ongoing
PDF
zeroed writing
(LB writing, authors; omments; email
dialogues, URLs, PDFs, TRFs)
1964
sound sculpture, Terrain Instriments
Circulation Trilogy: terrain instruments
Leif Brush perpetual linkages, ongoing aural and imaging updates
1964-1969: snowflakes seeing the wind soundsculpture cortextual memory resources smilemeasuring
device
65
66
67
68
69
70
71
72
MAY/JUNE/ July,
1972 SAIC NEWSLETTER
NEW TEACH: ELECTRONICS & KINETICS
Sister areas include Video, Sound, Film, Design,
Communication, and Generative Systems
Leif Brush: TERRAIN
INSTRUMENTS
by Gloria DeFilipps Brush
Leif Brush, in his Terrain Instruments outdoor installation series,
is working with sound as a simultaneous adjunct to form, seeking
and orchestrating actual natural forces rather than simply physically
replicating them or synthesizing artificial sources. He uses outdoor
space as the context for his constructions which electronically
monitor and acoustically orchestrate tree dynamics, wind, snow,
sleet, rain and other natural phenomena. Most of the current structures
consist of weavings and meshings in air space of a variety of
types and gauges of tuneable brass, steel and copper wire strandage,
tubing and wire ribbons suspended carefully between tree clusters.
To this point, his "Voltages from Nature" sound recordings
have been nade using limited crystals and magnetic transducers
to sense atmospheric vibrational activity occurring on the wires.
The Terrain Instruments are not scaled- up versions of existing
musical instruments, but an expression of new research into form
and sound.
The Art Institute school roof was the site, in 1969, of one of
his earliest experimental installations. For the 1970 Fellowship
Show, in which he was awarded the Anna Louis Raymond Fellowship,
he installed a half-hexagram section in Gunsaulus Hall, borrowing
fans from classrooms to simulate indoor wind. In the 1972 exhibition,
he received the Art Sales and Rental Gallery Fellowship for his
work with the Meadow Piano, and for a series of collages which
focused on his increasing interest in global information gathering
and processing systems and the interactions and poetics of weather.
While a graduate student, he was appointed a Teaching Assistantship
to develop and offer the Audible Constructs program on a teaching
schedule of six hours weekly. Concerned equally with both technology
and ideas, the classes introduced sound as an autonomous art form,
and also explored, according the interests of the students, ways
in which could could work with the visual media.
On leaving SAIC in 1972, he was hired as an Assistant Professor
in the School of Art and Art History at the University of Iowa-Iowa
City. A national Endowment for the Arts project grant allowed
acquisition, in 1973, of professional quality recording equipment,
and construction of new prototypes in the Iowa landscape. Working
with physisists, computer scientists, structural and electrical
engineers and music and art students with a Lindquist Center fellowship,
he developed a proposal for an interactive, generative public-use
sculpture, the Riverharps, which used natural forces as direct
resources for sound orchestration.
In Fall, 1976 Leif assumed leadership of the sculptural area at
the University of Minnesota, Duluth Campus. Locating on Lake Superior's
northeastern shore has provided excellent new opportunities for
working with the environment.
A new tape presented as part of the "Imported Sources"
performance in the February Performance/Midway series at the University
of Chicago achieved the unification, through sound, of forest
constructions and a spatial configuration which monitored shifts
and stresses in the Meany ice shelf on Lake Superior. The Minnesota
State Arts Board has just awarded Leif one of its comparatively
rare individual artist's grants for construction of a new Terrain
Instrument which, using more sensitive and diverse sensors and
strain gauges to elicit sound from minute temperature variations,
will provide new possibilities for more complex orchestrations
and playings. A hoped for L.E.D. transmitter and receiver link
may eventually allow more direct mixing of audio from several
acoustically-different environments, and his current plans include
documentation using new sensors to enhance the range of the available
natural "sound vocabulary:" prior to new constructions
and orchestrations. This identification process would necessarily
take into account the variables of seasonal changes, weather activity,
surrounding forest conditions, and other natural phenomena which
would affect sound coloration qualities.
One of Leif's major concerns is the urgent need for new aesthetic
models and processes which can allow artists to expand the traditional
humanistic bases of art while fully using contemporary tools,
technologies and media, he feels nature can continue as a prime
source for artistic inspiration.
return
to dialogue catalyzer
U O IOWA Faculty list pdf
LOGOS Foundation, Ghent
pdf
(B) list
73
topside
74
Leif Brush and
the Earth Philharmonic
by Dave Helland
NEW TIMES, December,
1974
Iowa City, Iowa--Someday Leif Brush will write a symphony, but
now he is busy tuning a tree, perfecting the Insect Broadcasting
System, and inventing other instruments to perform the symphony.
The rough idea for his river harp is on paper: now he needs engineers
to put his idea into blueprint form and roughly $500,000 to construct
the instrument. His rain and draft monitors are perfected. These
are all examples of what Brush calls terrain instruments, instruments
played by the elements of nature. The music they make are the
random, minute sounds of nature-water running down a tree, ants'
footsteps, a leaf hiting a taut wire- electronically amplified
and then recorded.
Unlike his fellow professors at the University of Iowa's School
of Art, who paint, sculpt or make prints in their indoor studios,
Brush's studio is his yard and house. When the wind is strong,
he monitors three steel stakes in the ground around a tree and
several steel pins driven into the trunk, crotch, bark and limbs
of the tree. By hooking one of the stakes or pins to a pre-amp,
he can record the vibrations caused by wind buffeting the tree.
Each is recorded separately, but his goal is to be able to hear
them simultaneously. Soon, he'll be able to mix the recordings
to bring out the most interesting sound taking place at any given
moment.
Five wires of different gauges strung between two trees serve
as his cricket and cicada monitor. Insect noises cause the the
wires to vibrate slightly, but when these vibrations are amplified
electronically they can be recorded. While recording this monitor,
he heard strange noises he couldn't account for until he noticed
that ants were crawling across the wires of the monitor. This
led to the portable Insect Broadcasting System, consisting of
an amplifier, transmitter and insect recording studio (a small
plastic box with a tinsel-thin metal floor wired to pick up the
sounds of ants walking).
Brush has perfected some other devices for recording the sounds
nature makes but rarely lets us hear. His draft monitor is constructed
of individually tunable wires and fits into a window. Besides
letting flies in, it allows Brush to record sounds made by gusts
blowing into his house. His rain monitor is a 300-foot length
of 12-gauge wire. The amplified vibrations caused by raindrops
hitting the wire sound like the random striking of piano keys.
"When you pluck a guitar the sound decays, dies out, after
only a few seconds, but the decay time of the rain monitor lasted
sometimes for more than a minute without any electronic restatement.
This makes the acoustics of a concert hall sound like a peanut
shell. Man-made acoustics are too limited and contained for me
scale-wise," says Brush.
My goals go beyond perfecting each individual instrument and then
composing music the way a producer arranges various tracks in
order to make a record. He wants to explore new arts forms by
showing how art and technology can work together. "Lots of
what we know trickles off from the branches of science while exploration
in art has sort of ground to a halt. The uneasiness I feel with
compartmentalizing science into one area and art into another
is that it only siphons off the energy that should flow between
the two."
The $3,000 grant Brush received last year from the National Endowment
for the Arts enabled him to show how science and technology can
mesh. His river harp, "an interdisciplinary, generative public-use
sculpture," sprang from the work he did under the grant.
He proposed to the university a musical instrument that would
span the Iowa River. Brush's rough design called for 75 wires
to be strung between beams anchored on both sides of the Iowa
River. Three performance bbarges joined as one would float underneath
the wires, and their parabolic shape woulf focus and reflect the
sounds made by musicians, actors or dancers on the barge toward
the wires. Sensors on the barge floor would make it possiblle
to hear as well as see people dance.The river harp, however, was
an idea whose time has not yet come.
While several engineering professors volunteered to work out the
technical problems, the art and music instructors vetoed the project
as too weird. What is Brush doing? Sometimes even he doesn't know.
"I'm not going to put a label on my work before I know what
the hell it is. Some people say I'm putting down certain artistic
forms. Really, I'm just temporarily unplugging from them."
return tto reconnect
with natural phenomena
75
Colorado Daily,
November 21, 1975
by Jennifer Heath
Wagner's Ring Cycle exploded ("...Surf
the Ring. It's quite a ride.") at the Music Hall on Tuesday
night without benefit fo vocalists or melodies. Instead, the jarring
atmospheric sound effects that Wagner might have used--had he
access to electronics and Leif Brush's Terrain Instruments--were
performed alone. Brush, the University's visiting artist this
week, makes these effects with what he calls Audible Sculpture.
With "Cricket Chord Monitors," glass rods, transducers,
magnesium "Signal Discs," modulated lasers and scanning
electron microscopes, Brush records the movements of water, wind,
bushes, thunderstorms, insects and snowflakes. He then spontaneously
blends the sounds on tape, unorchestrated and un-choreographed.
A synthesizer was used in his second piece, 1975-1976 Network
Mode: Brush Passaround--not by Brush, but by a friend. However,
much of the concert had the sonorous purity of a synthesizer rather
than the soft subtle redundancies one associates with nature's
voice. Nevertheless, Leif Brush's technology and art is stong
and original.
A scuffed assistant professor of art at the University of Iowa,
brush began his career in radio and television announcing. The
army taught him basic electronics--he claims to know very little
electronics and calls in engineers or physicists to help put his
ideas to work--but he dead-ended because "there was nothing
I was doing that was my own."
Finally, he enrolled at the School of the Art Institute of Chicago,
where he received a Masters in Fine Arts, found "thinking
time" and an outlet for his "science-art."
Directed by the premise that there are "scores in nature"
that can be tapped with the "right kind of sensors and interceptors,"
Brush began in 1968 to organize the trees, bushes and grasses
into an earthly symphony. His obsession is the scientific methods
for using these "instruments."
Excited by technology, he appears to be a man divided between
science and art. His philosophy of art, however, denies art's
restrictiveness to itself. "After my visual training, I'm
kind of prejudiced against the eyes having it always and always.
Art is probly going down for the last time if it overlooks some
kind of integration. Science is going to steal the show. There
are more things that have greater impact, as a body, than visual
art. Science is bearing down on us. You need a force to match
a force and the artistic force alone isn't going to do it. Creativity
is up against the phenomena and imagery that science is coming
up with.
"After four years at Iowa, my decision is to devise a curriculum
so that the art student has access to any resources in the university--no
door would be closed. For example, there would be something going
on in physics that the art student could use in the form of a
foundation course.
Leif Brush is one of the very few artists who are developing a
technological art, though there are others who are using sound,
John Cage, for example, recorded traffic, footsteps and silence.
Brush is "bored"by man-made sounds, except where man
is reacting to the rhythms made by natural instruments.
The player of the Signal Discs is not inventing his rhythms, but
responding to those of the tree. Brush does not necessarily use
musicians either but people who are "really curious to satisfy
the nooks and crannies of their minds and have never met satisfaction
with any other kind of sound. It triggers some really dormant
things in the head."
Brush is filled with ideas about recording more sounds--the growth
of a tree root, for instance--but he is not (sic.) interested
in making visual images from his recordings. He feels that he
has opened up new subjective images for the exploring artist to
experience and use.
But if most man-made sounds are garbage to Brush, he also says
that "a lot of stuff I'm interested in, science regards as
noise. If they're seeking these enormous large-scale computer
models, there's lots of noise they don't want--interference. Their
by product stuff is of interest to me."
Science's trash, in other words, is used in the same way that
some artists are using video feedback. And, of course, Brush is
not only anxious that artists look outside of art for inspiration,
but that scientists look into art perhaps for humanization. Brush
doesn't want anyone's mind "cheated out of anything."
In the fall of 1976, Brush will receive a grant to further his
explorations--this time with a satellite to receive the noises
made by people in Iowa counties. The noise will be specific to
what the noise-makers' choose and will culminate at the satellite
in one full symphonic sound. Whatever the results, Brush's vision
is to "survey, explore and overhear the natural dynamic goings-on."
He would like to take his tapes to Germany next summer and use
them in an upcoming performance of Wagner's Ring Cycle. That would
probably suit Wagner just fine.
76
77
The University
of Chicago Magazine Volume LXIX, Number 3
Spring 1977
ON THE MIDWAY
Performance Art: Music of the Trees
Our campus reporter, somwhat dazed by a concentration of contemporary
culture at Midway Studio's Performance Art show, reports the following:
"The press release said thta the artist might find the only
interesting thing about his activity is the process of doing it.
But the activity itself might be of interest to others. That didn't
tell what to expext.
"I picked an evening called "Imported Sources."
'The artist was Leif Brush and it could have been anything.
"Tree stumps. Midway Studios was full of tree stumps. One
looked like part of a Bell telephone pole, which it was; the others
were ordinary stumps with wires, front surface mirrors, and strange-looking
discs on them. It was to be a forest-land symphony--music from
trees and their environment.
"Leif Brush and his artist-wife, photographer Gloria bent
over stumps, pulling wires, tapping bark. We were not to hear
the actual sounds from these stumps. The stumps were symbols of
a Minnesota forest from which we were to hear a pre-recorded symphony.
"The lights went out. In the dark, a red laser beam flashed
to a tree, hit a mirror, and bounced to another and another until
all the trees flashed red. Then, the music. I closed my eyes.
It was a little like heavy-footed elves. It was exhilarating.
"Leif Brush does sound sculptures. He is interested in the
rhythms of the land, and places spot-sensing transducers on various
parts of a tree, a root, a limb, or on the soil. By wind fluctuations,
the trees resonate to produce sounds. Different trees produce
different sounds. Weather conditions affect the sound. Our performance
was'birch signatures aurally meshed with the imported in the Meany
Ice Shelf on Lake Superior's northwestern shore.'
"brush asked if there were any questions. He didn't know
what University of Chicago students were like. There were dozens
of questions. What was the technical setup of the sensors and
laser; what was the theory behind it? Were the Brushes artists
or scientists in disguise? 'I just do it,' said Brush. 'I know
how it works.' Not good enough. How does it work? Brush became
a human laser beam, bounding from tree symbol to tree symbol,
trying to discover the process. 'I've got it' he shouted, and
explained the technical details of his art. Then, enthused, he
described his dream--dividing Minnesota into sections, wiring
the trees in each, and from hills and valleys and riversides,
transmuting the tree sounds into a statewide forest symphony.
An exciting moment! A real performance.
Anyone who is interested in hearing a 90-minute cassette of Leif
Brush's Terrain Instruments is invited to write him c/o the Unversity
of Iowa, Iowa City, 52242
return
to on the midway
78
Leif Brush: Terrain Instruments Windinch/Windscube Drawings
79
80
81
82
High Performance, Spring-Summer, 1982
British Library, Sound Archive Catalogue
Search: enter Leif Brush
83
Leif
Brush: Music From Trees, Iceflows and Other Natural Phenomena,
an Interview with Leif Brush, by Gordon Monahan. # 30
84
85
MUSICWORKS Issue #30 Winter 1985 - Sound Constructions
Articles: Pheumafoons, Dudafoons,
Manipilafoons: an interview with Moniek Darge and Godfried Willem-Raes,
by Gordon Monahan and Andrew Timar
Snareninstallaties: String Installations (with Johan Goedart),
by Paul Panhuysen
Singing Wires: The Music of Aeolean Harps, by Gordon Monahan
Thoreau and the Telegraph Harp: excerpts from Thoreau's Journals
Music From Trees, Iceflows and Other Natural Phenomena, an Interview
with Leif Brush, by Gordon Monahan
Terrain Instruments, by Lief Brush
Dreams of an Instrument Maker, by David Rokeby
Recordings: Pneumafoon, Pneumaphonics;
Snareninstallaties (with Moniek Darge), by Godfried Willem-Raes
and Moniek Darge
Timeframes, by Moniek Darge
Whistlers; Windribbon; Vertical Signal Discs; Treeharps Networking,
by Lief Brush
Gigantic Aeolian Harp (with Thaddeus Holownia), by Gordon Monahan
TeleSuonovision: Sound's Image "EAR Issue: The Composer
and the Moving Image
Fall, 1985 "
86
87
Neue Instrumente
und Klangskulppturen: Ein Uberblick, Hugh
Davies
Mittwoch, 10, 1987
There are two wider ranges, where with electrical Ger it ten and
Kl ngen, which is rbar only ber loudspeaker h, is worked. Highly
sensitive special microphones, which often "mikroskopisch"
small clay/tone vibrations amplifiers rken, form the basis of
many work of K nstlern like Takis, Hugh Davies, Dieter Tr stedt,
Mario Bertoncini, the group of probes, Richard Lerman, Chris Brown
and Prent Rodgers. In some work of Leif Brush it are used, in
order to make for Naturvorg nge h rbar, e.g. a cracking of the
ice in the Fr hjahr and the Flie EN of the juice in B umen. Such
instruments underline the tactile aspect of a musical Auff hrung;
this plays also with "Synthesizers" of Waisvisz and
Gray a substantial role. In advance taken up Kl nge is manipulated
when playing by the h ndische moving of differently long Magnetb
ndern (see Waisvisz), which become with Laurie Anderson more ber
a playing the violin elbow strained. With Jon Hassell and Akio
Suzuki a fixed appropriate R is moved ckspielkopf over rectangular
installed short tape sections. Christian Marclay distorts and
zerkratzt cutouts of different records and makes from it Collagen,
which he plays then on up to 8 Disco record players. With most
angef hrten examples of electrical and particularly more again
high tech there are also elements of old-fashionable techniques
here and "volkst mlicher" Materials in or other aspect
of the instrument or the sound sculpture. Hugh Davies
88
Wilderness As
a Reeentrant Form: thoughts on the future of electronic art and
nature
"The conception
of the form lies in the desie to distinguish. Granted this desire,
we cannot escape the form, although we can see it anyway we please."
(G.Spencer-Brown)
by David Dunn,
1988
"...As we appear to be moving further away from rootedness
in a somatic. relationship
with a biological ... For instance, the sculptor Leif Brush has
extended his interest in audible sculpture to include the fabrication
of a series of "Terrain Instruments: sound orchestration
through optical and vibrational sensing of outdoor sculptural
configurations and atmospherics"...
[PDF]
89
90
from Sound by Artists
(Art
Metropole and Walter Phillips
Gallery, 1990
excerpt
"Some History
Kevin
Concannon
As with photography, sound recording has developed
consistently toward a refinement of its greatest perceived virtue:
its ability to recreate, ever more accurately, an event displaced
from its original time and place. Both media were created to preserve
real-time reality and subsequently, both have been manipulated
by artists to create realities that exist only as reproduction.
Sound works by artists evolved largely out of the tradition of
performance art. The early recordings of Futurists and Dada artists,
that begin the brief and intermittent history of artists' records,
along with still photographs and precious little film footage,
provide the best documents that we have of their real-time work.
To this day, performance artists use recordings as a way to disseminate
and promote their work.
Numerous recordings of Fillipo Marinetti, leader of
the Futurists, have been preserved and are occasionally released
on anthology LP's and audio cassette magazines.2 Along with a
few recordings by Kurt Schwitters, Richard Huelsenbeck and Raoul
Hausmann, these Marinetti pieces not only offer an aural glimpse
of early performance art but pre-figure a lot of later work that
only became possible with the wide availability of tape recorders
and, more recently, digital audio sampling equipment.
While the tradition of sound poetry that developed
from Marinetti's words-in-freedom and the Dada nonsense poetry
of Hugo Ball and others is well known, both Marinetti and Kurt
Schwitters became interested in manipulating sound with technology
long before manipulation became common practice. Marinetti composed
five pieces for radio performance in the 1930S that prefigured
experiments with musique concrète of fifteen years later.
'Splicing' together several distinct sounds such as water, fire
and human voices, he created his radio sintesi.
The manifesto of the Futurist Radiophonic Theatre was
published by Marinetti and Pino Masnata in October 1933. The manifesto
begins with a self-aggrandizing litany of Futurism's past accomplishments
presented as a report of the Second National Congress of Futurism.
Among those goals advocated by the conference are the 'overcoming
of earth with the intuition of the means discovered to realize
the trip to the Moon' and the 'overcoming of patriotism with a
more fervid patriotism transformed into authentic religion for
the country warning the semites to identify themselves with their
different countries if they don't wish to disappear.3 While the
former suggests the Futurists' faith in technology, the latter
offers but one of many specific examples of their vile politics,
certainly a major factor contributing to the scholarly neglect
of Futurist work of this period.
At the point in this document when the issue of radio
is brought up, the authors begin by citing the miracle of television
and their anticipation of teletactilism and teletaste. While waiting,
however, they would perfect the art of radio. Much of what is
said reiterates the theories of Rudolf Arnhelm and others, stating
that their radio 'begins where theatre, cinema and narration end.'
In addition to prescribing the use of noise, Marinetti's own words-in-freedom
and simultaneous action that were the staples of Futurist performance,
the manifesto proposes several other practices that were more
specific to radio. Some of them were to be realized only much
later:
Detection, amplification and transfiguration of vibrations
given out by materials. As today we listen to the song of the
forest or the sea, tomorrow we will be seduced by the vibrations
of a diamond or a flower.
This notion of the amplification of 'microscopic' audio
phenomena has been realized more recently by such artists as Richard
Lerman and Lief Brush. Both use modern microphones and electronics
to 'blow up' tiny sounds, normally not heard by the human ear.
Lerman, for example, uses piezo microphones to amplify the sounds
of metal as activated by a blowtorch. Brush surgically implants
miniature microphones into trees to make audible the sounds of
trees growing. In both cases, the microphone is analogous to the
microscope. While today such extreme amplification can be accomplished,
in 1933 it would have been quite impossible; and their intuitive
foresight on this point should be recognized as being as startling
as their visions of lunar landings.
Other prescriptions in their manifesto that are more
recently familiar include the 'utilization of interferences among
radio stations and of the rising and fading of sounds' and the
'geometric limitation and building of silence.'
As best as I can determine, the actual practice of
Futurist radio at this time was limited to presentations of live
performances of Marinetti's plays and sound poems which were also
recorded and pressed as phonograph records. Marinetti wrote five
scores for radio syntheses that same year although they were not
published until 1938. Three of these pieces dealt specifically
with the 'limitation and construction of silence':
Silences Speaking to Each Other
* 15 seconds of pure silence
* Do re mi on flute
* 8 seconds of pure silence
* Do re mi on flute
* 29 seconds of pure silence
* So on piano
* Do on trumpet
* 40 seconds of pure silence
* Do on trumpet
* Wheh wheh wheh of baby boy
* 2 seconds of pure silence
* 1 minute of rrr of motor
* 2 seconds of pure silence
* Surprised Oooooh of 2-year-old girl
return to global
v i b r a t i o n s / w a v e s
91
Tonmeistertagung Hannover 2002 Wellenfeldsynthese,
Mastering ...
... Pieces / EMS 30 Years" / FYLP 1026 / CD-270 / P-104 /
Brush Leif Terrain Instruments Are Activated ... CD-11 / CD-471
/ Davies Hugh Shozyg Sequence No. ...
?the aerial
/ a journal in sound? (1991) < # 4 > Various Composers ??V.A.:Brenda
Hutchinson / Peter Van Riper / Erik Belgum / Leif Brush / Elodie
Lauten / Various Performer????[CD (?WHAT NEXT?) THE AERIAL AER
1991- 4] ?2583-
topside
92
Experimental Musical
Instruments VOLUME VII #6, JULY 1992
Richard Waters' Waterharp; Terrain Instruments by Leif Brush;
air column acoustics part II; an early color organ/spectrum analyzer;
whistles from beach rocks; Liza Carbé"s Zil; listing
of recent articles in other periodicals.
93
Brush, Leif. Aspects of the terrain instruments. The
Tuning of the World, ... Davies, Hugh. A history of sampling.
Unfiled - Music under New Technology. ...
Presentation of the Terrain Instruments work
for Tuning of the World, the First International Conference on
Acoustic Ecology sponsored jointly by the Banff Centre and the
University of Calgary (August B-14, 1993, the Banff Centre for
the Arts, Brush presentation August 11, 1993).
94
95
96
97
endeavor: I ask you by Leif
Brush
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.
return
to endeavor: I ask you
sensorium Meeting place All
Check-ins
98
99
00
e x c e r p t e d Resume & Selected Teleperformances,
Installations, Publications, Articles
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 new windribbons.. 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.
01
Labratorio
di Epistemologia Informatica e Dipartimento di Scienze Filosofiche
Babel
Fish translation
4. http://userwww.sfsu.edu/~swilson/book/infoartsbook.html Information
Arts. Intersections of Art, Science, and Technology "...Like
desume from the brought back Index at the bottom, Wilson has subdivided
just the text second the thematic technologies and the tecno-scientific
ones used and discussed from the artists. We consider the case
of Biology: here innumerevoli and important concerning issues
reside the nature of the human being and the implications of the
biological manipulation. The interest in this field from part
of artists laughed them quite to 1936, when Edward Steichen presentò
to an exposure some floreali crossings. But è also true
that to interact with living organisms places not only scrupoli
ethical: tasks to the bundle of reflections that is involved the
destrutturazione of the manipulation concept and that one of permanence
of the work. In spite of the gravit of such issues, the artists
who s' interest to Biology are innumerevoli: from Eduardo Kac
(Transgenic Art) to Athena Tacha (The Human Body: An Invisible
Ecosystem), from Hubert Duprat (its arthropod-jewels) to Leif
Brush (World Soundscape Project). A field nearly to sé
è then constituted from the reflections on the body and
the post-human: the issues are urgent and alarming, going to impattare
the same notion of identit and conception of the Sé. Here
the artistic experimentation rises to the role of important stimulus
of thought - stimulus sometimes soothed, sometimes violentemente
provocative: we will then cite the Stelarc Australian (whose job
"poeticamente oscillates between the light of the optimism
and the shadow of the aversion", p. 158), Marcel.li Antunez
Roca (Epizoo), the Center for Metahuman Exploration and Fakir
Musafar (Hindu Spear Kavadi). In all these artists è clear
the critic, or at least the reflection afflicted, on the intrusivit
authoritarian of the doctor-scientific vision..."
Università degli Studi di Bari - Laboratorio di Epistemologia
Informatica e Dipartimento di Scienze Filosofiche
Environmental Studies, Seminar
WILDERNESS
AS REENTRANT FORM: thoughts on the future of electronic art and
nature
atmospheric conditions / leif brush Notation
program(PDF) return to related
pages
02
topside
03
I Built
It! The Built Environment In American Music
Construction: Harry Partch And "His Children"
Published: August 1, 2003
Out To The Stars, Into The Heart:
Spatial Movement in Recent and Earlier Music
Walkthroughs, Street Events, and Audience Participation return
to previous
earth's streams
utopian
proposal;"Trees of Knowledge"
"The
dominance of the visual in media art has broken down...."
redo
networking
realtime,
remote controlled internet streaming, passaroundsound a/o delayed
transcriptions
"music genres: electronic(a)/electroacoustic"
pdf
04
conceive weblackwhole cellphone, WWV/gps-give/takes
fr/Lat./Long. sites
05
leif BRUSH's soundworks embedded
in The Tulse Luper Journey; soundworks 1,
pdf
2.
06
cont. weblackwhole cellphone,
WWV/gps-give/takes fr/Lat./Long. sites
This is
the podcast feed for those podcasts grouped around the keyword
"netlabels". en-us info@podcast.net Sat 18 Feb 2006
20:28:42 GMT Artist: Dublee Title: Deviation Label: Epsilonlab
Track: 03. Twin (Dublee Mix) Mon 13 Feb 2006 05:36:42 GMTACOWO
Artist: Dublee Title: Deviation Label: Epsilonlab Track: 01. Twin
(Classic Mix) Mon 13 Feb 2006 05:36:42 GMTACOWO Artist: Dublee
Title: Deviation Label: Epsilonlab Track: 02. Gallop Mon 13 Feb
2006 05:36:42 GMTACOWO Artist: Dublee Title: Deviation Label:
Epsilonlab Track: 04. Twin (Paul Keeley Remix) Mon 13 Feb 2006
05:36:42 GMTACOWO Artist: Bazz Barr Title: Infrared EP Label:
Electrotoxic Track: 05. Dimensional Injection (Edit) Sun 12 Feb
2006 06:14:52 GMTACOWO Artist: Bazz Barr Title: Infrared EP Label:
Electrotoxic Track: 03. Technical Stratosfear Sun 12 Feb 2006
06:14:52 GMTACOWO Artist: Bazz Barr Title: Infrared EP Label:
Electrotoxic Track: 07. System Defragmentation Sun 12 Feb 2006
06:14:52 GMTACOWO Artist: Bazz Barr Title: Infrared EP Label:
Electrotoxic Track: 02. Static Storm (Edit) Sun 12 Feb 2006 06:14:52
GMTACOWO Artist: Bazz Barr Title: Infrared EP Label: Electrotoxic
Track: 01. Snowball Sun 12 Feb 2006 06:14:52 GMTACOWO Artist:
Bazz Barr Title: Infrared EP Label: Electrotoxic Track: 06. Dimensional
Injection (Clive Kells Remix) Sun 12 Feb 2006 06:14:52 GMTACOWO
Artist: Bazz Barr Title: Infrared EP Label: Electrotoxic Track:
04. SlutDistorter Sun 12 Feb 2006 06:14:52 GMTACOWO Artist: Electroliving
+ Marcelino Title: Random Label: Sinergy Networks Track: 07.Electroliving
- Ida Y Vuelta Wed 08 Feb 2006 13:02:06 GMTACOWO Artist: Electroliving
+ Marcelino Title: Random Label: Sinergy Networks Track: 04. Electroliving
- Halac Wed 08 Feb 2006 13:02:06 GMTACOWO Artist: Electroliving
+ Marcelino Title: Random Label: Sinergy Networks Track: 09. Marcelino
- So Tired (Electroliving Mix) Wed 08 Feb 2006 13:02:06 GMTACOWO
Artist: Electroliving + Marcelino Title: Random Label: Sinergy
Networks Track: 02. Marcelino - Lateral Wed 08 Feb 2006 13:02:06
GMTACOWO Artist: Electroliving + Marcelino Title: Random Label:
Sinergy Networks Track: 01. Electroliving - Electroliving Wed
08 Feb 2006 13:02:06 GMTACOWO Artist: Electroliving + Marcelino
Title: Random Label: Sinergy Networks Track: 06. Marcelino - Tired
Wed 08 Feb 2006 13:02:06 GMTACOWO Artist: Electroliving + Marcelino
Title: Random Label: Sinergy Networks Track: 03. Electroliving
- Electroliving - Marcelino Mix Wed 08 Feb 2006 13:02:06 GMTACOWO
Artist: Electroliving + Marcelino Title: Random Label: Sinergy
Networks Track: 05. Electroliving + Marcelino - Halac + Tired
(Marcelino Bootleg) Wed 08 Feb 2006 13:02:06 GMTACOWO Artist:
Electroliving + Marcelino Title: Random Label: Sinergy Networks
Track: 08. Electroliving + Marcelino - Living Room +So Tired +
Halac (Electroliving Mix) Wed 08 Feb 2006 13:02:06 GMTACOWO Artist:
7AM aka Off Pop Title: Money For Nothing, Music For Free Label:
S!te Records Track: 05. Things Like That (Deckard Flow Rmx) Sat
04 Feb 2006 08:28:25 GMTACOWO Artist: 7AM aka Off Pop Title: Money
For Nothing, Music For Free Label: S!te Records Track: 04. All
OK Sat 04 Feb 2006 08:28:25 GMTACOWO Artist: 7AM aka Off Pop Title:
Money For Nothing, Music For Free Label: S!te Records Track: 02.
Fantasticum Sat 04 Feb 2006 08:28:25 GMTACOWO Artist: 7AM aka
Off Pop Title: Money For Nothing, Music For Free Label: S!te Records
Track: 01. Things Like That Sat 04 Feb 2006 08:28:25 GMTACOWO
Artist: 7AM aka Off Pop Title: Money For Nothing, Music For Free
Label: S!te Records Track: 03. Over Sat 04 Feb 2006 08:28:25 GMTACOWO
Artist: Various Title: Aires Buenos Label: Unfoundsound Track:
04. Violett - Ukelele (Seph Remix) Sat 28 Jan 2006 06:22:39 GMTACOWO
Artist: Various Title: Aires Buenos Label: Unfoundsound Track:
05. Gurtz - Paseo Por El Bosque Sat 28 Jan 2006 06:22:39 GMTACOWO
Artist: Various Title: Aires Buenos Label: Unfoundsound Track:
06. Barem + Dilo - Igloo Sat 28 Jan 2006 06:22:39 GMTACOWO Artist:
Various Title: Aires Buenos Label: Unfoundsound Track: 02. Seph
- Void Sat 28 Jan 2006 06:22:39 GMTACOWO Artist: Various Title:
Aires Buenos Label: Unfoundsound Track: 11. Dilo - Mis Ranitas
Sat 28 Jan 2006 06:22:39 GMTACOWO Artist: Various Title: Aires
Buenos Label: Unfoundsound Track: 01. Gurtz - Dect Sat 28 Jan
2006 06:22:39 GMTACOWO Artist: Various Title: Aires Buenos Label:
Unfoundsound Track: 08. Omar Salgado - Petalos Sat 28 Jan 2006
06:22:39 GMTACOWO Artist: Various Title: Aires Buenos Label: Unfoundsound
Track: 07. Dilo - 992 Sat 28 Jan 2006 06:22:39 GMTACOWO Artist:
Various Title: Aires Buenos Label: Unfoundsound Track: 10. Violett
- Ukelele Sat 28 Jan 2006 06:22:39 GMTACOWO Artist: Various Title:
Aires Buenos Label: Unfoundsound Track: 09. Seph - Downstairs
Sat 28 Jan 2006 06:22:39 GMTACOWO Artist: Various Title: Aires
Buenos Label: Unfoundsound Track: 03. Omar Salgado - Asterisco
Sat 28 Jan 2006 06:22:39 GMTACOWO Here is the playlist and audio
file for January 28, 2006. L'arrivée by Ehma Artiste by
Lonah check-mate by loobke Forever by Lizzi Dance by Over All
Brothers Fond sonore n°6 by solcarlus... Sat 28 Jan 2006 01:51:00
GMTBiotic Artist: Alta Infidelidad Title: Cactus Y Volcanes Label:
Thinner Track: 02. Oeste Tue 24 Jan 2006 13:54:20 GMTACOWO Artist:
Alta Infidelidad Title: Cactus Y Volcanes Label: Thinner Track:
09. Doctor Tomas Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta
Infidelidad Title: Cactus Y Volcanes Label: Thinner Track: 06.
Onda (Deep Mix) Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta
Infidelidad Title: Cactus Y Volcanes Label: Thinner Track: 01.
Rapido Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta Infidelidad
Title: Cactus Y Volcanes Label: Thinner Track: 07. Cancion De
Cuna (Receptor Mix) Tue 24 Jan 2006 13:54:20 GMTACOWO Artist:
Alta Infidelidad Title: Cactus Y Volcanes Label: Thinner Track:
03. Ritmo Propio Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta
Infidelidad Title: Cactus Y Volcanes Label: Thinner Track: 05.
Hielo Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta Infidelidad
Title: Cactus Y Volcanes Label: Thinner Track: 08. Gran Union
Tue 24 Jan 2006 13:54:20 GMTACOWO Artist: Alta Infidelidad Title:
Cactus Y Volcanes Label: Thinner Track: 04. Cancion De Cuna Tue
24 Jan 2006 13:54:20 GMTACOWO Artist: Alta Infidelidad Title:
Cactus Y Volcanes Label: Thinner Track: 10. Rapido (Christian
Dittmann Version) Tue 24 Jan 2006 13:54:20 GMTACOWO Poland, Italy,
China, Germany, France, Switzerland, USA, Canada. Black Sweater,
White Cat was on a world tour this week. Here is the audio file
for the show. Thanks for listening. Mon 23 Jan 2006 11:44:00 GMTBiotic
Artist: Leif Brush Title: TerraInstruments Label: Earlabs Track:
03. Cue_07 Tue 17 Jan 2006 09:42:47 GMTACOWO Artist: Leif Brush
Title: TerraInstruments Label: Earlabs Track: 02. Cue_06 Tue 17
Jan 2006 09:42:47 GMTACOWO Artist: Leif Brush Title: TerraInstruments
Label: Earlabs Track: 04. Cue_08 Tue 17 Jan 2006 09:42:47 GMTACOWO
Artist: Leif Brush Title: TerraInstruments Label: Earlabs Track:
05. Cue_09 Tue 17 Jan 2006 09:42:47 GMTACOWO Artist: Leif Brush
Title: TerraInstruments Label: Earlabs Track: 01. Cue_05 Tue 17
Jan 2006 09:42:47 GMTACOWO Here is the audio file for last night's
show...and what a show it was! Something about impending weather
to focus the mind. Many thanks to Grant Robertson and his new
project, CC365. CC365 is providi... Sun 15 Jan 2006 17:22:00 GMTBiotic
Artist: Asher Title: Three Untitled Pieces Label: Earlabs Track:
03. (1/6/04) Wed 11 Jan 2006 08:19:44 GMTACOWO Artist: Asher Title:
Three Untitled Pieces Label: Earlabs Track: 02. (For F) Wed 11
Jan 2006 08:19:44 GMTACOWO Artist: Asher Title: Three Untitled
Pieces Label: Earlabs Track: 01. (1/5/04) Wed 11 Jan 2006 08:19:44
GMTACOWO Artist: Gordon Tebo Title: Adaptive Immune Label: Test
Tube Track: 04. All New Again Sun 08 Jan 2006 10:50:36 GMTACOWO
Artist: Gordon Tebo Title: Adaptive Immune Label: Test Tube Track:
01. Blue In You Sun 08 Jan 2006 10:50:36 GMTACOWO Artist: Gordon
Tebo Title: Adaptive Immune Label: Test Tube Track: 02. Process
For Progress Sun 08 Jan 2006 10:50:36 GMTACOWO Artist: Gordon
Tebo Title: Adaptive Immune Label: Test Tube Track: 03. Homeopath
Inversion Sun 08 Jan 2006 10:50:36 GMTACOWO Here is the audio
file for this evening's program. It was fun. Enjoy. Ambre by Trois
p'tits points Taxi de nuit by Boulbar paradeiser by Ivan der Dreckige
Pink Fish Signs (Take One) by GeeNe... Sat 07 Jan 2006 18:01:00
GMTBiotic Here is both the set list and the program audio file
in one post. We had a wonderful interview with Comfort Stand's
Otis Fodder and Mr. Melvis. Breaking news from the interview:
Otis is stepping a... Mon 02 Jan 2006 14:31:00 GMTBiotic
grenzenlos
N[you]
Music in a globalized world
Stuttgart, July 24 th-28 th 2006
In cooperation with the Institute for New Music and Music Education
Darmstadt
Welcome
members
leave
your
name, some
details as to your present computer use, email, URL and/or whatever
else you'd like to share
prior
to our
meeting(s) in Stuttgart.
work
overture project 36th FESTIVAL SYNTHESE BOURGES pdf
STEREOLITH WORKS Digital Art
Weeks Zurich_06.pdf
in
progress
SOUND'S IMAGE CONCEPT:
V1
Generational inputs are realtime, since the natural phenomena
sources to be monitored are often "cyclic," and any
such "recordings" should be ephemeral, short or long
term memory. The resultant offering is an aural and visual image
and sound construction with interactive spatial interfaces and
conjoins invisible winds as perceptible holographic imaging.
HE
IDEA CHALLENGES
spatial imaging essentials: constructing holograms from contextual-sounding
wind
Realtime data sends from regional sites are synced using the international
WWV/B time codes and each locale uses triaxial sensors These are
exposed to a common and prevailing wind front. Sensor outputs
are assigned separately: Xs to modulated laser for holographic
displaying, Ys and Zs are mulitplexed time/space contexts. Internet
streams are targeted.
TECHNICAL DETAILS
triaxial sensor, preamps DC mixer descriptions
ongoing projects; proposal: Internet
blackwhole Web 2.0 catalyst
----> DIGIMAG <---- periodico d'informazione
digitale -
topside