Circulation Trilogy:terrain instruments, windribbon signal disc; passaroundsound windwitness windwitnessing freetoears.

endeavor: I ask you   NASA endeavour

art in technologies   Environmental Studies

e a r s to the ground

Leif Brush

Web project endeavor: I ask you September 9, 1997

Art in Technologies 2

Ylem art on the edge

ArtsWire

artnetweb INTELLIGENT AGENT

ARTsite

endeavor: I ask you via the

I ask you info go to projects

endeavor: I ask you The objective is to intermingle Internet-wide concepts and potentials with sound-centered research. Overall, the aim is to suggest that these world-wide contributions may encourage ongoing multi-disciplinary projects, which will continue pointing and clicking through the interdisciplinary aspects of creativity, science, and communications-via-the-technologies.

Non-traditional multimedia processes exist in a variety of digital imaging formats using still and video sources today and continue to capture the imagination of creative people who use computers and the world wide Internet. Sometimes interactive, these engage the viewer in public places in both randomness and predictability. They raise issues of control over self-directed experiences. Some viewers still prefer the very direct involvement in physical and psychological space over the lack of traditional human contact in cyberspace. Artists have always had new tools at their disposal, and computer-based communication provides a new array of possibilities.

When compared to the traditional artforms ranging from drawing to photography to sculpture, the new interactive, computer-based communication invites multiple collaborations from various disciplines, which this project engages in its conjoining of new art in technologies directions.

This project is cyber-centered, and is but a small part of an enormous creative challenge: How should artists today explore these resources in order to be able to contribute to the essential changes in the nature of human experience? Among other issues, questions arise concerning the interaction between participant and device; between participants; and between participants and creators. New kinds of aural space and imagery communications are being generated.

Compared to the new potentials of computer-based, interactive art, multimedia art of the past has primarily focused upon the temporal dimension. A major challenge of this project is to use these new communicative possibilities to juxtapose information, research and perspectives about sound as a considered and essential element.

These linked pages are to contain the structuring around an acoustic ecology * theme, mirror ongoing Internet art in technology developments, and detail the occurrences which are likely to take place via the during the I ask you process.

to Grants and awards

Relevant topical issues: Sean Cubitt, Paul Hertz, Hessischer Rundfunk-All Ears a Symposium on ListeningBeyond soundscapes:Yu Wakao

occurrences via:

t e l e communicative presenters:to projects page Thomas Gerwin Sonia Landy Sheridan Bill and Mary BuchenDarren Copeland John DunnMarisa Gonzalez Iain Mott Andres BosshardRichard LermanAndra McCartney Kenneth Fields Ed Osborn Laura Clemons William Louis SørensenDan SennAbdoul Aziz Sall Milan KovacovicJon Bewley or Simon HerbertNigel HelyerYu Wakao Brenda HutchinsonClaude Schryer Ros BandtBill EvansLeif Brush Andreas Troeger Adrianne WortzelEric Leonardson and Steve Barsotti Selena CrydermanAtle Pakusch GundersenChris Bacigalupo Walter Maioli

*Acoustic ecology is "the study of the effects of the acoustic environment or soundscape(s) on the physical responses or behavioral characteristics of creatures living within it. Its particular aim is to draw attention to imbalances which may have unhealthy or inimical effects" The Tuning of The World, Published by Alfred A. Knopf, Inc., New York, Copyright 1977 by R. Murray Schafer

The Handbook of Acoustic Ecology (Barry Truax, editor)

to Soundscapes and Acoustic Ecologyto acoustic ecology at top

to Listening approaches...

to LB resume

endeavor challenge

"The problem facing communication arts in the era of digital networks is to engineer systems that are capable of evolution: systems that disable such characteristic tendencies of the contemporary capitalist mode of communication as center-out broadcasting, long-range planning, economic monopoly and hyperindividuation. And to do so in a world whose core experience is that of distance. . . . "---copyright Sean Cubitt

Sean Cubitt: Online Sound and Virtual Architecture (Contribution to the Geography of Cultural Translation)

Leonardo Music Journal

to Cubitt at top to Contextual Soundscapes

endeavor challenge

"...In a society so saturated with information that significance evaporates, and only conformity to the "feel" of the moment remains--as is clearly the case with television and other mass media, where the skilled manipulation of symbols has largely replaced critical thinking--new media may assume the role once played by the written word, of ordering information and making sense of the world. If this comes about, it will clearly not be the clockwork sense positive science set in motion in the Industrial Revolution, nor the dialectical sense critics such as Benjamin discerned for the first Technological Age, but a sense that rises from contradictions unique to our own age. The chaos at the heart of the new machine is not a chaos anyone has danced with before. Its sense will be new, its meaning unexpected...."

Culture, Democracy, and Computer Media

From an essay by Paul Hertz copyright 1995

to Hertz at top

passaroundsound Brenda Hutchinson voice

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Ma un tempo l'uomo parlava agli uccelli?

Foglie parlanti tra spettri e draghi

Melodiose caverne

( But did once man talk to birds? Talking leaves among ghosts and dragons; Melodious caves)

to Walter Maioli

UMD Associate Professor of Foreign Languages and Literature (French translator)

to top endeavor: I ask you info

to noise

to UMD art classes of Leif Brush

Architectural links

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architektural structures resonance- d. blanchardarchitektural sound installation- l. & s.dubnov

Abdoul Aziz Sall

27 juin 1972 NÈ ¦ Pout (SÈnÈgal/Afrique de l'Ouest).

1989 Brevet de Fin d'Etudes Moyens (BFEM)

1992 DiplÙme de Bachelier SÈrie A3 (LittÈrature, philosophie)

1993/4 Cours de droit ¦ la FacultÈ des sciences juridiques et

Èconomiques de l'UniversitÈ Cheikh Anta Diop de Dakar (UCAD)

1994/5 Cours de philosophie ¦ la FacultÈ des Lettres et scienceshumaines (UCAD)

1993 Stage ¦ la Direction des Ressources humaines de la SENELEC (la SociÈtÈ Nationale d'ElectricitÈ du SÈnÈgal)

1994 Co-laurÈat du Concours "Sud jeunes", organisÈ par le premier quotidien indÈpendant d'informations gÈnÈrales du SÈnÈgal "Sud

Quotidien", journal ÈditÈ par le groupe "Sud communication" (promoteur de la premiËre station de radio privÈe du SÈnÈgal)

1994/5 Stage pratique en journalisme puis rÈdacteur aux "pages jeunes"du journal "Sud Quotidien"

1995 Stage en journalisme radiophonique ¦ "Radio du Monde" organisÈpar

l'Association Mondiale des Radiodiffuseurs Communautaires (AMARC,basÈe au Canada, en marge de son 6eme Sommet ¦ Dakar)

1995/6 ChargÈ des relations avec la presse au sein de la CommissionPresse/Communication du ComitÈ National PrÈparatoire (CNP) ¦ la

commÈmoration du 10eme anniversaire de la disparition du Professeur Cheikh Anta Diop (savant et emminent Ègyptologue, parrain de

l'universitÈde Dakar). Ce ComitÈ National Ètait prÈsidÈ par le Professeur M'bow, ancien directeur gÈnÈral de l'UNESCO.

1996 RÈdacteur en chef du journal du Colloque International sur "L'Oeuvre du Professeur Cheikh Anta Diop et la Renaissance Africaine au

Seuil du 3e MillÈnaire" (fÈvrier 1996)

1996 Collaborateur au Cabinet K.G. Communication (Dakar)

Abdoul Aziz Sall

A ÈtÈ prÈsident du Foyer socio-Èducatif des ÈlËves du LycÈe de Tivaoune

(ThiËs/SÈnÈgal; 1990/1 et 1991/2).
Est membre du Forum SolidaritÈ Anti-Sida (FOSAS); a suivi une formation rÈsidentielle sur "SIDA et DÈveloppement" en 1995.

Est membre du Conseil d'administration de la Radio "OXYJEUNES" et est pressenti pour en Ítre le Responsible des programmes (cette radio, qui

bÈnÈficie de l'appui de l'Association Mondiale des Radiodiffuseurs Communautaires et de partenaires canadiens est installÈe ¦ Pikine, une

banlieue de Dakar. Elle vient de recevoir officiellement l'autorisation d'Èmettre.).

Est membre du RÈseau Environnement et DÈveloppement du Conseil des organisations non-gouvernementales d'appui au dÈveloppement (CONGAD), le

consortium qui regroupe les 90% des ONG locales et ÈtrangËres prÈsentes au SÈnÈgal.

A ÈffectuÈ plusieurs missions et consultations pour ce rÈseau, notamment dans le cadre du RÈseau International des ONG de Lutte contre la

desertification (RIOD; le CONGAD en assure le point focal national). A rÈalisÈ ¦ cet effet un film documentaire sur les questions d'environnement

au SÈnÈgal.

Est membre du Forum Mondial pour l'Ecologie Sonore (FMES / WFAE).

Est conseiller (et ami) de plusieurs artistes et musiciens sÈnÈgalais et non-sÈnÈgalais.

Est conseiller/consultant auprËs de plusieurs associations et ONG.

Est journaliste reporter au "CONGAD Info" (bulletin d'information du Consortium des ONG du SÈnÈgal, le CONGAD).

Est le collaborateur principal du Service Communication du CONGAD (depuis 1995).

Est ouvert ¦ toute forme d'Èchange, de partenariat, de collaboration dans ces diffÈrents centres d'intÈrÍts et d'autres, Èventuellement.

telecommunicative presentersto Listening approaches...

The important point of Soundscape idea is that it starts from LISTENING.

The western music culture after Renaissance has been started from generating and emitting sound rather than listening. So there have been a lot of the invention and development of musical technique including the improvements of the musical instruments or orchestral techniques.

But the aspect of listening has been rather ignored or not well developed than making sound.

So I like to stress the meaning of Listening among the themes in the soundscape issues.

Of course Soundscape's importance may be firstly as a search for new possibilities of acoustic culture; new sound design, making a quiet society, developing new art field like sound art.

But in the same time, it is,I think, search for new style of culture too. For example Psychotherapist Carl Rodgers's idea of counseling is based on listening from people, not asserting oneself and Cage's music too. We can find the same kind of culture arising in many fields, i.e. film, theater, literature.

If we listen carefully to the world outside. We will find so manyinteresting things as well as sounds. That is the opposite direction of the attitude of music culture used to be . It is new attitude happened after John Cage's 4' 33". Listening is accepting and understanding and communication outside oneself not extending oneself toward the world like the conquest of the Earth which has been used to be a great theme of the mankind.

It means in stead of making things out of the world, we should find something important from the world and our inner self.

And finally I hope we will reach to the new style of culture with the less aggressive and with equal society.

telecommunicative presenters at the top to I ask you Listening

to Sonic Architecture at the top

to lbvsresume

to Chancellor's Grant notice

"The views and opinions expressed in this page are stricly those of the page author. The contents of this page have not been approved by the University of Minnesota."