Music Composition Program. Robert Rowe Associate Director, Music Technology Program. Composer and designer of interactive music programs. Esther Lamneck Director, NYU New Music Ensemble and NYU Music Program in Italy. International soloist, clarinet and tarogato Justin Dello Joio Adjunct Professor. Noted composer Low-Cost Summer Housing ----------------------- Rates as low as $100 per six-week session. Live on NYU's Washington Square campus in the heart of Manhattan's Greenwich Village. Enjoy easy access to classes and to the New York music scene. ============================================================= ____________________________________ | | | | | LEONARDO DIGITAL REVIEWS | | February 1997 | | | |____________________________________| Editor:Roger Malina Coordinating Editor:Kasey Rios Asberry Editorial Advisors:Chet Grycz, Judy Malloy, Annick Bureaud, Marc Battier Review Panel (includes): Rudolf Arnheim, Wilfred Arnold, Marc Battier, Robert Coburn, Mary Cure, Shawn Decker, Jose Elguero, Michele Emmer, Josh Firebaugh, Eva Belik Firebaugh, Geoff Gaines, Bulat M. Galeyev, Thom Gillespie, Francesco Giomi, Tony Green, Istvan Hargittai, Gerald Hartnett, Paul Hertz, Curtis Karnow, Richard Land, Barbara Lee, Roger Malina, Diana Meckley, Axel Mulder, Kevin Murray, Youri Nazaroff, Simon Penny, Clifford Pickover, Sonya Rapoport, Henry See, Kasey Rios Asberry, Jason Vantomme, Misha Vaughn, Rainer Voltz, Christopher Willard, Stephen Wilson ============================================================= < Book Review: Dimensions of Creativity Edited by Margaret A. Boden > MIT Press, Cambridge, MA, 1996. 243 pp., Paperback, $14.00. ISBN: 0-262-52219-5. Reviewed by Wilfred Niels Arnold E-mail: WARNOLD@KUMC.EDU Some creative people are appreciated in their lifetimes. Others are recognized much later, often with reluctant and belated praise. As Jonathan Swift remarked, "When a true genius appears in the world, you may know him by this sign, that the dunces are all in confederacy against him." For these reasons, and others more academic, understanding the very nature of creativity is an intriguing and worthwhile goal. Those who have chosen to work in this field have usually been as lonely as their subjects. The number of books seems remarkably small, although every now and then these scholars are invited to arts and humanities symposia, and thence to publish in proceedings, as token representatives on the processes of discovery. The present volume is relatively unique in that it arose from a special project in which an interdisciplinary group of investigators was sponsored for five years by the Renaissance Trust. This book, eight chapters by seven contributors, is the fruit of that labor. Margaret Boden, School of Cognitive and Computing Sciences, University of Sussex and this collections editor declares in her introductory piece that there are many differences among the themes and approaches of the chapters. This is true. The format is too small to expect an encyclopedic coverage but a decent review of the literature is missing and the volume ends up as a bit of a jumble. The conjunction of creativity and mental illness has been bandied around with some pretense at quantification since the last half of the 19th century (Cesare Lombroso). Bipolar affective disorder is a 20th century favorite in some circles and long lists of artists and scientists, deemed to have suffered from this disorder, have been assembled and pushed by disciples of this poorly founded exercise. In the final chapter of "Dimensions of Creativity", Hans Eysenck, embraces this working hypothesis and expands it. He offers a curve depicting the proportion of the general population plotted against a continuum of psychic states ranging from empathy and altruism, through conformity, to manic depressive disorder and schizophrenia. This quasi-mathematical graph has the charm associated with drawing in the sand with a pointed stick, but less precision. I believe that the consensus of serious studies suggests that there is no cause and effect relationship between insanity and creativity, but that some forms of mental illness are not incompatible with creativity in the long run. Moreover there is no indication of sickness being a prerequisite. On the contrary, frank or masked neurotic tendencies are the bane of creativity. The productivity of scientists and artists with episodic illness is usually associated with their periods of wellness. The index is deficient; there are only 39 entries. This is inexcusable because the construction of a useful index, once the function of special editors, is now greatly facilitated by word processors. The book is nicely produced and has a very attractive cover. However, the excitement of the title and the promise of a more quantitative approach are not delivered by the contents. It will strike most readers as more of a progress report to the sponsor from the funded members of the self-styled Achievement Project. ============================================================= < Book Review: Aesthetic Criteria, by Sheldon Richmond > Aesthetic Criteria: Gombrich and the Philosophies of Science of Popper and Polanyi By Sheldon Richmond Rodopi B.V. Amsterdam and Atlanta, Georgia, U.S.A. 1994. 152 pp. $30.00/Hfl. 45.00. ISBN: 90-5183-618-X Reviewed by Istvan Hargittai E-mail: hargittai@ch.bme.hu This book is Volume VI in the Series in the Philosophy of Karl R. Popper and Critical Rationalism (Series Editor Kurt Salamun). It is based on the author's doctoral dissertation on critical philosophy and sets about the ambitious project of discussing the art philosophy of Gombrich using as tools the science philosophies of Karl Popper and Michael Polanyi. The author attempts to show that the critical theory Gombrichs art derives from Karl Popper's philosophy, while the study of Gombrichs aesthetics advocates Michael Polanyi's anti-critical philosophy. He concludes that Gombrich's anti-critical philosophy of aesthetics fails for the same reason that Polanyi's anti-critical philosophy of science fails. These are heavy statements and there are also heavy twists in the discussion. The idea of confronting art philosophy with science philosophies is especially intriguing. I believe that a thorough review might be as long as the book which is remarkably short considering the magnitude of problems it discusses. However, the book is very readable and the questions it raises are very interesting. This volume devotes considerable space to Michael Polanyi in addition to Popper, and while I find that this is where its main merit lies, it is also where I would like to make some comments. First of all I am rather unhappy with the summary characterization of Polanyi's science philosophy and, in particular, by its characterization as a failure. According to Richmond, Polanyi claims that science is based on commitment, as opposed to questions and critical discussion. Polanyi has indeed called attention to the personal participation of the knower in all acts of understanding, but he also argued that this would not make our understanding subjective and he stressed that knowing is objective. That Polanyi's philosophy of science continues to be so useful for scientists may have a lot to do with his background as one of the preeminent physical chemists of the 1920s through the 1940s. Of his many contributions, the most important is perhaps his work with H. Eyring which was published in the "Zeitschrift fur physikalische Chemie" in 1931. This work presented the first potential energy surface for a chemical reaction. See also the book, M. Polanyi, "Atomic Reactions," Williams and Norgate, London, 1932. Richmond notes that "Polanyi was a chemist in his youth. As a chemist he had much trouble getting some of his theories accepted." This is a rather simplistic description of the scientist Polanyi prior to his becoming the philosopher Polanyi. In fact, Polanyi, who was born in 1891, got his medical doctor's diploma from the University of Budapest in 1914, just in time to serve in W.W.I as a medical doctor. He then got his doctorate in physical chemistry in 1918 in Budapest. Following a mix of alternately quiet and turbulent decades, he resigned his chair in physical chemistry at the University of Manchester in 1948, moved to the humanities, and got a professorial appointment, without lecturing duties, at the same University. At that time he was already 57 years old. It is remarkable that he had so much originality and impact in his new field of epistemology. But his contributions to chemistry were Nobel Prize-level and he had difficulties in getting his theories accepted to the degree only that all true pioneering work faces. In Budapest he did some work with the future Nobel laureate George van Hevesy, and in 1920 he went to Berlin at the invitation of Nobel laureate Fritz Haberr. One of his pupils was the future Nobel laureate in physics, Eugene Wigner with whom he published a paper in 1925 about association and dissociation containing quantum mechanical considerations at a time when quantum mechanics was just being born. He also did important work in adsorption phenomena, properties of materials, and X-ray analysis. Polanyis most lasting contributions were in reaction mechanisms. His transition to philosophy had been gradual with the breakpoint in 1948. Polanyi's teachings on epistemology continue to be valid and have great utility for many scientists today. Richmond's studies in confronting Polanyi's science philosophy with Gombrich's philosophy of aesthetics, whatever the conclusions, open new perspectives in appreciating Polanyi's works in epistemology. ============================================================= < Book/Event Review: Chaos and Wise Women > Review by Trudy Myrrh Reagan E-mail:TrudyMyrrh@aol.com Artists Using Science and Technology recently sponsored a seven- artist San Francisco exhibit focused on fundamental patterns in nature. At the Canessa Gallery January 20, 1997, the artists put on an evening of talks by Ralph Abraham, author of "Chaos, Gaia, Eros" and Leonard Shlain, author of "Art and Physics". The "Macrocosmos, Microcosmos" exhibit mounted on pre-1906-earthquake brick walls, the sound of hard rain on the skylight, electric lights dimming erratically, the kerosene lamp backup flickering on the table, all provided a magical setting for Ralph Abraham to discuss chaos. He came with no set patter but allowed audience questions to shape the direction of the talk. The concept of Chaos as mathematicians use it is not the same as the one we normally associate with the word, Abraham told us. It is not "disorder that you don't understand." Nor is it simply what the Greeks taught, the "space between earth and the heavens." Chaos is a method for deconstruction. Because the order that society has projected onto nature has trashed the environment in the process, the concept of chaos is used to reveal the order that *really* exists. "What chaos theory is trying to do," declared Abraham, "is to develop a cognitive strategy to visualize and compute the *spoken language of nature,* in order to live more harmoniously with it." Abraham, who began developing the mathematics of what he called "dynamical systems" in the 1960s, is one of the early adventurers into the field of chaos. His aim has been to study space-time patterns in a new way, which better than previous methods moves us out toward the horizon of complexity ("where it gets *really* messy"). One fundamental idea is that of "bifurcation". An equation called a "seed" creates a "tree" which is a pattern graphed most often by computer. This is a fractal-like process. The pattern gradually changes as the seed is given slightly different beginning values. Suddenly, a large jump, a sudden forking in the curve, appears. This is the bifurcation. Its fascination lies with the infinite transformations possible. Patterns mapped on supercomputers, like natural ones, never repeat exactly. This is similar to the way in which the creative impulse allows for a certain amount of apparent disorder. Applications? One is the geometric modeling of an enormous electric power grid in Japan (as he said this, the gallery's lights faltered slightly). Although the engineering company chose not to make use of the chaos analysis, two other areas of success have been in human physiology and population studies. Abraham was asked about chaos, psychedelic agents and brain function. He replied with some passion, "There are 'heads' like me in the math world who are very interested in the cortex, what cells connect to what, and how a drug changes the dynamics, the strength of connections between them. I'm into it, it's my life, but just as a problem, it's good for modeling some important stuff, mimicking nature." He recommended the new book by Irving Laslow, "Whispering Pond", which postulates that an immaterial field that interacts with minds and connects "seeds" in it. It may have behavioral rules, like fluid mechanics and explain synchronicities. "What is the status of chaos theory in the math world?" he was asked. "The math profession is hoping chaos will just go away, but--levees boil before they burst. This field of math is boiling!". Abraham and his colleagues are bringing their results to the rest of us, hoping it will promote cultural change, and also hoping that a backlash by lovers of imposed order won't kill it. He talked about an international gathering in Graz in 1989 which featured art and music inspired by chaos. "It looked and sounded and felt different. A new paradigm will arrive at the door of science last. The scientists will find it out from the artists." About his own book, _Chaos, Gaia, Eros,_ he said briefly that it was about the influence of the Greeks' most important religious tradition, that of Orphism, on modern thought. I must outline the book's thesis, for it ties in well with the next talk: In it, Abraham describes early partnership-Goddess cultures, and then contrasts these cultures with the model in which dominators worship a monotheistic male deity. The Orphic tradition bore the influence of goddess cultures that preceded it, and its sacred trinity was "Chaos, Gaia, Eros." Abrahams book describes the modern use of the words chaos, gaia, and erodynamics in new scientific disciplines. Curiously enough, practitioners in mathematics/physics, ecology, and behavioral sciences independently chose these names. Abraham considers this a good omen. Leonard Shlain, author of _Art and Physics,_ also spoke to us of male-deity cultures and the recent resurgence of values considered feminine. He expects his latest book project, _The Alphabet vs. the Goddess,_ to be out in 1998. Shlain sees the origin of male domination and its recent erosion somewhat differently. When humans first turned from hunting to agriculture, women gained status. Goddesses, egalitarianism and female lineage were the rule. This disappeared completely about 3,000 BCE. Why? Shlain disputes the widely-held view that horse-riding invaders swept down from the steppes and slew the Goddess cultures because "the history of such invaders is that they adopt the more sophisticated culture." Shlain claims that "The new misogynist societies were based on writing." The first societies to use writing had clumsy systems, only known by a priestly few. The big change, with the suppression of goddess worship, came with the invention of the alphabet, when many men learned to read (and women were "not expected" to do so). With the alphabet came holy books and patriarchy. "Is it an accident," Shlain asked, "that the first four of the Ten Commandments are to promote monotheism and writing over graven images?" Brain function enters into this. The human brain size at birth is limited by the hole of the birth canal. To expand function without bulk, the hemispheres of the brain have taken on different roles-- in this humans are unique. The left brain specializes in time- related (linear) functions, good for tracking animals, the male specialty. Whereas the woman's talents were right brain, pictorial, emotional and nurturing, men found being cold-blooded advantageous for slaying lovable animals. Left brain dominates right hand, the hand that plunges the knife, and the hand that kills writes. Law and science are left-brain, Shlain asserted. He surprised us by observing that in rustic Sparta, where it was illegal to set the laws in writing, women actually fared better than in cultivated Athens. Early Christians valued women, but as Christianity grew into a religion of texts and doctrinal disputes, women's status fell. Women gained ascendancy again in the illiterate Dark Ages with the cult of Mary, chivalry, and the prominence of brilliant women in holy orders. With the invention of printing and the sudden surge in literacy, as with introduction of the alphabet before it, a wave of misogyny was brought on. Protestants forswore images and the worship of Mary. Both Catholics and Protestants spent the 15th through the 17th centuries murdering hundreds of thousands of "witches." "Kill your wise women?? Any other culture in the world would have thought this was nuts!" Shlain remarked. Images are now back. Photoreproduction in all its forms has done the same for images as writing did for words. No contemporary book is as influential as images of the mushroom cloud, the Earth from space or the fetus sucking its thumb. Art (including entertainment and advertising) is more important than the written word. "The content doesn't matter as much as the use of the neglected, affective portion of the brain," said Shlain, "Feminism goes with the iconic society. The first TV generation is the one that burned bras." He closed with an unsettling remark: "The introduction of a new communications technology drives societies crazy. Look at radio and the rise of Nazism, with Hitler's voice blaring." Aren't we in the midst of such a revolution at this moment? ============================================================= < Article Review: The neurobiology of kinetic art, by S. Zeki and M. Lamb > "The neurobiology of kinetic art" S. Zeki and M. Lamb, Brain (1994), 117, p607-636 Reviewed by Roger F Malina, E-mail: mason@mitpress.mit.edu Neurobiologist Semir Zeki recently made me aware of an article on the neurology of kinetic art he wrote for a 1994 issue of the journal Brain. At the crux of his article is the idea that motion perception is an autonomous visual attribute (like color, form and possibly depth) and that this perception is separately processed in the brain. This attribute, Zeki argues, is involved in kinetic art and artists who create kinetic art, have tried to exploit it both instinctively and physiologically. The original scientific research Zeki presents in his article focuses on a large number of visual areas in the cortex of the macaque monkey and particularly on the one specialized for visual motion. He discusses how the work of specific artists seems to exploit specific features of cortical processes- including Duchamp, Tingueley, Calder, Bridget Riley, Gabo, Demarco, Moholy Nagy, Pol Bury, Belik, Takis and others. These artists, Zeki feels, are exploring the organization of the visual brain with techniques unique to artists. He postulates that kinetic art provides fertile ground on which to begin an exploration of the relationship between the physiology of visual perception, brain activity and the aesthetic experience of visual art. Implicit in this approach is the supposition that physiological stimulation of specific visual areas of the brain can create aesthetic experiences. Zeki takes seriously the idea that artists are carrying out applied research which helps study the organization of the visual brain and notes that an understanding of the relationship between the brain and its manifestation in art is beginning to emerge. Designers of Web sites need to do their homework - or hire a neurobiologist !! ============================================================= < Exhibit Review: Digital Salon Exhibition, Sponsored by Siggraph > SIGGRAPH's Fourth Annual Gallery at the SVA (School of Visual Arts), NYC. Nov. 11 - Nov. 25, 1996 Reviewed by Flash Light Artist, New York City Contributed to LDR by special arrangement through Art & Science Collaborations, Inc. (ASCI) E-mail: asci@octet.com The works in "Digital Salon Exhibition" can be divided into three categories: digital prints, digital programs, and digitally controlled sculpture. Although a common assumption is that "computer art" refers to digital prints, to me, prints only represent a beginning to digital art's possibilities. Among the prints included in this exhibition, I liked "Subway & Body Parts #3- Desire," by Melanie St. James, Petra Karadimas' "Jimmy," and Victor Acevedo's "The Violinist," which imparted a 3-D quality and suggested the relationship between music and mathematics. Computer programs allow interaction and are inherently more involving than prints, hence they seem to offer more promise for distinguishing computer art from earlier art forms. Philip George's layered images are among the most compelling examples of computer art, and they were here animated by Ralph Wayment's programming. Also intriguing was Youn Lee's "The Land of Time." The computer sculptures were the most successful in this gallery setting. Among them Chuck Genco's "Eye Box" was notable. From inside a beautifully crafted wood and brass box a glass eye randomly blinked its mechanical eyelid. On the inside of the cover: Ptolemy's map of the solar system. The eye perhaps contemplated progress toward a helio-centric view. Peter Terezakis' "Rubaiyat" was more ambitious. The intention of this grid of patinated electrical boxes and conduits was to vary the multi-layered sound it generated in response to viewer movement. The tonal changes produced by any particular motion were hard to discern, but the fact that one wanted to experience such interaction suggests the potential power in the theoretical bases of this work. This was also true for many of the other works in this collection. ============================================================= < Digital Review Notes > Leonardo Digital Reviews is review journal published regularly as a section of the Leonardo Electronic Almanac. Leonardo Digital Reviews covers publications, conferences, events and publicly presented performances and exhibits. The focus is the work of artists, scientists, technologists and scholars dealing with the interaction of the arts, sciences and technology. Topics covered include the work of visual artists, composers and multimedia artists using new media and technologies in their work, artists dealing with issues and concepts from contemporary science, the cultural dimensions of science and technology and the work of scholars and historians in related fields. Specifically, we publish: a) Reviews of publications in electronic formats (CD, CD- ROM, CDI, on-line, diskette, WWW, etc. ...). b) Reviews of print publications, events, conferences, and exhibits dealing with art, science and technology. Accepted reviews will be published in Leonardo Digital Reviews. Reviews of key works will also be considered for publication in the Leonardo Journal and Leonardo Music Journal published in print by MIT Press. Selected reviews will also be republished in the Leonardo Almanac book published by the MIT Press. Authors, artists and others interested in having their (physical) publications considered for review in Leonardo Digital Reviews should mail a copy of the publication to Leonardo, 236 West Portal Ave,#781, San Francisco, Ca 94127, USA. Event and exhibit organizers, and authors of virtual/electronic publications and events interested in having their event reviewed should send information in advance electronically (only) to: davinci@uclink.berkeley.edu Individuals interested in being added to the Leonardo Digital Reviews review panel should email (only) their curriculum vitae to: mason@mitpress.mit.edu We are particularly seeking reviewers who can review material in other languages than English. Unsolicited reviews are not accepted by LDR. ============================================================= < End Leonardo Digital Reviews FEBRUARY 1997 > ============================================================= ________________ | | | PUBLICATIONS | |________________| < Striking Distance > URL: http://strikingdistance.com Striking Distance is a World-Wide-Web publication that includes the following features: C3I MAGAZINE: Beginning as a bi-monthly, with monthly updates, C3I will utilize the full array of multimedia Web capabilities to present articles, essays, columns and discussions. EXHIBITION AREAS: Each month we will present two solo exhibitions and one artist curated group exhibition. The emphasis will be on artists who are emerging, merit increased visibility and are under- or un-represented. The exhibitions run for two months and thus overlap new exhibitions opening the following month. The range is broad, the quality high, the presentation in depth. The artists are encouraged to take maximum advantage and control of the situation within the technical capabilities of the site. We encourage acquisition. Artwork may be purchased directly from Striking Distance. TEST SITE: This feature will focus on the presentation of multimedia and internet specific projects. STUDIO VISIT: On point and in-depth, these artist interviews and discussions will be conducted by artists. This regular feature will offer users a choice of audio, quicktime movies or text formats. PERSPECTIVE: What it was. What it could be. How it became what it is. How they saw it. How they see it. How they did it. Up close and in depth with art world figures who were there and can tell it like it was. ARCHIVES: An index and complete documentation of past issues, articles, interviews and exhibits. Available on audio tape, video, CD-rom and would you believe text. THE WAREHOUSE: A visual catalog of art works available through Striking Distance. The works presented in our exhibitions, past and present, are available for sale. We will also offer a number of other artworks and editions for sale. Striking Distance is a secure site and will soon accept major credit cards. ************************************************************* < Venetian Deer - a new CD-ROM by Die Veteranen > Die Veteranen Systema Verlag BMBH Frnakfurter Ring 224 80807 Munich, Germany Tel: 0341-141650 URL: http://www.systhema.de/veteranen Die Veteranen announces the availability of their new CD-ROM "Venetian Deer". Long term LEA readers may recall a profile of their first Art CD-ROM (LEA 2:10, October 1994), and an in-depth interview that I had the opportunity to conduct at ACM Multimedia 1994, appearing in LEA 2:11, November 1994. Their newest Art CD- ROM is not only available, but previews can be found on their web site. Those who are familiar with the first project will recall that one of the interesting features of the CD-ROM was its venture into the medium as interactive art. It was not simply a catalog or museum of works, but people were invited to participate and interact with the works on the disk in a variety of ways. It seems that this approach carries through to their newest project, as described in the material below. Connection Venetian Deer is the outrageous proposal by the Veteranen for a PC party. Venetian Deer is an attack on multimedia conventions. Armed with a mouse, you can produce your own samples, and even dance to the results: turn your PC into a POP machine. Record your own sounds and mix them to form a "poem in sound"! Paint your own "pop-art" creations with the mouse, add them to the CD, and create your own "electropoetry"! Play with colours, shapes and sounds on the CD - the pictures are just waiting for radical modification by means of the microphone, keyboard and mouse. The phonebook is the CD-ROM's memory. You can select specific pieces there, in addition to exploring the numerous possibilities offered by the CD-ROM. Cut! Stock, Hausen and Walkman provide a musical theme for each piece, the long version of which can be heard on the audio track. Music, linear and sampled. Whatever takes your fancy. Self-running mode You don't have to go interactive: self-running mode switches in after two minutes. The party goes on - a CD with Internet link. You can exhibit the pieces which you have composed yourself with the aid of the CD on the Veteranen homepage, communicate with the band and with other users of Venetian Deer, and download the contributions of other party guests. Art can, pop must "POP" goes Pentium - and your ears tingle: the Veteranen have been joined by musical reinforcements. Together with the famous - or infamous - Manchester duo Stock, Hausen and Walkman, the band takes you off on a voyage of discovery through its interactive universe. The Veteranen invite you to a Cross Media Pop Party. At last, you can take your computer to a party. The CD also contains 30 minutes of music by the duo Stock, Hausen and Walkman. Fully linear, to take with you and for later. Guaranteed to make you dance. Click! Start the CD, and the party takes off! Create! This mixed- mode album (CD-ROM/audio CD) turns your PC into a "pop machine". Mix your own samples with the colours, shapes and sounds on the CD! Communicate! Display your pictures on the Veteranen homepage, and download other people's compositions! Visuals, interface, programming, sound effects ) 1997 by Die Veteranen. Music ) 1997 by Stock, Hausen and Walkman. First edition ) 1997 by Systhema Verlag GmbH, Munich. ============================================================= _________________ | | | OPPORTUNITIES | |_________________| < LEONARDO MUSIC JOURNAL - Editor-in-Chief Position > Grace Sullivan Leonardo Music Journal Email: grace@sfsu.edu URL: http://www-mitpress.mit.edu/Leonardo/lmj/rfp.html Grace Sullivan, Managing Editor of Leonardo Music Journal, has announced the extension of the deadline in the search for an Editor-in-Chief. All proposals need to be received by March 21, 1997. Below is a summary of the position posting. Details can be found at the URL listed above. [Editor's Note: There has been some confusion about the nature of this position. Interested people should note that this is not a full-time editorial position. Read through the rfp carefully for financial details. ] LEONARDO MUSIC JOURNAL (LMJ) is searching for an individual or a team to serve as Editor in Chief of the journal and its World Wide Web site. Since its inception in 1990, LMJ has served as a forum for innovative research in new and experimental music and musical languages, sound art, the evolution of music and the relationship of music and the audio arts to new media and technology. The Editor-in-Chief position is to be filled by an individual or group with a demonstrably broad and established base in experimental music and the audio arts who will strengthen and focus the journal's current role. This new position is to be part-time and will involve content solicitation and development. The Editor(s) in Chief will work with the LMJ Editorial Board, Executive Editor Roger Malina and Managing Editor Grace Sullivan. Currently established responsibilities of the future Editor(s) in Chief are as follows: 1. recruitment of potential co-editors and editorial advisors and appointment of new members to the LMJ Editorial Board 2. annual solicitation and selection of a curator for the LMJ CD 3. solicitation of content for the print journal, the World Wide Web site and Leonardo Digital Reviews (a feature of the online journal Leonardo Electronic Almanac 4. establishment of a pool of peer reviewers for articles and selection of appropriate reviewers for new content 5. service on the Advisory Board of the International Society for the Arts, Sciences and Technology (ISAST) 6. service on the Leonardo Book Series Editorial Board 7. assistance in fundraising for and marketing of LMJ. Because this is a new position, many aspects of the job---from working processes to long-range goals--- remain to be defined by the individual or team chosen to fill the position. It is to be emphasized, however, that the overall nature of the job will involve generating ideas and making contacts rather than engaging in detail-oriented, hands-on editorial work. Day-to-day management, coordination and editing will continue to be handled by the existing editorial staff. ============================================================= _________________ | | | ANNOUNCEMENTS | |_________________| < Music and Notations: Multidisciplinary Musical Meetings 97 > Music & Notations: Multidisciplinary Musical Meetings 97 GRAME, 9 rue du Garet - BP 1185 69202 Lyon Cedex 01, France Tel: +33 (0)4 72 07 37 00 Fax: +33 (0)4 72 07 37 01 E-mail: grame@rd.grame.fr URL: http://www.grame.fr/RMPD/RMPD97/presentation_ us.html March 21-23, 1997 A wide range of artistic and scientific disciplines make use of notational systems. This is true for music; it is also true for chemistry, mathematics and choreography. These notational systems have multiple and deep relationships with their discipline. They reflect a state of knowledge as well as a vision of the world, but they are also a decisive element in the evolution of their discipline. The third of the Multidisciplinary Musical Meetings aims at taking stock of the evolution and the roles of music notation as well as its interactions with our thought and practices, by bringing together composers, musicologists, performers and music historians. The question of notation will also be examined from the point of view of other disciplines like dance, linguistics, cognitive sciences, mathematics and computer science. The program includes about twenty talks (with a special contribution of composer I. Xenakis), debates and demos as well as an exhibition on Music Notation. For more information, or to register, please visit our URL. ************************************************************* < Media~Space! > Media~Space! Public Netbase Institute for New Culture Technologies Museumsquartier, Museumsplatz 1 A-1070 Wien/Vienna Austria Tel: ++ 43-1-522 18 34 Fax: ++ 43-1-522 50 58 URL: http://www.t0. or office@t0 The Web-server Public Netbase has opened its new location Media~Space! in the Viennese Museumsquartier. Public Netbase is an award-winning not-for-profit internet service provider. This expansion of services will allow for an increase of accessible terminals, more presentations of Austrian and international media and network art and a growing number of lectures, workshops and training programs. Invited guests for 1997 include: Krystian Woznicki (D, JP), Erik Davis (USA), Stelarc (AUS), Critical Art Ensemble (USA), GashGirl/Francesca da Rimini (AUS), Association of Autonomous Astronauts (I, UK), Mark Dery (USA), Ingo Gunther (D, USA), Toshiya Ueno (JP), Linda Dement (AUS) and others. Weekly (e~scape lounge) and monthly multimedia events are netcasted via cuseeme and realaudio technology; check it out at http://www.t0.or.at/e~scape/lounge.htm ************************************************************* < Horizons in Computer Music > Horizons in Computer Music Jeffrey Hass Simon Recital Center Indiana University School of Music Bloomington, Indiana 47405 E-mail: hassj@indiana.edu URL: http://www.music.indiana.edu/ March 8-9, 1997 Indiana University Computer Science Department and School of Music is hosting a weekend of lectures and live performances that span the field of computer music from its earliest beginnings to the cutting edge. The event will include lectures and pieces by pioneering composers Max Mathews, Charles Dodge and Roger Dannenberg. Abstracts and Biographies: -------------------------- Max Mathews "Live Performance of Traditional Music with Radio Baton" Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, CSound, Cmix. Many exciting pieces are now performed digitally. Starting with the Groove program in 1970, my interests have focused on live performance and what a computer can do to aid a performer. I made a controller, the radio-baton, plus a program, the conductor program, to provide new ways for interpreting and performing traditional scores. In addition to contemporary composers, these proved attractive to soloists as a way of playing orchestral accompaniments. Recently I have added improvisational options which make it easy to write compositional algorithms. These can involve precomposed sequences, random functions, and live performance gestures. The algorithms are written in the "C" language. In my lecture, I plan to play a few recordings of early computer music, to give live demonstrations using the radio-baton to accompany soloists, and to do a current improvisation with the radio-baton. Charles M. Dodge "Timbre, Timing, and Tuning A 30-year Retrospective of Composing Music With Computers" Mr. Dodge will discuss some of the uses he has made of computers in a series of works that has evolved over three decades. The emphasis will be on the use of the computer in those musical situations where it was desirable to implement unusual notions of timbre, timing, and tuning. Included among the specific works to be discussed are Dodge's Speech Songs (1972), Any Resemblance Is Purely Coincidental (1980), The Waves (1984), Viola Elegy (1987), Violin Etudes (1993), and Fades, Dissolves, Fizzles (1996). Baird Dodge will be present to play illustrative passages from the viola and violin works. Charles Dodge gained recognition early in his career for his orchestral and chamber music. He went on to become one of the first composers to realize the vast potential of the computer for broadening the composer's palette. He began his experiments with direct digital synthesis of sound as a graduate student in the late 1960's. His Speech Songs, completed in 1972, startled the new music world with its charming and humorous use of synthetic speech. Since those early days, Dodge has shown a particular interest in the relationship between the human voice and its computer counterpart. His works have incorporated the sounds of live, recorded and synthesized voices articulating texts by such writers as Mark Strand, Samuel Beckett, and Virginia Woolf. He has also composed a series of works combining acoustic instruments with computer sound on tape, including his widely-performed Any Resemblance Is Purely Coincidental which sets together a computer- synthesized Caruso voice with live piano accompaniment. Roger Dannenberg: "Can Computers Understand Music?" I plan to discuss what it means to understand music (a research area in itself) and to demonstrate two systems that illustrate some degree of music understanding. The first is the Vivace Personal Accompanist, a commercial product based on my patent for interactively accompanying live performers. The second is a new system that learns to make real-time classifications of jazz performance style. Roger B. Dannenberg is a Senior Research Computer Scientist on the faculty of Carnegie Mellon's School of Computer Science, where he received a Ph.D. in 1982. He is internationally known for his research in the field of computer music. His current work includes research on computer accompaniment of live musicians, interactive media, high-level languages for sound synthesis, and computer support of curriculum design. Recent musical efforts involve real-time computer graphics and computer music systems that interact with live musicians. ************************************************************* < Bachelor of Science in Visualization at the Minneapolis College of Art and Design (MCAD) > Bachelor of Science in Visualization Minneapolis College of Art and Design (MCAD) 2501 Stevens Avenue South Minneapolis, MN, USA Tel: 612/874-3760 or 800/874-6223 E-mail: admissions@mn.mcad.edu URL: http://www.mcad.edu/ Beginning in September 1997, the Minneapolis College of Art and Design (MCAD) will offer a two-year Bachelor of Science in Visualization, the first degree of its kind in the nation. MCAD President John S. Slorp comments, "Reliance on text alone is rapidly diminishing. Signs, symbols, visual codes, stimulations and simulations, abound. Visualization in advertising, entertainment, business training, education, politics and daily communication is becoming more and more sophisticated. Visualizers are a special new breed of intelligent interpreters. They are persons who link people, create bridges for communication and clarify the complex." This new degree acknowledges the power of Visualization as a communications tool that is being used more and more frequently in the marketplace as well as in education and entertainment the new degree program offers pre-professional training in visual persuasion and information techniques applicable to the fields of advertising/marketing, science/technology, entertainment, education and corporate communications. This program will enable students to practice visualization on both individual team projects and will provide opportunities for students to achieve technical and artistic expertise in an academic environment of science and humanities. ************************************************************* < JIM'97 - Extended Deadline Announced > Journees d'Informatique Musicale Computer Music Conference Bibliotheque de la Part-Dieu, Lyon - France Email: jim97@rd.grame.fr URL: http://www.grame.fr/jim97 Conference Dates: June 6 - 7, 1997 New Deadline for submissions: March 10, 1997 Due to many requests, the JIM'97 submission deadline for papers, posters and video presentations is extended to March 10 1997. All the information concerning this year JIM (including the call for contributions) is available at http://www.grame.fr/jim97. ************************************************************* < Fourth Brazilian Symposium on Computer Music > Fourth Brazilian Symposium on Computer Music (SBC&M) Aluizio Arcela University of Brazil Department of Computer Science 70910-900 Brazilia-DF, Brazil Tel: (061) 348-2705 Fax: (061) 273-3589 E-mail: arcela@cic.unb.br http://www.cic.unb.br/sbc97i/html/sbcmi.html Date: TBA This international symposium is concerned with spreading and contributing to the consolidation of music science in Brazil. We promote the publication of papers, compositions and tutorials resulting from research relating music to computer science. Symposium organizers invite researchers to present their work, whether artistic, scientific, or technological, that relates to this years theme of "Music and Technology with Networks." Invited speakers include Max Mathews, Center for Computer Research in Music and Acoustics, Stanford University. SUBMISSION GUIDELINES: Submissions are invited for papers, concerts or tutorials. Papers: Topics of interest include Algorithms for Composition, Data Structures in Music, Music and Technology with Networks, Music and Artificial Intelligence, Multimedia Programming, Synthesis and Processing of Audio, Real Time Music Systems Systems for Music Education, Studio Reports, Product Demonstrations. Papers can be submitted in standard or hypertext formats. For more information about paper submission, e-mail Jonatas@dsif.fee.unicamp.br. or visit Web site. Concerts: Concerts, Demonstrations and on-line compositions may be submitted via tape. For more information about concert submission, e-mail conrado@guarany.unb.br. or visit Web site. Tutorials: Topics of interest for tutorials and workshops include Fundamentals of Computer Music, Algorithmic Composition, Methods for Constructing Timbres, Music and Technology with Networks, Techniques of Acoustic Projection DEADLINE: March 28, 1997 ************************************************************* < Fourth International Conference on Hypermedia and Interactivity in Museums > The Fourth International Conference on Hypermedia and Interactivity in Museums (ICHIM97) David Bearman, Conference Organizer The Louvre, Paris, France E-mail: dbear@archimuse.com URL: www.louvre.fr/ichim97 www.archimuse.com/ichim97 September 1-5, 1997 As with previous ICHIM conferences, the focus of this years conference will be on the ways in which hypermedia and interactive experiences can enhance museum visits and museum publications as well as serve as the foundation for enhanced curatorship and scientific research. ************************************************************* < National Conference of the Association for Technology in Music Instruction > National Conference of the Association for Technology in Music Instruction (ATMI) Cleveland, Ohio Timothy Koozin, ATMI Program Chair Department of Music University of North Dakota Grand Forks, ND 58202 Email: koozin@badlands.nodak.edu. URL: http://www/music.org/atmi/ November 13-16, 1997 The annual Association for Technology in Music Instruction (ATMI) conference and joint meeting of the College Music Society routinely attract over 350 faculty, administrators, publishers, and music business personnel who share interest in musics relationship to higher education. Through presentations, panels, and performance sessions, the conference provides opportunities to consider the philosophy and practice of music as an integral part of higher education. In formal sessions, open forums, and dialogues with colleagues, the meetings provide opportunities for participants to share insights and perspectives on teaching, hear new and unusual music, discuss American musical life and culture and consider future directions of the art of music. The 1997 conference, to be held in Cleveland, Ohio, will involve papers, panels, workshops, discussions and an electronic poster sessions on all aspects of innovative use of technology in music instruction. Of particular interest are papers and presentations that focus on internet applications, distance learning, multimedia, creative pedagogies and technological tools for music learning and composition. This year, for the first time, the conference will also host a computer-based poster session, in which presenters give "hands-on" presentations of research, new interactive music lab software, work in progress, and examples of student work. ATMI serves as a forum for the scholarly presentation of technical information by and for specialists in the field of computer- assisted instruction (CAI) in music. Another of ATMI's goals is to deliver such information to an audience of nonspecialists who are users of music CAI. SUBMISSION GUIDELINES: All proposals will be submitted for blind review and authors are encouraged to exclude references to individuals or institutions that might compromise this process. Proposals for papers should include clear statements of theoretical background, methodology, and conclusions. Panel proposals should include a complete description of the content to be covered, panelists and their affiliation, and confirmation of panelists' participation. Proposals should be no more than 2,000 words in length and should include a detailed listing of required equipment and operating system(s). Email submissions are especially encouraged. To submit proposals by regular mail, send five copies. Individuals whose proposals are accepted must be members of ATMI to present at the 1997 conference. Abstracts for accepted proposals will be published on the ATMI website, with links to other sites as desired. DEADLINE: April 25, 1997. ============================================================= ___________________ | ACKNOWLEDGMENTS | |___________________| LEA and Leonardo/ISAST gratefully acknowledges Interval Research Corporation for its continuing support of Leonardo Electronic Almanac. ____________________________________________________________ ________________ | LEA | | WORLD WIDE WEB | | AND | | FTP | | ACCESS | |________________| The LEA Word Wide Web site contains the LEA archives, including all back issues, and the Leonardo Electronic Gallery. The Profiles and Feature Articles have been extracted from the back issues, and reside in their own sections of the site. It is accessible using the following URL: http://www-mitpress.mit.edu/LEA/home.html Back issues, submission guidelines and LEA Gallery files are available via ftp anonymous, using the following method: ftp mitpress.mit.edu login: anonymous password: your_email_address cd pub/Leonardo/Leonardo-Elec-Almanac ____________________________________________________________ ________________ | LEA | | PUBLISHING & | | SUBSCRIPTION | | INFORMATION | |________________| Editorial Address: Leonardo Electronic Almanac 718 6th Street SE Minneapolis, MN 55414-1318 Tel: (612) 362-9390 Fax: (612) 362-0097 Email: harri067@maroon.tc.umn.edu _____________________________________________________________ Copyright (1997) Leonardo, the International Society for the Arts, Sciences and Technology All Rights Reserved. Leonardo Electronic Almanac is published by: The MIT Press Journals 55 Hayward Street Cambridge, MA 02142 USA Reposting of this journal is prohibited without permission of Leonardo/ISAST, except for the posting of news and events listings which have been independently received. Leonardo/ISAST and the MIT Press give institutions permission to offer access to LEA within the organization through such resources as restricted local gopher and mosaic services. Open access to other individuals and organizations is not permitted. _____________________________________________________________ < Ordering Information > Leonardo Electronic Almanac is $15 to Leonardo/ISAST members and to subscribers to the journal Leonardo. The rate for Non-Leonardo subscribers is $30.00 Send orders to: journals-orders@mit.edu Please include full mailing address or MIT Press account number, telephone and fax numbers, and e-mail address. Please send VISA/MasterCard information as well. _____________________________________________________________ _______________ | ADVERTISING | |_______________| Individuals and institutions interested in advertising in Leonardo Electronic Almanac, either in the distributed text version or on the World Wide Web site should contact journals-info@mit.edu at MIT Press for details. ========== < End of Leonardo Electronic Almanac 5(2) > =============================================================