fr/July 2001-January twentyten infleunces; the outer years ..... vantages ......... frozen mistakes .icebergs on clover (scroll down) outdoor projections & laser projectsgeneration input & mindvoice networkseeing windterrestrial winds clouds: coloring them green; laser drawing on them; lasing experimentsholographic snow river harps RedIcebergssnowflake sonogramfrost printselectron microscopeDRAFT MONITORINGrain monitoring & triggeringUS Highway I-169 restopinsect broadcasting selfbroadcasting: radioroadscapes;treescarbon sucking trees Lake Superior Meany iceshelf measure smilehalfull halfempty: cellphones iceberg abusesatellite upsgraspable atmosphereholographic sonificationfloat planes WINDRIBBONSIGNAL DISCSLeonardo"Site;" conflict of science and; "environmental challenges"; Sounday Times. it; Technicamentre Arte "Course Heros (c)"Curtin University citation

ice forever

Hearin the leif BRUSH autobiographic documentation focuses on his Terrain Instrument soundworks in partcular and includes other (tbc) undergraduate/ graduate art forms. Photographer Gloria DeFilipps Brush took these photographs unless otherwise credited.

Born in 1932, the formative years, 1935-1951, were in a civil war orphanage, Normal Illinois and the significant direction in his education commenced 1964 through 1972 at the School of the Art Institute of Chicago. Here, Leif conceived, originated and was a graduate Teaching Assistant in Audible Constructs 1969-1972 instruction. During his later college teaching tenure, 1972-2002, he instructed in Fine and Liberal art classes at the Universities of Iowa (Iowa City) and Minnesota (Duluth). Allthough his main research, sound, had begun before his grad teaching time at the S.A.I.C hicago he was able, over the final three years of his tenure, to provide a melding of audio issues within his originated courses and seminars he taught: Creating Across Disciplines, Art in Technologies and Environmental Studies.

terrestrialTerrain Instrumentsdefineddialogue catalyzer, Glora DeFilipps Brushleif BRUSHCVsoundworks;analogselected post 80s analog/digital soundworksprofessional summary & commentary from othersWEB2: sharing soundvision around w/global contributors pdfs: analogin progress- public domain: audible constructs

Below are some proposal documents to a Minneapolis hospital for a permanent installation in their "public area." It was not considered since this locale would accomodate seating for many recuperating patients and "the clover would attract bees to the city."

Details included solar-powered FM selfbroadcasting, seedlings being cordened off (notice white triangles below), the installation of a customized underground drip watering system of all Fir trees throughout their mature growth and, that tie-wrapped sensors allow for the audible broadcast of each tree on any clear and thus locally-available frequency. Of course, all trees would rely on wind variations.

Mixed media Construction, 1982

ground view from front

top view

detail of iceberg and emerging fir tree

Emerging underground tree (above triangles), stranded icebergs on a bed of red and yellow clover

and earth-bound, zoomed at dusk

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Xeroxes fr/class syllabus
BELOW-students were to contribute one or two modules toward a modular inflatable in which video and slides were suggested for an opening in the Ordean Court Marshall Performing Arts Center

BELOW-for this project I had reconsidered the Depts casting area; mid and end term critiques were 2-way: LB & students selected images and videos for projecting into the steam-filled space ( during this time share- in the darkened chamber- it was possible to get a lead into students thinking and possible project directions and for me I could respond in kind and, the purpose of which, was to lead them into audio and imaging concepts and segueing into indiv. presentations
(we were all moved with the experience of walking and looking around inside every exploding image and hearing its 4-speakered sound track- which gave us all the opportunity to discuss the hologram as sculpture)


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This earthguest (from Felmley Junior High School, University High School) on "spaceship earth" thanks Mae Goodwin-biological science, Clara Kepner-gardening, Mabel Pumphrey-parts comprising a whole, Mrs Williams-..."you CAN write..., Edna Harper-Wien's displacement law, Ruth Stroud-(for extra credit I constructed a small scale model of Glamis Castle)"There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy." WILLIAM SHAKESPEARE / Hamlet Act 1. Scene V abt. 1601; Macbeth, SCENE V. Dunsinane. Within the castle. "Fear not, till Birnam wood Do come to Dunsinane," Mabel Clare Allen-Hamlet: "I'll have grounds More relative than this-the play's the thing Wherein I'll catch the conscience of the King." Hamlet Act 2, scene 2, 603­605; (beyond adolescence, not chronologically listed) Nibelungenlied's 1938 78 RPM recordings of Richard Wagner's Ring as interpreted by Wilhelm Furtwängler (Wagner wanted the instruments to represent thunder, ightning and rain during the course of the performance. My coclusion of this recording was that a 200 piece orchestra could not satisfy me. Especially so, when I considered early experiences listening to thunder cycles where the scale, ambience and proportions appeared to burst through walls as compared to the acostical ly contained orchestral renditions of natural phenomena),