2000 e x c e r p t e d Resume & Selected Teleperformances, Installations, Publications, Articles a wee reading

I'm concentrating on the realtime and oncall 2way availability of data-laden resources from you. My work now is laying the groundwork for my making sounds available from my signal disc, selfbroadcasting trees, lased raindrops, recycled and newwindribbons.. to express these physical vibrations in realtie as a recontextualized audil construct.

The varied sensors I have used, such as strain gauges and accelerometers, collect sound in a different way than conventional air microphones. I am now adding the Microflown as a complementary input resource.

I have constructed diverse installations, Terrain Instruments, which are intended
to interact with natural phenomena, sometimes through human intercession,
or "playing." I have used, for example, hydrophones to monitor ice floes and
the gradual buildup of ice in Lake Superior, and have listened to the
movements of trees and limbs in many locations through a combination of
crystal and proximity sensors.

After an intense period of analog familiarization with the range and enormity of available sounds in nature and exploration of space, I tried the only techniques then available to me,tape manipulation and speaker placements. The only coloration that I employed in this sound handling was through equalization, balancing and combining in mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in configuring and juxtapositionings and in the presentation of sound in selected contexts, both interior and exterior. In the 1980s I workerd with 200-speakers through an Intel 8080 microprocessor which was used for teleperformances both indoors and out.

All my work centers around spatial concerns andI think produces an awareness of the psychological effects of sounds. The early microprocessor allowed for the manipulation of specific sounds through a cubed environment consisting of two hundred speakers.

1964 - 1972 School of the Art Institute of Chicago SAIC, Graduate Teaching Assistant (1970-1972); developed and taught Audible Constructs MFA: (Audible Sculpture, Meadow Piano)

1972 - 1975 University of Iowa Iowa City (Terrain Instrument Iowa Riverharps)

1975 - 2002 University of Minnesota Duluth (windribbon)

Analogue/Digital recordings Terrain Instruments on CD/cassette NONSEQUITOR INC. /THE AERIAL / ?WHAT NEXT?: (enter Leif Brush for info, then Aerial Issue #4), to Musicworks #30 enter Leif Brush or Terrain Instruments)

current projects from 2001 - 2002

Information Arts Stephen Wilson (("An introduction to the work and ideas of artists who use--and even influence--science and technology.")), M.I.T. Press (MEADOW PIANO reference)

1997--1998

Citation in "Sound Shards: Chicago's Sonic Arts," by John Corbet, in Art in Chicago 1945-1995, catalog for the exhibition of the same name, published by Museum of Contemporary Art, Chicago, January 1997.

Contributor by invitation, Project Intercommunication Centers CD of the Artists Database, a project of the Nippon Telegraph and Telephone Corporation, Tokyo. One of 300 artists worldwide working with electronic media invited who submited images, sound and biographical material. Produced a working research version CD, 12/94-95. The final version coincided with the opening of the Center in Tokyo. This resource for a time was available as part of their Internet data base.

Ear to the Ground, interactive (on-the-floor) sound installation, all-campus Faculty Exhibition, Katherine E. Nash Gallery, Wiley Hall, University of Minnesota, January 1997.

1995

Multimedia and interactive works in the 1995 Faculty Biennial Exhibition included Jukebox-in-the-sky over deconstructed voting booth installations utilizing lights and interactive sound.

1994

Red Eye Theater, Minneapolis, Minnesota, An Evening with Warren Burt and Friends, sound collaboration/performance by Warren Burt and five other artists involving music, Brush Terrain Instruments sound, video, koto and khene, etc.

The Sound Symposium, Art and Culture Centre and other locations, St. John's, Newfoundland, Canada, Lend Me Your Ears: Sound City Spaces, curated by Charles de Mestral.

1993

Banff Centre for the Arts and the University of Calgary, Canada, First International Conference on Acoustic Ecology, The Terrain Instruments Soundworks, sound/video presentation.

1992

The Aerial #4: A Journal in Sound, Brush soundwork included, Nonsequitur Productions, Santa Fe, New Mexico, U.S.A.

"Aspects of the Terrain Instruments," Experimental Musical Instruments Vol. 7, No. 6 (July 1992).

1991

"Then as Now," by Leif Brush, Hoyfem No. 1, Santa Fe, New Mexico, U.S.A.

1990

"An Audible Constructs Primer," by Leif Brush, Leonardo Vol. 23, No. 2, San Francisco, California, U.S.A.

Represented on Soundviews: Sources, cassette anthology distributed by Nonsequitur, Santa Fe, New Mexico, U.S.A.

1989

Minneapolis Institute for the Arts, Minneapolis, Minnesota, U.S.A., The Telephone Finally Earns Its Keep, presented by MAEP and Film in the Cities.

1987

Stamp axe zine, Montreal

Grants and awards

UMD Chancellor's Grant, "data to image, spatial and editable visual representations," October, 1997,1998,1999,2000

Center for Community and Regional Research Grant, " endeavor: I ask you , world cyber occurances, " October, 1997

UMD Chancellor's Grant, "equipment for campus

Tweed program of events", March , 1997

UMD Chancellor's Grant, "equipment and software for ITV instruction," October, 1996

CEE Course Development Grant to establish a computer-based

3D Design course, to be taught spring, 1996

Mcknight Foundation Fellowship Finalist , 1990-91

Bush Foundation Artist Fellowship finalist, 1989

Bush Foundation Artist Fellowship finalist , 1988

Residency Fellow in Interdisciplinary Art, the Yellow Springs

Institute for Contemporary Studies and the Arts, Chester

Springs, Pennsylvania, (Includes commissioning and July-

Aug., 1987 (performance of new work and participation artist forum)

Arrowhead Regional Arts Council artist production grant of Awarded 1986, for Seasons, a

performance/sound/photography for use in '86-'

collaboration with Suzanne Lacy and Gloria DeFilipps Brush

Visual Studies Workshop Artist-in-Residence Award ((Telesuonohologram construction))

Awarded 1983, for use May-June 1983

Funding by the National Endowment for the Arts.

National Endowment for the Arts Visual Arts Fellowship

Awarded 1983, Performance/Conceptual/New Genres for use

in 1983-1984 (In the Visual Arts Fellowship categories overall,

about 2% of applicants are funded nationally.)

Jerome Foundation Artist Production Grant Award 1982

for support of Teleconstructs Spacework at the

Hudson River Museum, New York; ARAC Production Grant

McKnight Foundation Artist Fellowship, 1981

Bush Foundation Artist Fellowship 1980

" Die Meinungen und die Meinungen, die in dieser Seite ausgedr†ckt werden, sind stricly die der B†rste Leif . Der Inhalt der nachher erreichten Seiten auch ist nicht durch die Universit§t von Minnesota genehmigt worden. ."