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Women in Multimedia and New Music bios, unedited

INSTRUCTIONS: Use your computers "FIND" feature to locate artist names in this document.

This is a short BIO list I made for my thesis "The Feminine Musique: Multimedia and Women Today" in 2005. It is a shortlist of bio info on composers and artists involved in interdisciplinary media work, with an emphasis on new music. References to specific web pages are given. The thesis can be checked out through interlibrary loan at Florida International University. I plan to post most of the information of my thesis online in time.

Rebecca Allen
Rebecca Allen (USA) is an internationally recognized media artist, inspired by the potential of advanced technology. Central to her work is the study of motion as a form of communication and creative expression. Allen has produced a number of commissioned works in Europe and the U.S. including computer animated films, interactive installations and large-scale multimedia performances. Her most recent interactive artwork explores artificial life, 3D virtual environments and multi-modal interfaces. Awards include an Emmy award for ”Outstanding Individual Achievement” and Japan’s Nicograph award for ”Artistic and Technical Excellence”.
Rebecca Allen, Bush Soul #3 (1997-present)
In Rebecca Allen's Bush Soul #3, part of the ongoing project Emergence, the user is implicated into a virtual environment inhabited by autonomous characters. Users control their avatar (the graphic representation of a user in virtual environments) with a joystick in order to navigate the environment and interact with the creatures living in the virtual world in ever-changing encounters.
The project explicitly focuses on social behaviors and uses artificial life algorithms to specify the relationships between characters and objects; encounters with the different characters and objects in this virtual world can lead to very different exchanges -- a character may be hostile or friendly, the user may be able to "inhabit" a character or receive feedback through the joystick. Bush Soul is an aesthetic exploration of virtual identity in its relation to concepts of embodiment and disembodiment.
Other Featured Artists and Works
David Rokeby
Giver of Names (1990-present)

Christa Sommerer & Laurent Mignonneau
A-Volve (1994/95)

Maciej Wisniewski
Instant Places (2002)

eVolution made possible by:

  Artist Bio
Rebecca Allen is an internationally recognized media artist inspired by the potential of advanced technology, the aesthetics of motion, and the study of behavior. Her interactive installations, films and multimedia performances blur the boundaries between virtual and physical reality and between biological and artificial life. Allen received a BFA from Rhode Island School of Design and MS from the Massachusetts Institute of Technology. She was a member of the Architecture Machine Group at MIT (now known as MIT Media Lab) and the NYIT Computer Graphics Laboratory, a world-renowned computer animation research center. Rebecca is currently Senior Research Scientist at MIT's Media Lab Europe in Dublin, Ireland, where she directs a research group called Liminal Devices. She is also professor of Design | Media Arts at UCLA. Allen's work is exhibited and published internationally and is part of the permanent collection of the Centre Georges Pompidou and Whitney Museum of American Art. Awards include an Emmy award for "Outstanding Individual Achievement."

Amacher, Maryanne (sound scape)

3 Phases of her works : City Links #1-22 (1967-?); Music for Sound - Joined Rooms (1980-?); Mini Sound Series (1985-?)
Uses individual properties of each room to create a wider range of sonic environments
City Links #1-22: Use sound from city which are transmitted to the exhibition space. It becomes an "Adventure"
Music from Sound Joined Rooms: Uses sonic and visual and spatial qualities of several rooms to develop a "stage" for each room.
Mini Sound Series: Time span of installation is expanded to use sounds found over a 4-5 week period of continuous evolution . She considers is like a mini series where things evolve.
Site-Specific Installation to combine architecture, sculpture and psychoacoustics
(Burns Volume 7)

Anderson, elizabeth
L'Eveil - tape - on Prix L'eonce Petitot 1997. INA-GRM INA NOR 5 (1998)

Conceptual music and art

Anderson, Laurie

Born June 1947 in Chicago, Illinois
Earned BA in Art History in Barnard College in 1969 And earned an MFA in sculpture from Columbia University in 1972; Started multimedia work in her graduate years.
Called a "Cultural Ethnographer" who uses humor and visual and audio arts to expose her personal life ((Burns II ; "multimedia", pg. 438)
WIRED Magazine calls Laurie Anderson "America's Multi-Media-trix" (Burns Vol II 438)
Susan McClary in her book Feminine Endings observes Anderson’s ability to transcend stereotypical artistic expectations and "tilt them". She also points out the sexual ambiguity of Anderson’s performances.(Burns II 438)
"...several artists recreated episodes from their own life, manipulating and transforming the material onto a series of performances through film, video, sounds and soliloquy" (Goldberg 172)
"Art and Illusion, illusion and art/are you really here, or is it only art?/Am I really here , or is it only art?" - Laurie Anderson...question the distinction between performance and reality. (Goldberg 172)
Has been working for over 3 decades

1972 Automotive : piece for car horns
1976 For Instants : 45 minute piece on the "viophonograph" in the Whitney Museum explained making the piece as she performed it. Was based on a film of the Hudson River.
"...there is what happened and there’s what I said and wrote about what happened." - LA (Goldberg 172); "...blurred distinct between performance and reality." (Goldberg 172)
1976 Ethics is the Aesthetics of the Few (ture): prerecorded sentences on a bow. This is Lenin's quote distorted. Ex. "Lao-Tzu" becomes "Who are you?"
(????) Albums with Warner Bros.: Big Science (first album with W.B.; was precursor to Oh Superman),Strange Angels, Bright Red,
1986 Home of the Brave : Video was sold by Warner bros.
1994 Stories in the Nerve Bible: detailed her 20yr development as an artist
1995 Puppet Motel : CD ROM; co designer was Hsin-Chien Huang
1999 Signs on with Nonesuch Records
1999 Moby Dick : opera; tours with MD "songs and stories from Moby Dick"
(????) Album "Life on a String" has pieces from the tour and others.

Collaborated with Bob Bialecki, created instruments "placed horse-hair on a violin bow with a recording tape, plauyed prerecorded sentences on an audio head mounted on a bow."(Goldberg 172)

Elaine Barkin ??? (electroacoustic composer)

Born 1932
" piety more prone..." discloses gender stereotypes in regards to violence on women.
1983 used 4 live speakers plus taped vox and musicians. Including Ma Rainey, Bessie Smith, Ida Cox, and Ethyl Waters. (Pendle 356)

Norma Beecroft (flute, programmer, e/a composer)
Flautist, programmer, producer, commentator for CBC radio
Since 1960s has written for electroacoustic music with performers.
1967 Electronic piece for puppet show at Expo in Montreal
1982-83 Hedda: ballet with orchestra and tape
1991 Evocations: Images of Canada for MIDI synth and mixer
(Pendle 374)

Created necktie that can play music, talking violin, sunglasses triggered to make her head into a percussion orcehstra.


As a writer of dense, interactive, random, or parallel tracked
narratives, I want to interface this book in multiple ways.

One beginning is the primary role of women in the development of
art at the intersection of technology. This role is documented
both in the book and on the website at which accompanies it.

Shapers of new media -- Sonya Rapoport, Lynn Hershman, Steina
Vasulka, for instance, set forth the development of their work --
from Lynn Hershman's paper that documents a progression from her
performative Roberta Breitmore to the viewer relationship with
Marion's body in Deep Contact; to Dawn Stoppiello's wired body in
Troika Ranch performances; to Zoe Sophia's paper on "Contested
Futures," in which she writes "For many women artists working with
digital media, the body's physicality is not transcended or
obsolesced by technology; rather it is a source of poetic efforts
to at once use and counteract the machine's own anti-body logics
by using it as a medium to explore organic or visceral forms."

Another beginning is the question of the role of gender in the
creation of new media. In MUD/MOO environments, (those dense,
tricksy, programmable art-like simulations of a distortedly
mirrored real world where creating a work of art is like
fabricating a meaningful box within an already exquisitely
fabricated container) when initially you describe your
"character", when you read other's descriptions
of themselves, it is clear that gender is a key component.
However, in these environments, ambivalent, androgenous,
deceptive, or experimental approaches to gender are
commonplace, and eventually identity is as deeply bound up in
interaction with fellow players and in movement and situation
within the virtual space.

Another beginning is the multiple paths that each artist and/or
critic brings to the book.

You may, for instance, follow a path in the book that immerses you
in Char Davies' Ephemere, which, as has been all of her work of
the past fifteen years, is grounded in "Nature" as metaphor.

"This land's trees and roots and rocks, its ponds and mountain
streams, its bloomings and witherings through time, have become
luminous, as present in my imagination as in actuality," she
writes. "As I ramble among their physical manifestations
throughout the seasons and flowing light they in turn appear in my
work like apparitions in a haunting reciprocity between the
virtual and the real."

Or you may linger in Sonya Rapoport's intellectual, interactive,
information based works -- Digital Mudra, for instance,
where the Mudra words you select become "a gesture-dance sequence
on the monitor," and, as you watch, the printer embodies them.
"The various responses of the participants created the media, i.e.
the 'paint' to be mixed, manipulated and applied with the use of
the computer 'brush' -- developing into a grand finale of an
integrated interactive artwork," she writes in her chapter in the

Another beginning is the contingent but different approaches to
new media art making that are set forth in the book, ranging from
Jo Hanson's neighborhood environmental actions to Jocy de
Oliveria's multimedia merging of electroacoustic music, theater,
text, and images.

"In my work I've used video, text, pop culture artifacts,
autobiography and interactive elements, employing technology both
high (computer terminals, electronic message boards, video
monitors) and low (zoetropes, viewer-generated graffiti, artist's
books) to look at issues of culture and identity in the
information age. I'm interested in an organic use of
technology, as a vehicle for the requirements of the creative
concept," Valerie Soe writes. "In other words, I let the artwork's
content dictate the choice of media, rather than simply using
technology for its own sake."

Nancy Paterson's approach is driven both by the content and by
the exploration of technology.

"Further expanding my artistic practice, I have recently produced
a short video for BRAVO! titled Coppelia. Produced as Artist in
Residence at the School for Communication Arts, Seneca at York,
(Seneca College of Applied Arts & Technology, Toronto), this
dance/robotics project utilizes ORAD virtual set technology. This
was an opportunity for me to experiment with choreography and
collaboration on the development of an audio sound track. I am
currently developing a performance project which will further
explore the potential of Seneca at York's Vicon
motion-capture technology in conjunction with the ORAD," she notes
in her paper on the book's website.

Pamela Z comments on the energy that such experimentation beings
to the work:

I have made some of my greatest strides and artists discoveries
whenever I have begun to employ a new tool to make my work," she

Another path through the book is the role of collaboration and
audience interaction in creating new media work. For instance
Donna Cox, strongly situates collaborative processes at the core
of her work. She emphasizes the complexity of the work and the
degree of knowledge required as she moved from being an individual
artist to working as part of a team: "The process of collaboration
was a total break from the former method of working alone to
create computer art. In 1987, I formulated the concept
of interdisciplinary Renaissance Teams since the problems in
visualization often required the expertise of several disciplines,
including art, science, and technology"

At Do While Studio in Boston, Jennifer Hall and Blyth Hazen are
currently working with artists, engineers, management
consultants, physicist, neurologists, and anthropologists.
"These kinds of creative partnerships are at the heart of making
art at Do While Studio," they write in their chapter. "..... We
see these collaborative alliances as an important resources for
individual artists. "

"From its inception DWA Web Action was conceived as a
community based endeavor which relied on the cooperation of many
individuals to reveal an aspect of this unique electronic matrix
motivated by an network of activism already present in the arts
community," Carol Stekanis writes about the collaborate project
Creative Time produced for Day Without Art.

As Anna Couey, whose Imagining the Information Age was
shaped by participants on different systems, states: "our work has
sought to include not only ourselves, but all people in building a
multifaceted cultural narrative: bringing disparate worlds
together to create a world that reflects and respects 'us.'"


I have not been here -- on empyre -- very long and do not know
exactly how to begin. Perhaps the book or my introduction have
raised some questions?

Also, a few of the contributors may be joining us here soon.
It is December, so their appearances may be brief.

What particularly interests me -- for two reasons: one is that the
book was put together long ago and thus the website will present
more current work and the other is that a chapter on webworks was
withdrawn from the book at the last moment -- is how the
participants on this list see gender issues in the contemporary
Internet and, in particular, what recent work by women is of

Perhaps this is a good starting point. Are there women on the
list who would be willing to describe their recent work? Melinda,
what are you working on?


Big Science - voice, various instruments and electronics. (originally published 1982, CD version 1989) Warner Bros. 3674.

Bright Red - voice, various instruments and electronics. CD and cassette Warner Bros. 45534. (1995)

Home of the Brave - concert video of multimedia works. Warner Bros. VHS 38157. (1986).

Life on a String - voice, various instruments and electronics. Nonesuch CD 79539 (2001)

Mister Heartbreak - voice, various instruments and electronics. (originally published 1984 CD version 1989) Warner Bros. CD 25077.

New York Social Life - voice and electronics - on New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765. (1977). Also on CD CRI 113 (along with Time to Go)

Puppet Motel - CD-ROM. Voyager CPUPPM. (1995)

Strange Angels - voice, various instruments, and electronics. Warner Bros. CD 25900. (1989).

United States Live - voice, various instruments and electronics. (originally published 1983, CD set 1991) Warner Bros. CD 25192.

Anderson, Ruth
Points - tape 1974 on Women in Electronic Music: 1977 (reissue of New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765) CRI 113

SUM (State of the Union Message) - tape - on Lesbian American Composers. CRI CD 780 (1997)

Elaine Barkin ??? (electroacoustic composer)

Born 1932
" piety more prone..." discloses gender stereotypes in regards to violence on women.
1983 used 4 live speakers plus taped vox and musicians. Including Ma Rainey, Bessie Smith, Ida Cox, and Ethyl Waters. (Pendle 356)

*Dara Birnbaum

: Contemporary artist Dara Birnbaum creates a multi-media work based upon Arnold Schoenberg's 1909 opera, Erwartung. Directly linked to the study of psychoanalysis that was emerging at the beginning of the 20th century, Schoenberg's opera is still considered to be radical for its musical composition and emotional investigation. By selecting specific tableaus from this opera, Birnbaum exposes the viewer to the metaphors associated with Freud's theories that the opera first addressed over a century ago: that of fragmentation and the realm of the unconscious.
: Erwartung, which means Expectancy in English, probes one woman's condition as she moves through varying stages of isolation, alienation and uncertainty, in search of a lost lover. Birnbaum reinterprets the drama in her 1995/2001 installation, by re-engaging the original libretto by Marie Pappenheim, a medical student in Schoenberg's circle. The resulting work asks the viewer to contemplate if the contemporary woman is still trapped between finding self-identity and achieving a sense of completion through a male counterpart.
: By utilizing a digital reproduction of one of Schoenberg's original sketches for the set design of his opera, Birnbaum projects her contemporary female character onto this recreated stage, comprised of Plexiglass panels. These images, along with a new musical score - produced by electronically sampling and re-mixing selections of Schoenberg's score - flood a darkened, yet increasingly reflective, environment. The result is a highly ephemeral treatment of Erwartung- a translation from one century to the next using sound, image and word.

Norma Beecroft (flute, programmer, e/a composer)
Flautist, programmer, producer, commentator for CBC radio
Since 1960s has written for electroacoustic music with performers.
1967 Electronic piece for puppet show at Expo in Montreal
1982-83 Hedda: ballet with orchestra and tape
1991 Evocations: Images of Canada for MIDI synth and mixer
(Pendle 374)

Dara Birnbaum

Dara Birnbaum is internationally recognized for her work in video and the arts.  She received the American Film Institute's Maya Deren Award as well as dual fellowships from Princeton University and special recognition from Harvard University.  Her work has been exhibited in Documenta, the Whitney Biennial, the Carnegie International as well as at the Museum of Modern Art, New York, The Musuem of Contemporary Art, Los Angeles, and Centre Georges Pompidou, among numerous others.  Other venues for her work have included broadcast television, MTV, video/music clubs. and public spaces such as Grand Central Station, NYC.  She was one of  the early  video artists to appropriate and deconstruct television imagery. Her work addresses both the ideological and aesthetic character of mass media imagery.  In  2003, Daara Birnbaum's work was part of Utopia Station at the 50. Biennale di Venezia, and  in group exhibitions at both Kunst-Werke Berlin and MUMOK, Vienna. Additional exhibitions of Birnbaum's work, during 2002 - 2003 include: P
hotography: Fact to Fiction at Galerie Marian Goodman, Paris; en el lado de la television at the Espai D'Art Contemporani de Castell, Spain; III SIFFACUS Art and Architecture Conference, Barcelona; video zero/communication interferences at the Haifa Museum of Art, Israel, and within the curated exhibition "Video Cube," at FIAC, Paris. She was a juror of the 2002 Video Kunst-preis, ZKM, Karlsruhe, Germany.  Birnbaum is represented by the Marian Goodman Gallery, NYC and Paris. Major retrospective exhibitions of her work were presented at the KUNSTHALLE Wien, Austria and the Norrtlje Konsthall, Sweden. Other major exhibitions include: Documenta IX, VIII, and VII; the Carnegie International; the Venice Biennale; the Bienal de Valencia; the Biennial of Seoul "media_city seoul 2000; and the 74th American Exhibition, Chicago (where she received the Norman Wait Harris Prize.) Her work is part of permanent collections at: The Museum of Modern Art, NY: the San Francisco Museum of Modern Art, S.F.; the Museum of Contemporary Art, Chicago; the S.M.A.K., Gent, Belgium; the Castello di Rivoli, Torino, Italy; the Israel Museum, Jerusalem; Moderna Museet, Stockholm, Sweden; amongst many other well known international institutions.  International Film and Video Awards include: the American Film Institute's prestigious Maya Deren Award for Independent Film and Video Artists; Festival International de la Video at des Arts Electroniques, Locarno, TV Picture Prize; Chicago International Film Festival; Videonale, Bonn; the San Sebastian Film Festival; Sdwestfunk Television and ZKM, Karlsruhe, Deutsche Videokunstpreis, Special Jury Prize; the National Endowment for the Arts; amongst others.  Teaching positions held by Birnbaum have also been prestigious, including: Heinz und Gisela Friedrich-Stifung, Guest Professor, Stdel-Hochschule fr Bildende Kunst Stdelschule and Institut fr Neue Medien, Frankfurt am Main, Germany; Visiting Junior Fellow of the Council of the Humanities and Perkins Junior Fellow in the Program in Visual Arts, Princeton University. Dara Birnbaum has also been awarded a Certificate in Recognition of Service and Contribution to the Arts by Harvard University.

Kristine H. Burns (multimedia)

Director of the Electronic Music Studios at Florida International University.

1993-1995 Earlobe ; for 5 Bodies, video, stereo, ape have footage of performer's choreography; rehearsal is a creative process
1998 Underwear : text from Lawrence Ferlinghetti; for video and contrabass, bass player explores text in elaborate vocalizations.
Dido and Anais: CD-ROM Work of Henry Miller and Anais Nin (writers) and Henry Purcell's "Dido and Aeneas"; Includes video pieces critiquing work in familiar medium.
(Burns Vol II "multimedia" 440)

Carlos, Wendy

Created GDS (General Development System); $30000 system at Bell Labs.
1969 used Moog Sythn for Switched on Bach (1968) (Chadabe 187,144)

Beauty in the Beast - synthesizers. (original compact disc published 1987, newest version published 2001) East Side Digital 81552

Carnival of the Animals (after Saint-Saens) - synthesizers. CBS CD MK 44567

Clockwork Orange - electronic film score. (original lp published 1972, compact disc published 2001) East Side Digital 81362

Country Lane - synthesizers - on The Progressives. Columbia LP KG 31574 (1973)

Digital Moonscapes - synthesizers. (original compact disc published 1984, newest version published 2001) East Side Digital 81542

Peter and the Wolf - (narration by Weird Al Yankovic) synthesizers - Columbia CD FM 44567 (1988)

Secrets of Synthesis - narrated lesson on electronic music by the composer (original compact disc published 1986, newest version to be published 2002) East Side Digital

The Shining - electronic film score. Warner Brothers LP 3449 (1980)

Sonic Seasonings - synthesizers (original lp published 1972, compact disc published 2001) East Side Digital 81372

Switched on Bach 2000 - synthesizers. Telarc CD 80323 (1992)

Switched on Bach - synthesizers (original lp published 1974, newest compact disc version 2001) East Side Digital 81602

Switched on Bach II - synthesizers (original lp published 1974, newest compact disc version 2001) East Side Digital 81622

Switched on Brandenburgs Vol. 1 and 2 - synthesizers (original lp published 1969, newest compact disc version published 2001) East Side Digital 81632

Tales of Heaven and Hell - synthesizers. East Side Digital 81352 (2001)

Theme from A Clockwork Orange - synthesizers - on Pioneers of the New Age. Columbia Records CK 44314 (1988)

Tron - electronic film score. (original lp published in 1982, compact disc version to be published 2002). Walt Disney Productions.

The Well-Tempered Synthesizer - synthesizers (original lp published 1969, newest compact disc version 2001) East Side Digital 81612

Wendy Carlos by Request - synthesizers. Columbia LP MT 32088 (1975)

A Woman's Song - synthesizers - on The Best of Both Worlds. JEM Records Sync 108 Audion (1987)

*Donna Cox
Professor Donna J. Cox
University of Illinois at Urbana-Champaign
4051 Beckman Institute
405 North Mathews
Urbana, Illinois 61801

Cox is a full professor in the School of Art and Design and has held a joint appointment with the National Center for Supercomputing Applications since 1985, holding administrative positions in both areas while accomplishing creative work and teaching.

1/99 -  Chair External Initiatives, MNC, School of Art & Design (UIUC)
8/97 -  Assistant Director, Virtual Director Group, National Center for Supercomputing Applications (NCSA)
8/92 -  Professor, School of Art & Design, Graphic Design Option University of Illinois at Urbana Champaign (UIUC)
8/90 -  Associate Director for Technologies and Director for Graphic Technologies, School of Art & Design, UIUC
3/92 - 8/93 Co-Director, Scientific Communications and Media Systems  (NCSA)
8/90 - 8/92 Associate Professor, School of Art & Design, UIUC
8/89 - 3/92 Associate Director for Numerical Laboratory Programs, NCSA
1/89  Project Leader/Principle Investigator, Renaissance Experimental Lab
6/85 - 12/89 Adjunct Professor, NCSA
8/85 - 8/88 Visiting Assistant Professor, UIUC
8/85 MFA in Computer Graphics Arts at University of Wisconsin-Madison
8/82 BA University of Wisconsin-Madison

Selected Honors, Recognitions, & Outstanding Achievements

* Distinguished Visiting Technologist, Indiana University, 1998-present
* Appointed Editorial Advisor and member of the editorial board for Leonardo Journal of the International Society for the Arts, Sciences and Technology, January 1999-2001.
* Elected as a voting council member of the University Corporation for Advanced Internet Development (UCAID) Strategic Council, Internet 2 Commission. 1998-2000
* Nominated for 1997 Academy Award in documentary short subject, as Associate Producer for Scientific Visualization and Art Director for "Cosmic Voyage" IMAX film, "Cosmic Voyage" IMAX, premiered August 1996.
* National Research Council, elected to the Committee on Modeling and Simulation:  Opprotunities for Collaboration Between the Defense and Entertainment Research Communities, Computer Sci8ence and Telecommunications Board, 1995-1997.
* University Scholars Award and Grant, from the Office of the President, UIUC 89-90
* Elected to the Board of Directors ACM SIGGRAPH Special Interest Group in Graphics Aug 89-92
* Coler-Maxwell Medal for Excellence 1989 granted by the Leonardo International Society in Arts Science and Technology
* NICOGRAPH, Tokyo, JAPAN 1990, 1st Prize Art and Entertainment, Computer Graphics Animation Category; JAPAN 1988, 1st Prize; JAPAN 1987, 1st Prize, 1987 and 1988.


Cox has authored many papers and monologues on computer graphics, information design, education, and scientific visualization.  She developed the concept of "Renaissance Teamsî in 1987 and has given over 100 invited presentations of her academic research that includes keynote addresses in Australia, New Zealand, Finland, Japan, Switzerland, Spain, Austria, and Italy.  Inviting institutions include MIT, Princeton, ATR at Kyoto, Kodak, Motorola, Eli Lilly.  She has been a Distinguished Lecturer at the T.J. Watson Research Center in NY. Coxís work has been reviewed, published, or cited in more than 100 publications including Newsweek, TIME, National Geographic, Wall Street Journal, Science News, New York Times, The Scientist, The Chronicle of Higher Education, EDUCOM, Cinescape and Discover magazine.

Her work has appeared on international television, including NOVA, CNN, and NBC Nightly News.  She has appeared in numerous television programs including "Good Morning America" and "The New Explorers." The national PBS television special, "The Infinite Voyage: Unseen Worlds," featured her as a pioneering artist in scientific visualization.  She is currently being featured on the Discover Magazine Series, Disney Channel.  She is also being featured in ìLife by Numbers,î Public Broadcasting Station, first in a 7-part series, initally broadcast in Spring 1998.

Cox has exhibited computer images and animations in more than 100 invitational and juried exhibits in the past nine years, including shows at the Bronx Museum of Art in New York, Everson Art Museum in New York, Feature Gallery in Chicago, Feature in Chicago, Frick Art Museum in Ohio, Oregon Art Museum and Milwaukee Art Museum in Wisconsin. Her creative works have been shown in many exhibitions around the world including Digicom in Canada, and Nicograph in Japan, "L'Agrifoglio" in Milan, Italy, and Eurographics '87 in Nice, France. Her interactive computerinstallation was a part of "The Interactive Image," and exhibit at the Museum of Science and Industry, Chicago, computer Museum and the Saibu Gas Museum in Japan. She has had several one-woman exhibitions including a supercomputer art exhibit at the Arts in the Academy, a program of the National Academy of Sciences, in Washington D.C.

Cox has authored many book chapters, articles, and monologues on the use of visualization in art, science and design imaging. Her writings were some of the first to outline visualization techniques for scientific data using computer graphic iconic symbols. She coined the term "Renaissance Teams" in 1986 to describe interdisciplinary groups of experts who collaborate to solve visualization problems.

Cox's work has been shown and reviewed in major international publications and television. She has been featured on Disney Channel, PBS and national radio show. Her work on "Cosmic Voyage" IMAX film has been reviewed internationally, and the film was nominated for an Academy Award in 1997. She has lectured around the world in more than 120 presentations and has enthusiastically supported interdisciplinary collaboration efforts among the arts and the sciences.

Cox has participated in several large-scale commissions.  She was the Associate Producer for Scientific Visualization and Art Director on the IMAX film ìCosmic Voyage,î produced for the Smithsonian National Air and Space Museum (NASM).  This film is now traveling to more than 34 IMAX theaters around the world and has been seen by more than 3.4 million people.  It was nominated for Academy Award in 1997.  She has just completed a large project with the Hayden Plantarium, American Museum of Natural History, to visualize the planetarium opening sequence which will be seen by millions of people.  This sequence involves the visualization shows 'never seen before' data of the distribution of galaxies and the large-scale structure of our universe.  She is currently workingon an Nova HDTV show, "Runaway Universe" to be aired on November 21, 2000.

She was appointed to the National Research Council,Committee on Modeling and Simulation: Opportunities for Collaboration Between the Defense and Entertainment Research Communities, Computer Science and Telecommunications Board, 1995-1997. She is currently serving as an elected council member of the University Corporation for Advanced Internet Development (UCAID) Strategic Council, Internet 2 Commission.
                                                                                              (abbreviated vita revised Jan 23, 2000)

Awards for Professor Donna J. Cox

*  Associate Producer for Scientific Visualization and Art Director "Cosmic Voyage" IMAX film 94-96 premiered August 1997, nominated for Academy Award in documentary short subject.
* SIGGRAPH Film and Video Show 1996 excerpt from "Cosmic Voyage".
* Elected to the board of Directors ACM SIGGRAPH Special Interest Group in Graphics Aug 89-92.
* University Scholars Award and Grant, from the Office of the President, UIUC 89-90.
* Publisher's Award, computer animation, from Fresh Electronic Publishing. Cash award 92.
* National Computer Graphics Association (NCGA) Animation Competition, 2nd place Academic Category, 1992, Anaheim, March 9-12, 1992, Video Theatre.
* NCGA Conference and Expo 91, 1991, "Venus & Milo" 2nd Place, Academic Category.
* NICOGRAPH, Tokyo, JAPAN 1990, 1st Prize Art and Entertainment, Computer Graphics Animation Category; JAPAN 1988, 1st Prize; JAPAN 1987, 1st Prize, 1987 and 1988, contributed as one of the principal investigators and information designers.
* SIGGRAPH Film and Video Show, 1987, Research in Information Design.
* International Society in Arts Science and Technology Coler-Maxwell Medal for Excellence 1989.

Funding Awards

* National Science Foundation ACI 9732107
* National Science Foundation 99-2 EHR ESI
* "Mapping the Universe" Commission
* "Cosmic Voyage" Commission
Dusman, Linda
and a voice was heard in Rama - tape. NEUMA CD. (Forthcoming in 1996).

Dindirindin - soprano and tape. Maria Tegzes, soprano. NEUMA CD 450-87. (1994).

Diamonda Galas (vocalist; composer; AIDS activist)

Born 1955, She had her classical debut at the age of 14 as a pianist with the San Diego Symphony. While at the U of Cal at San Diego, she began experimenting with multiple microphones in quadraphonic space (Eyes Without Blood; Wild Women w/ Steak Knives) ; was actually majoring in biochemistry.
Her musical influence includes Greek, Mideastern, blues, jazz, country, gospel, classical, electronic, rock. Pianist/singer with a 3 and half octave range; classically trained with jazz piano.
In her Greek heritage, at funerals only women were present in a "a moment of female empowerment" and used it to inspire revenge as they sing directly to the dead.
Her vox is described as "awesome, frightening and angry" (Burns Vol II, 219); Her techniques include multiphonics with vibrato, naturally produced octave transposition.
She often locked herself in a padded cell (anechoic chamber) to practice voice.
"I've been called a witch in every country I've performed in since 1980." (Carr 180)
Hendrix inspired her to "burning the stage to the ground" (Carr 188)
In 1980 performed her own works
1982 first Album The Litanies of Satan" ; based on Baudelaire poem about alienation and oppression.
Was affected when her brother died in 1986 of AIDS.
Saint of the Pit Movement 2 was dedicated to her brother Philip-Dimitri Galas , a playwright.
Calls her music "interveinal music" - straight from the blood stream (Carr 187)
Calls AIDS "murder" (carr 187)
1986 Masque of the Red Death First Part The Divine Punishment was dedicated to Tom Hopkins who died of AIDS (close friend); based on the Poe store about pestilence both devastating and disguised as a "thief in the night"...(Carr 187)
High Mass of the Outcasts denounces discrimination of gender based on Biblical beliefs.
1989 Plague Mass ; trilogy with text from the Bible in 3 movements - The Divine Punishment; Saint of the Pit; You Must be certain of the devil
(Burns Vol. 2)

golden, Barbara

From California.
Incorporates humor with banal words and video, similar to a well-conceived political cartoon.
In many ways, compared to Laurie Anderson. Has wry ethnographic pieces about social life. Entertaining and informative (Burns II 441 "multimedia")
1986 Lap Pool
1987 Trashy Girls
Both are interactions between women and allow the listener to choose whether its silly or serious (use of video, as well)
1994 Clit Envy :background cant on gender misunderstandings w/video imagery
Homecooking : Book with recipes accompanied by music, visual, lyrics from multimedia works

(burns II; "multimedia"; 440-41)
Flaming Toast - tape on DISContact II Canadian Electroacoustic Community (1995)

Greatest Hits: Volume 1 - songs with electronic keyboards. Cookbook with CD. Burning Books, P.O. Box 2638, Santa Fe NM 87504. (1994).

Lynn  Hershman
Born  1941,  USA.
Lynn Hershman
October 20, 1995 "Cross-Dressing on the Internet"

One of the most recognized and prolific artists working with interactive media technologies, Lynn Hershman has been creating laserdisk and computer-based installations for museums world-wide since the early 1980s. Lynn Hershman's work is in numerous collections, including the San Francisco Museum of Modern Art, The Walker Art Center, The University Art Museum, Berkeley and the Hess collection.

Lynn is currently a professor of Electronic Art at the University of California, Davis. She is credited with creating the first interactive laserdisk artwork, Lorna (1979-1983). Hershman's work is known world-wide and this year she received the Siemens/ZKM Media Arts Award, the Seattle Art Museum's Anne Gerber Award, and the Cyberstar Award.

"Lynn Hershman is regarded as the most influential female artist of new media.
As early as the 1970's she worked with context, performance, public space and interactivity. Her video work incorporates surveillance, voyeurism and personal identity, and her computer installations expand the possibilities of interactivity."

Interactivr artista

HinkleTurner, elizebeth

Born 1964. Works as computer network manager and teaches multimedia and music at the University of North Texas. Received awards from the Institut International de Musique Electroacoustique de Bourges
1994 Parable of Pre-Existing Conditions
1995 Antigone's Peace
1997 An Object of...
1999 A Stitch in Time : Chronicle of quilt making among women in her family. Audio/Visual in realtime. Used Image/in software that allows MIDI control of Visual Elements.
Full Circle: CD-ROM documentary of her survival of cancer. Goes over the social and political and emotional issues related to this.
(Burns II 438-439 "multimedia")
American Made - tape on New Electronic Compositions from the University of Illinois at Champaign-Urbana: Student Compositions Realized at the Experimental Music Music Studios. University of Illinois Experimental Music Studios LP. (1989).

Full Circle selections on Cyberquilt. International Computer Music Association. Cd-rom. 1999.

Full Circle. Electronic Music Foundation. Cd-rom. 1999.

Insurrections I on New Graduate Works form the Experimental Music Studios. University of Illinois Experimental Music Studios CD. (1990).

Hutchinson, Brenda

Born 1954. Began at 5 when was given a pink/white tape recorder at Christmas.
Pieces include live performances , radio pieces, and mixed media installations.
"She records an aural "picture" of a situation, including "portraits" of people by collecting their personal narratives." (Burns II 288)
The Giant Music Box : housed as own interactive exhibit at San Francisco Exploratorium Museum.
"One of the most significant avant-garde musicians of the late 20 century" (Burns II 288)
1991/1994 EEEYAH!
1998 How do you get to Carnegie Hall?
Often pieces were tape loops of sampled sources with or without live performers.
(Burns II 288-289)
EEEYAH! - tape. The Aerial: A Journal in Sound, CD #4. (1989).

Interlude from Voices of Reason - tape. TELLUS, The Audio Cassette Magazine #9. (1985).

Interlude from Voices of Reason - tape: Storytime - tape; Joy Chorus from Fly Away All - tape; Sentences - tape; EEEYAH! - tape. On Seldom Still. Pauline Oliveros Foundation cassette BH-C-1.

Liquid Sky - electronic motion picture score (with Clive Smith) - tape. Varese Sarabande LP STV 81181. (1982).

Long Tube Trio - tape. On Minimall. TELLUS CD #27. (1993).

Slow Death on a Thorny Rose (with Gerald Lindahl). TELLUS, The Audio Cassette Magazine, #16. (1987).

Voices of Reason (Vanishing Act) - tape. On Siteless Sounds. TELLUS CD #25. (1991).
Brenda Hutchinson (multimedia)
Interview with Kim Baker
by Bekah Barnett
Fall 1999

A native of Trenton, New Jersey, Brenda Hutchinson has spent most of her life as a Sound Artist divided between the East and West Coasts. Internationally, she has appeared in New Zealand, Canada, and Brazil. As a sound engineer, performer, and composer, her work activity reflects the diversity of her skills. She has composed for voice, dance, and film, as well as creating interactive exhibits and installations. For Brenda, language, stories, and ambient and sampled sounds hold a deep fascination. She finds power and beauty in ordinary expression and in everyday sound. Listening, serving as a witness to human experience, and testifying fulfill the core of her work.

Brenda describes the social and cultural context of her creativity:as a way to invite others to testify on their own behalf. It has always been important for her music to be heard. As a white female from a background of limited opportunities, making music her life has been a struggle, though she recognizes that there are many others whose struggle is greater. Brenda identifies with the struggle to survive and to live beyond survival. She addresses these social and political issues indirectly through her work as a composer. Brenda's strength is in identifying with other individuals. She believe that when you change your voice to fit in, you have lost your voice, and is therefore interested in the stories and experiences of other people told their way.

Brenda's first composition featured excerpts of recorded stories by her grandmother (Storytime, 1986). Later works have included recorded conversations with patients at a New York State Psychiatric Hospital (Voices of Reason, 1991), rituals and chants by members of the Church Universal and Triumphant (Violet Flame, 1993), and stories by her mother (Every Dream Has Its Number, 1996). Brendas first recorded work,EEYAH, features voice, bass drum, and bell in electro-acoustic variations of a Thai pig call. She has composed for a 9 1/2 foot tube of her own design, and developed the Giant Music Box exhibit for the Exploratorium, an interactive science museum. Her most recent project, How Do You Get to Carnegie Hall? was inspired by interviews collected during a month long tour with her piano and tape recorder across 18 states. Recently married, Brenda currently lives in San Francisco with her husband.

When Brenda was 5, she received a pink and white plastic Sony recorder. She would lock herself in the bathroom, since it was a private place, and record things. "The microphone was really horrible, and it would distort the sound a lot, so I would listen back to what I recorded and make up names for the sounds. You couldn't possibly tell what they had been in the first place. I used to make up games, like, Can you identify this sound?" These early experiences have more to do with any compositions now, than all the piano lessons taken.

Brenda's interest in stories came from her grandmother. "She would distill any experience to a story. My grandmother would call 6 or 7 times a day and say the same stories over and over again. Everybody was tired of hearing them, so they passed the phone on to me." Brenda liked hearing them and listened, over and over- same characters, same settings. Then her grandmother started to get senile. "The stories started to change, and I got upset. I wanted to record her so that I would have those stories forever." Brenda's mother and grandmother could communicate only by telling stories. She states that it was impossible to have a conversation with them when any comment would trigger a story. Brenda's solution was to stop talking. When she had the inclination to jump in with a story, she would not do it. For a long time Brenda was very conscious of it, and instead, she would listen and listen and listen.

A thread that runs through Brenda's work, from the stories to the tube. Somehow she makes sure that the voice, the instrument, the story stays real, transparent. Nothing is needed expect your attention and your will to do something.

"I was terrified of performing. I was 35 before I decided that, if I was going to perform, that I had better do it." The first piece that Brenda performed was EEYAH!, in 1989. The challenge of that piece was that Brenda was not accomplished at any instrument, so she decided to use her own voice and her own experience as a way to make herself really vulnerable and make a more emotional connection. She had been setting up really challenging material for her pieces, creating these epic things that take a really long time to do. The difficult part was confronting deep, personal fears, similar to the work she conducted in the mental institution. The performance atmosphere really changed everything. Brenda felt more involved, personally, making the situation become that much more intimate.

At the moment, Brenda is developing a 30 minute radio show for her piano piece. Then she wants to modify the tube so that she can play with other sounds, pre-recorded, environmental, other voices. The next big idea is in the very sketchy phase, but will focus on male violence. Brenda will incorporate stories, using her speaking voice, telling her stories, her experiences with her father and grandfather, and also incorporate the tube. Brenda is ready to confront this one in a public way. And believes its time to find a way to put her experience out there, and think about how people's actions have consequences which ripple throughout the generations.

Born 1954. Began at 5 when was given a pink/white tape recorder at Christmas.
Pieces include live performances , radio pieces, and mixed media installations.
"She records an aural "picture" of a situation, including "portraits" of people by collecting their personal narratives." (Burns II 288)
The Giant Music Box : housed as own interactive exhibit at San Franciscos Exploratorium Museum.
"One of the most significant avant-garde musicians of the late 20 century" (Burns II 288)
1991/1994 EEEYAH!
1998 How do you get to Carnegie Hall?
Often pieces were tape loops of sampled sources with or without live performers.
(Burns II 288-289)

- An Issue of Details
- The No-Think Issue
- The Issue of Lines
- The Issue of Knowing - Leadership School for the Vulnerable
- The Next Real Issue

An Issue of Details

I had this idea about Brenda Hutchinson, and it stemmed from how I saw her responding to the most mundane situations. She was always noticing everything; everything that I thought didn't deserve notice and was too trivial for a second glance. Strangely enough though, I noticed her noticing these things -- things like the coins many of us use everyday; she pointed out to me the new quarters released by the Denver Mint -- and I noticed that there were some coins that I could and would pay attention to. But before the coins I had noticed Brenda turning on and off the light in the bathroom on the first floor of our studios at Dartmouth College. She said something to me like; "the fan doesn't go off with the light?" Even more than the currency thing, this detail about the light, I had thought, "so what"? How can she go through life noticing so much? As it seems, nothing escapes Brenda's attention. Even in her neighborhood, a simple diner has all the unnoticeable trappings of something that Brenda could notice. And it's not like her life is a string of arbitrary minute details; instead, Brenda seems to live a beautiful kind of reality where all the noticed things seem to eventually become important to her work as an artist. The most significant of her concentrated activities (composing music, for example) pokes out of the fabric of her hyper attention as huge organized events.

I had thought that it would be good for me to stretch out my sensibilities and spend some time talking to Brenda, listen to her music, go to her home. In my life I have spent much effort honing and concentrating my attentions on to what were the most important activities I thought that my life demanded. Then I saw Brenda living on multiple levels of concentration at all times. She can center her musical ear to such intense modes of concentration that she can manipulate her instrument, her tube, in to the most sonically interesting places I've heard in a long time. (Brenda's signal chain starts with her lungs, then her throat, her sinuses must tag along as well as any resonances her head and chest cavity can toss in, and with her 9 ft. aluminum tube sealed around her mouth, it, the tube, extends out from her body.) And all depending on the individual's anatomy, the tube provides sets of acoustically defined impedance points where the system, body+tube, cracks over from one tessitura to the another. All that energy concentrated and centered down that tube. Or when Brenda and I were in a coffee shop and a pigeon was trapped inside, and everybody was trying to shoo the bird out of the seating area. Enough became enough, Brenda's eyebrows went into a kind of teepee shape, she got up, and me just as gape mouthed as I had been while listening to her play her tube, I watched her sidle up to the pigeon, grasp it with two gentle hands and take it outside. I had expected her to toss it in the air, sort of Moses and the dove style, but she set the pigeon on a chair, just like I would set a hysterical cat on a piece of furniture, something solid for it to get its bearings on. I had not wanted to interfere with the bird and its shoo-ers. And it wasn't like Brenda was coming to the rescue; she was acting on what she noticed. And what she notices is the most important thing for her; at least that is how I notice Brenda. A more complex Brenda-noticing scene was when she dropped me off at a friend's house where she noticed that there were suitcases all over the place. Normally I would not have thought that I should even notice the contents of somebody's home; but Brenda asked about the suitcases and in doing so, started an interesting conversation with us about our friend's travel destination and her feeling of anxiousness concerning moving to a foreign country for an extended stay. What I thought might be trivial, suitcases all over the place, turned out to be very important, a huge issue.

There is something to notice here, something that Brenda pointed out to me, that thing being the issue of vulnerability. In Brenda's piece, How to get to Carnegie Hall, a complex composition that involves pre-recorded CDs of piano players, and live piano players who are also story tellers, individuals are asked by Brenda if they want to play her piano, and in their state of vulnerability they can either agree or disagree. For example, Brenda gathered most of the pre-recorded sound as she drove a U-Haul truck all over the country with a piano in the back. She'd park at a public place, like a park, put out a bunch of balloons and ask people if they wanted to play her piano. Some people would agree, many played chopsticks, most played a type of music I would consider trivial, most would tell stories about their piano playing, stories that I would never dream of asking about, or even wonder about. Here Brenda was gathering what I might consider mundane details; only much later did I notice that what she was doing was gathering big and important stories, stories of people's vulnerabilities stemming from their relationship to playing an instrument. "Their hands would shake", Brenda told me. These were not seasoned performers, these were people who agreed to come in to Brenda's U-Haul truck, play her piano, let her record them, put themselves on the spot to play in front of her, be vulnerable, expose themselves. And she was vulnerable too -- sitting in a truck with strangers and a piano, Brenda was out on a limb all the time. "When we all put ourselves in a vulnerable situation there is no power struggle, you can't push people around, it's very direct, very honest, it's like being with somebody who is dying, what is the most important thing is what is happening at that time."

The No-Think Issue

I'm thinking of my usual mode of walking around in the world where my mind is mostly outside my body looking at myself doing my daily tasks. I noticed the other day that I was irritated trying to find something in the grocery store; I watched myself get irritated. Later that day I got irritated again because I felt myself watching myself as I was walking in the snow in the woods. As long as I search for that perfect concentration, a concentration where I don't feel like I'm watching myself, where I don't even notice my feelings because I am really doing what I am doing, I probably won't find it. What I've learned from Brenda is that I have to find those activities where I, however I find myself being, can do the most important thing. I won't be able to analyze the importance of details, my attention will be focused on all events and all details will not be separate from the whole. These ideas remind me of Brenda's stories about how she feels playing with a sound improv group, Vorticella ("A single celled creature, one of the people who started our group is a biologist/cellist", says Brenda. Erin Espelande is the biologist, and with Krys Bobrowski the two formed an improvisation group.) Vorticella sometimes purposefully throws a wrench in to their own works by randomly picking directives written on cards out of a stack. Something like, "follow the leader" was Brenda's more noticed example of a directive. It's tough, the whole band is women (for the time being) and women don't always want to, or feel inclined to take the lead -- the cooperative nature of the band somewhat disables itself when encountering an outside demand of defined leadership. Brenda says that when she tries to pick out the most primary parameter that her band centers their attention on it would be timbre. I think of my own composing in terms of what Brenda is telling me about Vorticella. How can I compose a piece, a type of etude, where timbre as a parameter takes on a leadership role? I am reminded of what I've been experiencing the last couple days as I leave my house in the morning; there seem to be more birds chattering in the snowy trees than there were even in the summer. In these dark, dead days of winter, where I can't even really tell if the sun is coming up, instead the gray just becomes less gray around 7 AM; the kind of days where I can dip into deep states of self absorbed melancholia; there are all these birds chattering about. The bird-made timbre here is taking the leadership role for sound making in the woods. Without denying the gray blanket of dark sky, the birds strike out of the fabric of the glacial speed of deep winter. I take my cue from Brenda, and in my rush, I stop to notice the detail of bird twitters, a timbre that contrasts the gray creaking of snow. Then I begin to notice the wind at night and I remember Brenda saying, "space, achieved by not everybody playing all the time"; the cooperative, supportive, trust-sound where "volume level and speed don't figure". The cooperation is so intense, there's "no thinking involved, just sounds coming out."

I'm back to thinking about how Brenda found her place of no-thought, that place where her experience is only the sound, the sound is the only thing, there is no-thought because the sound cooperative has precedence, there's no time to think, no time to be outside of yourself looking in. She's practicing her tube, she's finding her way from the bottom up with her tube: "There's no other time in your life and day that you do this", this type of concentrated sound making.

The Issue of Lines

I had realized before I started talking to Brenda, that I rarely spoke to women at all. I've had only a handful of women to work with in the last 10 years. And I've become irritated with the same old social parameters that I'm surrounded by: aggression especially, but really what's annoyed me the most is something basic, the volume level of interaction in the Man's World that we live in. And I heard Brenda, "When people draw lines, you're on one side of the line or the other." What about my line, the line that separates people who go around the world making loud aggressive (in my opinion) sounds and those that don't. The fact of the line in my world makes me crabby, clogs my brain, I can spend a lot of energy concentrating on that line. Brenda: "I don't want to draw lines, I want to be as inclusive as possible." Then more Brenda: "Your awareness is something that's yours. Nobody has control over you." Except myself. I'm remembering what Brenda said to me-- things about: awareness allows you to be powerful and autonomous, ("you get to have your life back", she says). I'm thinking what Brenda has thought, "You get a sound in your life, you deal with it" (a Christian Wolff idea relayed to Brenda by one of her Vorticella partners, Krys Bobrowski).

I am thinking that people are responsible for saying no, they can say no to sounds and experiences that they don't want to deal with. But even beyond the simple/hard definitive fact of "no" I've learned (in the last three weeks) that uncomfortable situations are opportunities for growth. I hope this is clear and if it's not here's another shot at my point about lines: lines feel like points of resistance, these points usually crop up in my world as types of ingrained and almost unconscious responses that I've had in my brain for most of my life. Once I try to notice how I feel, to take a fine tuned look at what the line and its details really are about, my need for resistance begins to evaporate. That's not to say that I am convinced of the legitimacy of the Man's World and his high-level ways. Instead, I no longer have a stake in it, the lines that were drawn only magnified and legitimized the presence of the sound pollution, now I can sit down to work on an alternative without the counter-aggression that was chewing me to bits.

I asked Brenda why she creates sound generating situations where people are confronted with the decision to participate in an experience that is specifically designed to make them aware of some idea or set of ideas about sound. I had thought that it was a person's own responsibility to do the work to be aware of sound. Brenda says (and I think that she is speaking for her participants in her compositions and how they have felt), "It's to my/your advantage." When you're experiencing sound, it's like breathing, sound is there, just like air, it's there for the taking, your power is there as soon as you claim it, and soundscapes can be claimed. Then there is Brenda's; "I'm the most healthy when I'm the most open." This works for her. I'm not there, that's for sure, I'm a paranoid cynic compared to Brenda. Brenda has a confidence that I cannot share (I'm beginning to think that my paranoia is a byproduct of my being in academe all my life, no wonder). Here's a Brenda fragment: "Being open and available and vulnerable all the time, this is an ideal situation."

I think of Brenda's instruments. Not just her tube, but her instrument that sits in her living room; this kind of giant music box, a giant piano roll looking thing that is mounted on a stand with exquisite bearings so when you roll the thing it kind of has a power of its own. Instead of having paper on the roll, there is cork, and Brenda showed me how I could put stick pins in the cork and as the roll rolled, the pins would trigger (much like a piano mechanism) hammers to hit these beautiful brass keys mounted glockenspiel style on the front of the instrument frame. When I first got close enough to the roll I noticed that there was a distinct pattern in the way some stick pins had already been stuck in the cork. Brenda rolled the roll, the pins triggered the hammers to strike the brass keys, and a little sequence of pitched sounds was produced. Brenda gave me some pins and instructed me to stick them in some unused cork on the roll. Instant composition was available to me. I was at a block -- I didn't know if I should make a definable visual design with the pins and assume that the definable design would trigger a musically significant series of pitches, or if I should be random, with no apparent algorithm and stick the pins hither and thither. I did the hither/thither thing, fumbling so that Brenda offered to help me with the pin sticking. Out popped a random sequence when Brenda rolled the roll. I was wondering why I was so apprehensive, why can't I let a simple music making situation be just that, simple. Why do I have to think, why can't I just ... It isn't that simple for me to create things, being vulnerable, putting myself on the line, I don't think I'll ever get used to that. But Brenda is patient, and she gets something from watching people being on the line, all I get from being and watching the line is a scared sense of aggression. I can't step up to the plate that well, I can't deal with the adversity. When I get an opportunity to make sound in my life it's like I have to do the full blown worship of the sacred musical event or nothing at all. Too bad, it's like I can't even whistle sometimes, the music is in my head, and it's all clogged up. I'm learning from Brenda that a point of adversity is an opportunity, an opportunity and a demanding presence -- something to be dealt with, not disabled by.

The Issue of Knowing - Leadership School for the Vulnerable

Brenda spent last fall living in a tiny community in Northern Minnesota. She had a grant to go out there and organize musical/artistic events for a number of small towns. These events were like variety shows for local talent and Brenda invited experimental artists (like Warren Burt) to travel to Northern Minnesota and participate. She worked at this for two months. And Brenda played her 9-ft. tube, in fact she used her tube as kind of a warm-up act to break the ice with the folks in Minnesota -- she'd play the Tennessee Waltz on a nine-foot straight tube. But really, the point of interest was that she managed to arrange a cooperative effort to organize local talent. She knew she would be interested in what people would bring to these music making events. Just like she knew, while organizing her How to get to Carnegie Hall piece, Brenda knew that she would find things of interest, all she had to do was go somewhere and things would pop up. Before I get too deep into the community stories that go along with Brenda's Minnesota stay I'd like to tell a story from Brenda's past, as I heard it from Brenda.

Some time in the early '80s Brenda knew that she wanted to live and work with people in New York City. So she packed her backpack, and with no money she went there to see what would happen. After weeks of sleeping on the subway (you might ask her which train is the most conducive for sleeping and she will probably tell you how best to sleep on a backpack so that it doesn't get ripped off while you are dozing) she met some people who were improvisers and she joined their group as a percussionist. I can't tell you how she met the group that she joined, it didn't seem important. What did seem important is that Brenda survived in the mean-street days of NYC; and she had the guts to do what she did. I've moved across the country a bunch of times, but I've always had a place to go, at least a friend's house to stay in while I got my bearings. But with Brenda it seems that there are never any lines to distinguish what is and isn't possible, even when it comes to practical things like basic survival, she always knows that everything will work out somehow. I have the feeling that Brenda always knows (though she tells me that she is more motivated by fear, she never wanted to be held back by fear).

But in regard to Brenda's Minnesotan experience I'd like to take some time to think about community. Brenda entered on the scene to help cultivate something different from the type of experiences the folks in Minnesota were thinking about. "For me the difference had to do with not acting (like the type of activities the folks were used to doing in the plays and shows they had been involved with) but with sharing somehow." I used to live in Minnesota. I had experienced rural Minnesotans to be most suspicious of people from outside the area, particularly people that showed urban tendencies. But Brenda had a different experience, and I think it was because she bore her vulnerabilities to the communities she worked with. She put her hopes, her energies, and her fearlessness right out in plain view. She knew who she was and she let it be known what she expected. And just like How to get to Carnegie Hall, Brenda invited people with homemade talents to bare their vulnerabilities with her. Could I make up a working definition for community: a group of people willing to bare their vulnerabilities so that the common goal of the group (whatever that is) can be achieved? Isn't the idea of community basically a coming together of people who need the skill and attributes of other people to make something happen? What about service? Certainly Brenda didn't just provide a service (as a local talent show producer) she set herself out as a servicer of community; a person who goes to a town in service for a community. (Brenda: "I never thought of this as a community service".) Beyond her obvious leadership skills she has an interest in what people do. Unlike an academic who just does voyeuristic-style fieldwork, Brenda makes community happen as part of her art. She likes being close to the core of people's struggles; this is the primal point for her.

I had thought that Brenda's community building/art making must mostly be a gathering together of people's stories where the art part of it comes out of Brenda's assembling of the stories into a comprehensive whole. Certainly if you take a look at the score for How to get to Carnegie Hall much of Brenda's work was organizational. And it seems like she does well with a lot of material. In thinking about her work in Minnesota, Brenda had to juggle a lot of data, many personalities, prejudices (at least I assume this), and practical factors like performance hall availability and transportation. But she knew she could do it. And as I'm noticing, the fact of her "knowing" is what clinches the success of her ventures.

A Hula Dancer, a Cowboy Poet, Brenda's Tube, random acts emerging from the audience; Brenda set up a Vaudeville for four North Country Minnesotan towns. She started out by reminding herself that, "I would love to come to an event like this". Then she got to work, relocating her household to Effie Minnesota to organize artists, manage rehearsals, organize production of props, costumes, and stage design, do publicity, basically stir things up to such an extent that a travelling Vaudeville production of Minnesotans went on the road last fall for a week. Brenda says:

"I delegated. That's an important thing. I didn't do it all myself. That's an important part of the piece -- finding people in the community who do these things or would like to try and then turning it over to them. Creating this context and collaborating with people in this way is very important to me. My role is to be a catalyst for this experience, also an improviser and a composer. A conductor."
She had no idea what would happen, only a feeling that this is something she would want to do, an opportunity to stretch herself into other people's sensibilities. These folks were making maple syrup; they were being cowboys, foresters, local historians, child caretakers. They did have their Edge of the Wilderness Community Center with coordinator Patty Feld; their art-making community had been intact for a long time. These folks already had a well-established and firm belief in the importance of their self-made art. They also had the obvious remoteness and the do-it-yourselfness that goes along with being in the North Woods. Everybody goes to Church; everybody's favorite topic for conversation is the weather.

Brenda had wanted to steer away from the Talent Show paradigm. "With Talent Shows there's an audition, judgment, comparison." Instead she called the show a Vagabond Vaudeville, a chance for people to take a chance and be responsible for their chances; if what they did was a flop, it was their chance and since each act, in the most basic sense, produced itself, the responsibility for the show's success was on the individual. Responsibility shifted to the individual to do their job; and this responsibility trickled up, up to the success of the show as a whole. That's the paradigm: no top trickle down, but the responsible individual's attitude making the whole event happen. This paradigm is probably the most interesting idea of Brenda's for me. It makes sense to me, it reminds me that things happen best in small communities, grass roots events are the least susceptible to hierarchies but most susceptible to thoughtful leadership.

The inclusion of invited guests (I had spoken to Warren Burt about his experiences of being in these show, he has great, warm, and very special memories) is an interesting topic for me. Here is Brenda:

"The inclusion of professional talent of a more experimental nature was always part of the plan. The intention had more to do with providing a common ground where the audience is more open and able to appreciate what they are witnessing. Once it is established that everyone is exploring something new, taking a risk, etc. people operate on a different level. This is especially true with regard to judging the work of others. Hopefully it is no longer about judgment of ideas, aesthetics, anything really. People in the audience are receptive to their friends and relatives whatever they happen to be doing. This receptivity carries over to experiencing more experimental or "avant-garde" types of work. The intention to share an experience is very different from the intention or desire to entertain, perform or sell something. And I think that this allows people to be more open and receptive to what is going on, no matter who or what it is. The only restriction I placed on people, and I was quite clear about it, was a time limit. No act could be more than 10 minutes. Less was better. The reason for this was also to contain the offering to a comfortable amount of time. This was to ensure that if something was boring or disturbing or uninteresting for any reason, everyone knew it would be over soon. Nobody hogged the attention or took advantage of it. The audience was very tolerant of things they might not have liked because they knew it wouldn't go on too long. This isn't to say that it's not a good thing to challenge people's expectations or exposure them to something new and complex that needs to time to be understood. This project wasn't concerned with those issues."

There were no admission charges to the Vagabond Vaudeville. The performance environment was created to be safe: with the audience members encouraged to participate at any time, somebody could hop up to recite a poem, sing a song, and make a commentary. Without the tensions of being on stage with a strict delineation of what was supposed to happen and what actually happens, the show had a relaxed atmosphere. And there were no commitments demanded. The last minute sign-up sheet for acts, the idea of: if it doesn't work out in your life to show up to do the show -- well, that's the way it goes. I think of Shunryu Suzuki and what he says about leadership, " To give your sheep or cow a large, spacious meadow is the way to control him. So it is with people: first let them do what they want, and watch them. This is the best policy. The second worst is trying to control them. The best one is to watch them, just to watch them, without trying to control them." And Brenda was the person who gave them permission to organize, but never told them what to do. She never told the folks in Minnesota what it meant to simultaneously do personal expression and express their community spirit. Even the Hula Dancer was bound to the community, bound to the culture; she was part of the Brave People Community whose sole purpose in the show was self-expression. And when the Hula Dancer got up there to do her act, people whispered, they said that they didn't know that this was something to be done, where did Charlotte Bailey pick up Hula Dancing, how did she get the nerve to do this? She was stepping out. Charlotte Bailey stepped into the void where she revealed something to her neighbors that they didn't know much about. This vulnerability, this step-out, this permission she gave her neighbors to see her do the Hula, all this helped to strengthen her community.

It is true that the weather is the most interesting thing in the Minnesota North Country. I knew what it felt like to ski into a frozen swamp in January, not ever knowing what it would feel like to ski back out, having my heart jump into my mouth when a moose couple come charging toward me out of the blizzard. I had skied down a riverbed late one night because the wind up on the prairie had literally blown me over. That night I had scared some deer that were desperate for enclosure trying to huddle in the frozen drifts along the riverbank. I had spent nights under an electric blanket going full blast, huddled with my cat, where I just couldn't warm up in my breezy house. And Brenda tells me that the folks she worked with related to the land. They knew the stories of their neighbors who had suffered the desperate fears that the weather had offered stranded travelers. Brenda: "They were relating to the land all the time, they knew they could die." But they had a kind of confidence in their ways, they knew what to do, they knew to keep their gas tanks full so that the insides wouldn't freeze. They knew to carry a sleeping bag in their pickups, they knew to have kerosene heaters at home, just in case the power goes out. Brenda: " They're in control, not freaked out". Relaxed. With the unpredictabilities of nature these folks are "very open and generous, with an amazing ability to improvise and be spontaneous."

I always wonder about folks that work hard all day, then go home and extend their work into another realm of creativity, like writing poetry, or painting, creating an original something. These folks prefer their self-made creations to those diversions that the media offers them. These folks have an energy that seems unfathomable to me, then as I get older, I see myself doing the same thing -- going home to do my work. In the Vagabond Vaudeville there was Howard Pitzen, the cowboy poet. A real cowboy, and a poet to boot. I see the photo of him bowing to the audience, tipping his hat, with his rodeo-style belt buckle catching the light. That confidence of knowing exactly what to do. Just like he knows how to deal with his cattle, he knows how to write his poetry. Like Brenda, he just knows. Brenda: "I don't think of myself being capable of helping people". Instead, she and Howard are challenging themselves (I would think that being a cowboy is challenging enough, but to Howard there is a next step to be taken); they are getting better and dealing with the challenges. Brenda: "There is this ideal human experience" -- sharing with people on the level that the Vaudeville provided. I make myself as vulnerable as possible and ask people to join me and maybe something wonderful will happen."

The Next Real Issue

Brenda is making a score for her Vagabond Vaudeville piece. The score will map out the Vaudeville in general terms so that the show can be translated for different environs. She keeps saying that she wants to do it in an urban setting; a place where community is just as strongly defined, but with very different demographics. I have a hard time imagining the Vagabond Vaudeville in San Francisco, the city where Brenda lives. I am so attached to the idea of rural sensibilities making the Vaudeville work that I tell myself that an urban version won't even be the Vaudeville, it will be something else. When Brenda reads this she will say something like, "of course, that's how the pieces work, what stays put is the structure, what changes are the details, the flavors, the entire show, the people." And Brenda purposefully constructs these transformable situations for community art making. She keeps telling me that How to get to Carnegie Hall is so different depending on where it happens. The version of How to get to Carnegie Hall that I saw was staged in Hanover New Hampshire. But Brenda has put this show on in Germany and any number of locations in the US. When I heard/saw How to get to Carnegie Hall there were 3 pianists: a filmmaker who played the piano when she was much younger, a Mom pianist, and her Son pianist. The most impressive was the performance of the Son (approximately 11 years of age) who showed the most intense concentration I have ever seen in my life. This guy makes any pro musician look like he is faking it. The filmmaker, who is also a talented scriptwriter, told the most engaging story about how one of her fingers was chopped off in an auto accident. During her monologue she played some Beethoven (with only 9 fingers). Everything that the players brought to the performance was prescribed in general terms by Brenda's score for How to get to Carnegie Hall. Since each part still belonged to each player — the piece as a whole was the only part of the construction that showed Brenda's design — but the basic sonic content and story content belonged to the players. Brenda has told me about when How to get to Carnegie Hall was performed in Germany by a single pianist. She had encouraged the pianist to speak in his native language -- an attempt that I interpret as Brenda trying to make sure that the particular performance belonged to that particular player -- but the pianist insisted on telling his stories in English.

Whatever happens, that's how it turns out. Everything has to be the way it is, there's no arguing with reality. A little over a month ago I was sitting with Brenda in a diner near her home. Brenda was asking me about my recent travels in California: I had been hiking in the Cambria Pines on the California Coast, I had been visiting with a friend in San Francisco: a person that I rarely see but every time I do it is as if nothing is forgotten, we had taken off comfortably from the exact same spot we had been at five years ago. Brenda began to tell me about her Mom and what she's been doing lately, little details about her family. The diner was tiny, the tables were so close it was hard to get by and the waitress and cook were speaking/shouting an Asian language I couldn't identify while serving us the most basic of western breakfasts (waffles for Brenda; eggs, hash browns, orange juice and toast with jelly for me). All of a sudden this fellow who we had not noticed, a guy sitting next to Brenda said something like, " Hey, are you two old friends who haven't seen each other in a while? You talk like I used to talk to my old pals, you remind me of things that I used to remember, hiking in Cambria, visiting my sister, thinking about my Mom. I want to go find my friends and talk to them like I hear you talk. How long have you known each other?" Brenda and I were embarrassed, we had only known each other for a month. We were shy in admitting this. The guy was undaunted. He continued with his breakfast and said that basically he didn't care, he was going to go track down some of his pals and have a chat. And after that he was going to go to Cambria.

I guess that what is next is remembering. Re-membering by putting things together. Getting the stories down and put down so that they are not forgotten. I have always been attracted to the stories in John Cage's books. They are so lovely, little biographies (mostly) that have no moral (except the Buddhist ones: they are the ones that I always forget). With Brenda's pieces the story elements seem to be the nuts and bolts of the form. I try to understand why Brenda's work is so special for me: obviously the story part of it really works for me, and somehow Brenda seems to encourage folks to steer away from the morality stories and head more toward straight-ahead tale telling; the non-hierarchical form of her work; and always the kind ear that Brenda lends toward other people's experiences. In all cases, Brenda sees things as they are; she takes them in, organizes them, never claims them as her own, admires them, collects them, and gives them a voice without disenfranchising them. She builds the instruments for other people's musical ears, she facilitates the show for other peoples stories, she lends the expert musical mind, the expert musical tube, the serious dedication to sound, the re-clamation of sound for the individual, the rights for each individual's sound-space. She invites the vulnerable to join her in her own vulnerabilities. Brenda is honest in her expectations for herself and her collaborators, in all cases she doesn't seem interested in fantasy (what she calls the "abstract"), instead she goes all over the place snagging pieces of what most folks call the "real", or the story that includes the sound that includes the reference to what really is for real for each individual.

Joan Jonas

 Jonas is a pioneer of video/performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Her influence was crucial to the development of contemporary art in many genres&--;from performance and video to conceptual art and theater. During the past decade, Jonas has collaborated with composers such as Alvin Lucier to develop collaborative video-performance works, and has performed and toured with The Wooster Group. Her most recent work continues to explore the relationship of new digital media to performance. Jonas is currently developing a performance for the Museum of Modern Art in Dublin where three of her installations will also be included. Jonas has been awarded fellowships and grants for choreography, video, and visual arts from the National Endowment for the Arts, the Rockefeller Foundation, the CAT Fund, the Artist TV Lab at WNET/13 (New York City), the Television Workshop at WXX1 (Rochester), and the Deutsche Akademischer Austauschdienst (DAAD) in Germany. Jonas has received the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival, the Polaroid Award for Video, and the American Film Institute Maya Deren Award for Video. In 1994, Jonas was honored with a major retrospective exhibition at the Stedelijk Museum, Amsterdam, in which she transformed six performance works into installations for the museum. She has recently had solo exhibitions at Rosamund Felsen in Los Angeles and the Pat Hearn Gallery in New York City.

Klein, Judy

Born 1943. Director of NY University of Computer Music Studio and on the advisory of SEAMUS.Curator for her exhibition in NY.
1998 Wolves of Bay Mountains : Used processed/unprocessed recording of wolf howls ad other forest dwellers from Bays Mt Park (TN)
As a composer of acoustic and electronic works, has studied with Charles Dodge, Ruth Anderson, Lillie Ridermann, Reynold Weidenaas, Thomas Kessler. Instrumental in creation of E/A archive of NY Public Library for the Performing Arts at Lincoln Center.
(Burns II 350-351)
88" for Nick - computer-generated tape - on TRANSFORMS The Nerve Events Project. Cuneiform Records CD 55011. (1993).

Elements 1.1: sulphur, phosphorus, diamond - tape - on Music from SEAMUS vol. 4. Society for Electro-Acoustic Music in the United States EAM-9501. (1995).

From the Journals of Felix Bosonnet - computer-generated tape on International Computer Music Association 1989 Conference CD. International Computer Music Association. (1989).

Knowles, Allison
Mieko Shiomi And Alison Knowles - "Disappearing music for face(smile-no smile) 1964

Born 1933. A visual/performance/graphic artist
Work has been influential in environmental media. Lives in NYC. Focused on detail. Founding member of Fluxus in 1960s.
Identical Lunch: watched the differences in person's lunch, though it is essentially the same lunch and observed different choices made by each of the participants. Lunch itself was tuna sandwich on wheat w it lettuce and butter no mayo and a glass of buttermilk or soup).Married to Dick Higgins, who coined the phrase "intermedia" (a work that broke boundaries between traditional art forms.)
(Burns I 352-353; Cope 217)

Kolb, Barbara
Looking for Claudio - solo guitar and pre-recorded ensemble and Spring River Flowers Moon Night - chimes, vibraphone, marimba, 2 pianos, percussion and pre-recorded guitar and mandolin. CRI CD 576. (1990).

La Barbara, Joan
L'albero delia foglie azzure (Tree of Blue Leaves) - - on CDCM Vol. 13: The Composer in the Computer Age 3. Centaur CRC CD 2166. (1993).

73 Poems (with Kenneth Goldsmith) - multitracked vocals. Lovely Music CD 3002. (1994).

Libby Larsen (multimedia)

Born 1950. Since mid-1980s has worked entirely on commission. Promotes modern music.
Eric Hermannson's Soul premiered in early 1999 by Opera Omaho.Takes her influence and "fliters them" through Lydian scales and augmented chords (Pendel 358). Written 1996-1998. Based on the story by Willa Cather. Text was by a woman author. Used Norwegian hardanger fiddle tunes, the Intermezzo from "Cavelleria rusticana" by Pierre Masgani and five fundamentalist hymns fused to create this work.
1990 Frankenstein: The Modern Prometheus: Multimedia opera premiered by the Minnesota Opera. Concerned with humans "who, by succumbing to intellectual egotism and ambition, become aliens in the society they wish to enrich." (Pendle 357). Used Video and Audio technology. Video presents multiple views, including the monster's with intense close-ups.

(Pendle 357-359; Burns II 365)

Lillios, Elainie
Cellar 1994-95 - tape on Music from SEAMUS vol. 6. Society for Electroacoustic Music in the United States. (1996)

Au Deuxieme etage 1996 - tape on Miniatures Concretes empreintes DIGITALes IMED 9837 (1998)

Lockwood, Annea
1960s artists/electronic composer

Born 1939. Trained in electronic composition but uses minimal technology.
1966 River Archive collection of sounds with world's river. Uses slides.
(Burns II 386-387)
Englewood Falls - tape. Audio Arts Magazine, Vol. 6. (1983).

The Glass World of Annea Lockwood - glass sound sculptures. Tangent Records, London. (1970). Also on OODiscs #59

Malaman - text/sound piece. On Breathing Space/77. Cassette anthology edited by Marc Wellman. Black Box, Washington D.C. (1977).

Nautilus - amplified and processed didjeridu and percussion. The Aerial: A Journal in Sound CD #2. (1990).

Night and Fog - baritone, bari saxophone, piano, percussion, and tape. Lovely Music CD 3022. (1991).

Red Mesa - MIDI grand piano on Soundbridge. Loretta Goldberg, piano. Opus One CD 152. (1990).

A Sound Map of the Hudson River - tape. Lovely Music CD 2081. (1989).

Shadow Burn - tape. New Music Australia Cassette Publications. (1986).

Tiger Balm - tape. Opus One LP 70. (1981).

Tiger Balm, World Rhythms, and Sound Flew Like a Bird - tape. New Wilderness Audiographics #7704A. (1978).

Woman Murder and Cloud Music - tape. New Wilderness Audiographics #7704B. (1978).

World Rhythms - tape - on Women in Electronic Music: 1977 (reissue of New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765) CRI 113

Lydia Lunch (Perf Artist)

Nihilist and Performance Artist. 1977 was Punk icon of Teenage Jesus and the Jerks . Works are about anger. "Throw one on a turntable and watch them scatter." (Carr 141-143)

Madonna (Pop Performer)

1980s stardom largely brought about by her slinky "Bad Catholic Girl" image on the music videos on the newly created MTV. Keeps up with the times and newest music technologies. Album Music
uses electronic effects like the vocoder and sound synthesis. (Pendle 412; Burns II 397)

Jennifer Masada (multimedia)

Japanese-American living in Iowa City, IA.
1993 Kimono: Dresses live and mixes it later, making a piece within a piece. Is from both composer and performer viewpoints. Talks of the struggle of Japanese femininity in culture and history. (Burns II 439 "multimedia")

Susan McClary (Music Theatre)

1987 Susanna Does the Elders: music and theater piece. Reworks Alessandro Stradella's 17th century oratorio "La Susanna" (an erotic revision of the apocryphal story of Susanna.) Using Stradella's own music, creates a twist, questioning with 'What do you do with music of theatrical power but which is anti-feminist?)Original oratorio justifies rape through a singer's seductive vox.
Feminine Endings: book written by McClary
(Pendle 356-357)

Diana McIntosh (Multimedia?)

Born 1937. Writes for multimedia. Composer in Residence at the University of Manitoba.
(Pendle 375)

Priscilla McLean

Born 1942. Has written works with acoustic, orchestral, chamber, vocal and electroacoustic instrumentation. Uses many nature sounds with electronics. Creates special sound worlds, uses extended vocal techniques. Influenced by Xenakis who was in the Electronic Music Center during her stay at Indiana University.
Married Barton McLean in 1967. McLean Mix - duo performing numerous multimedia works and interactive installations on four continents.
"Over the last ten years, I've found that audiences are increasingly disinclined to want to sit still and listen to a full concert." (Barton McLean: Chadabe 331)
Creates interactive installations
1978 Beneath the Horizon Tape with Whales
1985 In Wilderness is the Preservation of the World ; "The audience was performing with us" (P.M. Chadabe 330)
Rainforest : Taped of recorded and synthesized sounds and rainforest images; audiences participated with electronic and acoustic instruments.
(Burns II 406-407; Chadabe 330-331)

Beneath the Horizon III - tuba and taped whale songs and Salt Canyons - piano and tape. Opus One 96. (1983).

Invisible Chariots - tape - on Electro-Symphonic Landscapes. Folkways FTS 33450. (1979).

In Wilderness is the Preservation of the World, Invocation, O Beautiful Suburbia, On Wings of Song - voice, sampled voice, percussion, and nature sounds. MLC Productions. (1993).

Rainforest Images and On Wings of Song - voice, sampled voice, percussion and nature sounds. Capstone CPS CD 8617n (1994).

Wilderness and Dance of Shiva - voice, sampled voice, percussion and nature sounds. Capstone CPS CD 8622. (1995).

Meredith Monk

Born 1942. Graduated from Sarah Lawrence College 1964. Honorary Doctorate from the Julliard School, Bard College and University of the Arts. 1968 founded The House Company for interdisciplinary performance and vocal performance. In 1978 created the Meredith Monk Vocal Ensemble. NY Puvblkic Library at Lincoln Theatre had an exhibition on her titled "Meredith Monk: Archaeology of an Artist" . She is a composer, singer, filmmaker, choreographer, director. Based in NY. Uses extended vocal technique. Blends theater and movement with music and film with live performance. Her vocal techniques are influenced by chant, African and Asian singing, uses clicks, ulation, nasal resonance, chirps, yips, yodels, howls. Addresses AIDS and racism in her film collaborations.
Did film scores for La Nouvelle Vague by Jean-Luc Godard and The Big Lebowski by Joel and Ethan Coen.
1969 Juice "Three Part Theater Cantata" Spiraling Staircase of Guggenheim with 85 performers created a "moving tableaux above with movements (Goldberg 143-144) . the piece "absorbed the happenings procedure" (Goldberg 143-144). Monk was an early participant in the happenings. Explored with the Judson Dance Group. Part 2 was in a theatre, part 3 was in an unfinished loft. Idea of time , place and content in "different places and changing sensibilities".
Art Performs Life at walker arts center
A Celebration of Service Non-sectarian worship service with her haunting melodies and movement with spiritual texts.
Volcano Songs, Dolmen Music were both published by ECM music.

1981 Ellis Island : "Cataloguing" of the eastern Europeans
1988 Book of Days : story of how Jews were blamed for the plagues occurring in the Dark Ages.
1991 Atlas:An Opera in Three Parts: premiered by the Houston Grand Opera in 1991
1998 Magic Frequencies Sci Fi chamber opera
(Kay xi-xii; Goldberg 143-144; Burns II 424-425; Burns I 181-182 "experimental music")

Katherine Norman (Soundscape)

Born 1960. "a digital landscape : recognizable sounds are juxtaposed , hidden, decontextualized or colored by digital processing techniques and editing but the sounds remain familiar and tell a tale." (Pendle 248)
London E17 : London soundscape of subways, cars, children
In Her Own Time: taped interview with her mother about WWII.
(Pendle 248-249)
Atlas (opera in 3 acts) - with keyboards. ECM New Series 21491. (1993).

Book of Days - voices with keyboards and chamber instruments. ECM New Series 21399.

Do You Be - voices with keyboards and chamber instruments. ECM New Series 21336. (1987).

Dolmen Music - voices with keyboards and chamber instruments. ECM New Series 21197. (1981).

Key: Invisible Theatre by Meredith Monk. Lovely Music LP 1051. (1977).

Turtle Dreams - voices with keyboards and chamber instruments. ECM New Series 21240. (1983).

Charlotte Moorman

As a performer of new music and an organizer of exhibitions, Charlotte Moorman was a central figure of the New York avant garde of the 1960s and '70s.  In 1963 Moorman founded the annual New York Avant Garde Festival, which she ran until 1982. In 1964, she met and first collaborated with Nam June Paik.  Paik created some of his best-known pieces for her, including TV Bra for Living Sculpture (1969) and TV-Cello (1971), with engineering assistance provided by Ralph Hocking of the Experimental TV Center. While working with Experimental TV Center, Paik made two of his well known sculptures, TV Bed and TV Cello. In February 1972 in a collaborative exhibition with Nam June Paik and Charlotte Moorman at the Everson Museum, TV Bed and TV Cello were exhibited. TV Bed was also exhibited at the  9th Annual Avant Garde Festival in 1972.  She performed in many of his classic videotapes, including Global Groove (1973). In 1967 Moorman  she was convicted on a charge of indecent exposure during a performance of Paik's Opera Sextronique, which led to publicity which established her public identity as the "Topless Cellist." She clearly was appreciative of Paik's love of the absurd and the playful, she was very serious  about her music.  Charlotte Moorman was born in 1933 in Arkansas. She studied classical cello at Julliard and was for several years a member of American Symphony Orchestra under Leopold Stokowski. In addition to her work with Paik, during her career Moorman collaborated with or performed works for Joseph Beuys, Jim McWilliams, Otto Piene, John Cage, and Yoko Ono. Charlotte Moorman died in 1991.  

Pauline Oliveros


Born in Houston Texas May 30, 1932. An articulate experimentalist. Studied with Paul Koepe at University of Texas at. Earned a BA a the San Francisco State College with Paul Koepe. 1985 founded the Pauline Oliveros Foundation inc., to support the creative process for a "worldwide community of artists". Her works have appeared in "Music of Our Time" series and Columbia Records, with articles in Source, Composer, and Printed Editions. Output includes electronic tapes, film scores, multimedia for musicians dancers and actors. Codirectd the San Francisco Tape Center with Ramon Sender and Morton Subotnick from 1961-1965. First director of the Mills Tape Music Center in 1966. Professor of Music at the U of California at San Diego from 1967-1981. Retired to become a consulting director of the Creative Music Foundation in West Hurley, NY. 1966 6 week studio course at the U of Toronto set up interactive performance with tape delays and amplifiers to make a combo of tones, repetitions and layer of sound and reverb.
I of IV :Tape piece with keyboard: "I wanted to bypass editing, if I could, and work in a way that was similar to performance."
Ghostdance soundtrack which is music and dance collaboration between Oliveros and Paula Josa-Jones by commission of the Lincoln Center Out-of-Doors.
(Cope 125, 218; Burns I 181 "experimental music"; Burns II 479; Chadabe 77-78)
Pauline Oliveros

Oliveros's life as a composer, performer and humanitarian is about opening her own and others' sensibilities to the many facets of sound. Since the 1960's, she has influenced American Music profoundly through her work with improvisation, meditation, electronic music, myth and ritual. Many credit her with being the founder of present day meditative music. All of Oliveros's work emphasizes musicianship, attention strategies, and improvisational skills.  She has been celebrated worldwide. During the 1960's John Rockwell named her work Bye Bye Butterfly as one of the most significant of that decade. In the 70's she represented the US at the World's Fair in Osaka, Japan; during the 80's she was honored with a retrospective at the John F. Kennedy Center for the Performing Arts in Washington D.C., and the 1990's began with a letter of distinction from the American Music Center presented at Lincoln Center in New York. Seeking to support the creation of new works, their presentation and dissemination Oliveros established Pauline Oliveros Foundation Inc. in Kingston, NY,  a nonprofit program for the arts in 1985. As a composer her recent awards include the Bessie Award from Dance Theater Workshop for Contenders (1991) a work for Susan Marshall Dance Company, a Fellowship from the National Endowment for the Arts (1992) for composing Epigraphs in the Time of Aids for the Deep Listening Band and a grant from the Foundation for Contemporary Performance (1994) for her work. Oliveros work is available on more than 17 recordings produced by companies internationally. Pauline has written articles for the Leonardo Music Journal.
Bye Bye Butterfly - tape - on Women in Electronic Music: 1977 (reissue of New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765) CRI 113

Crone Music (with Panaiotis). Lovely Music LCD 1903 (1989)

Deep Listening - Deep Listening Band. New Albion NA 022 (1989).

Lion's Tale, Vocal Chords, and A Robert Johnson Sampler - tape - on CDCM Computer Music Vol. 7. Centaur CRC 2047. (1990)

I of IV - tape - on Music of Our Time: New Sounds in Electronic Music. Odyssey LP 32 16 0160.

Pauline Oliveros and American Voices - electronically-altered accordian and vocal ensemble. Mode 40. (1994).

The Ready Made Boomerang - Deep Listening Band. New Albion NA 044. (1991).

The Roots of the Moment - accordian and interactive electronic environment. HatArt CD 6009. (1988).

Time Piece (with Fanny Green ) - vocals with electronics - on Minimall. TELLUS CD 27. (1993).

Trogolodyte's Delight - Deep Listening Band. ?What Next? WN 3. (1990).

Pauline Oliveros: Electronic Works, 1965-66. Selected early tape works like Bye Bye Butterfly, Big Mother is Watching You, I of IV. Paradigm Discs PD04 1997

Suspended Music - Deep Listening Band & the Long String Instrument Pauline Oliveros, Stuart Dempster, David Gamper & Ellen Fullman Periplum P 0010

Yoko Ono (Fluxus; Perf Artist)

Participated in the Fluxus movement in the 60s. Zen like scores were visual in nature primarily. She created "instruction pieces" which often resulted in simply an action.
1963 Tape Piece III record sounds of snow and use the tape to wrap packages
1984 Then and Now: directed by Barbara Braustark captures happenings and the bag art performances with John Lennon in the 60s.
(Cope 124; Burns II 481)

Maggi Payne

Maggie Payne (Multimedia)

10 years working as a n recording engineer at Mills College Center for Contemporary music. Works at a CA radio station. Composer, flautist, video artist.Uses AMIGA computer, logarithmic computations affected directly by video color.
"The focus is to take natural sounds and transform them using equalization , convolution, phase vocoding - whatever resources are available." (Chadabe 78-79)

1984 White Night
1987 Airwaves: Electroacoustic work with video; Why sample and mix in a studio? "Control. And detail. ...subtle variations are critical to the life of the piece."
1989 Phase Transitions
1991 Chromosonics: Alexander Lake
1993 Chromosonics: The Lady That's Known as Lou
1994 Liquid Metal : visual exploration of water patterns encountered while canoeing , interrupted by unpleasant sounds she eventually converts into pleasant tones.
(Burns II 505-506; Burns II 439 "multimedia"; Chadabe 78-79)
Airwaves - tape - on Another Coast: Electronic Music from California . Music and Arts CD 276 (1988).

Crystal - selected works for tape. Lovely Music LCD 2061. (1991).

Lunar Dusk and Lunar Earthrise - tape - on Lovely Little Records. Lovely Music/ Vital Records VR 101. (1980)

Resonant Places - tape - on Music from the Center for Contemporary Music at Mills College CDCM Vol. 17. Centaur CRC 2195 (1993).

Sarah Peebles

"Sarah Peebles has one of the most careful and subtle ears of any composer of musique concrète working today." -- Terra Nova Journal (MIT Press)

Composer/performer Sarah Peebles integrates sounds she has gathered from natural habitats and cityscapes in North America and Japan into her improvisations and sound works - often exploring alternate performance settings, such as museums, bamboo groves, temples and parks. Her work with electroacoustics focuses heavily on sampled sounds, which are called forth and manipulated on the fly, using a Macintosh computer running Max, Sample Cell and other programs. She gathers and alters her own sounds, which run the gamut from dust pans, home-made reeds and bullroarers, to hummingbirds, ignited vapors, cicadas and water. Peebles also draws upon the sustained tones of the shoh - a free-reed mouth-organ noted for its unique timbre and tendency to 'throw' sound in unexpected ways.

Uniting her music with diverse arts, she has collaborated with spoken word, dance, video and installation artists, artificial intelligence researchers and other musicians. Additionally, she is a member of Cinnamon Sphere trio (calligraphy performance by Chung Gong Ha, with improvised soundscapes by Peebles and guitarist Nilan Perera), active in performing as well as producing video and audio works.

Peebles' work in new music has included performances in Canada, U.S.A., Australia, Japan, and the U.K. at such venues as The Kitchen, Roulette Intermedium (NYC), Studio Kinshicho (Tokyo), SIGGRAPH Electronic Theater Evening, Adelaide Festival of Arts-The Listening Room (ABC), and production/performance for Sonic Circuits festivals in Toronto and Minneapolis. She is published on a variety of labels, including innova, Barooni (with David Toop), MusicWorks, Hornblower, The Aerial and others. Peebles has also studied and performed traditional and contemporary music in Japan independently and as a Japan Foundation Uchida Fellow.

Sarah Peebles

Nocturnal Premonitions - tape on DISContact II Canadian Electroacoustic Community (1995)

Susan Pengilly (programmer?)
Have you ever wondered what happens to a retired teacher of music theory, composition and electronic music? In this case, she kicked up her heels, moved to California, and is starting a new career performing her compositions, which in this case involves not only music, but also graphics, video and dance. These compositions can only be realized through the use of computers, in this case, a Power Mac 7500, which runs most of the music, and an Amiga 3000, which controls most of the graphics and video. In performance, all the music and graphics are created in real-time, and the audience sees the graphics projected onto a large screen, while the performer controls the music, often by dance-like movements of her body.

Elemental Chaos: Video based on math of chaos theory. Fractal graphics created on the AMIGA computer
Shadows: Mandala Softeware, let realtime performer image to become active part of the program.
Alternate Spaces: Multiple images of performer show up in video

Retired from Loyola College. Lives in Ca. Uses Mandola system developed for the AMIGA computer. Realtime image of performer triggers visual events by "touching" icons in camera space (using the AMIGA computer). can change the presentation each time. (Burns II 440 "multimedia")

Liz Phillips has been making interactive sound and  multimedia presentations for the past 30 years, combining audio and visual forms with new technologies to create a fascinating interactive experience. Phillips has made and exhibited multimedia installations at numerous art  museums, alternative spaces, festivals, and public spaces. These include The Whitney Museum of American Art, the San Francisco Museum of Modern Art, and the Kitchen  among others. Phillips teaches "Interactive Media" in the Art & Design Department at SUNY Purchase.

"Total strangers have been known to dance duets with complete delight in a Philips installation" (Burns II 533). She is an interactive multimedia artist. She "combines visual and sonic material in a multidimensional space that response to the audience." (Burns II 532). "The audience plays the sculpture like a musical instrument by moving through the space and causing intriguing sonic events." (Burns II 532-533). "The audience explores the relational and the response of the installation". (Burns Vol II 533). She works using "light, infrared, electromagnetic , and ultra sonic sensors." (Burns II 533). The body positions are recognized and sonic events are directed towards them.

1971 TV Dinners
1971 Sound Structures
1981 Windspun
1979-1981 Sunspots I-II At exhibition Soundings at Newberger Museum, State University of New York at Purchase. It used "theremin-type devices to detect the movement of people in a gallery space and control sound accordingly." (Chadabe 327) "Screen on left and copper tubing on right act as theremins responding to the proximity of people and allowing spectators to affect the music produced by the synthesizers in the cabinet at the rear left." (Chadabe 328)
1984 Zephyr
1985 Sound Synergy
1987 Graphite Ground
1998 Koi
1999 Echo Evolution

(Burns II 532-533; Chadabe 327-328)

Elaine Radigue (EA Composer)

Assistant to Pierre Henry in 1950s. In 1968 discovered audio feedback as means for controlling sound. 1969 started composing sound environments.

1969 Usral with Marc Halpern at Salon de Artistes Decorateurs 'a Paris. Combined 3 tape loops at different durations.
1973 847 at the Kitchen in NY, the sounds was "oozing from the walls" (Chadabe 77). Wanted sound without directionality. Tom Johnson of Village Voice wrote that "the audience was bathed in sound without knowing where the sound came from." (Chadabe 77).
1988 Kyema
(Chadabe 77)

Megan Roberts

NY. Collaborated with Sculptor Raymond Ghirardo making large scale installations of video and soundtrax. Sound and Video constructions, but documentary of these works then create another piece.
1980 Life with Ray discussion of life in Minnesota, college life and Radioshack remote controlled tank. Allows audiences to see behind scenes in composer's work.
1988 Ghost Rocks
1988 Badlands
1989 Inflated Ruins
(Burns II 439 "multimedia)

Carla Scarletti (programmer, net artist, interactive net installation)

Internet artist? Symbolic Sound Corp. and coinventor of the KYMA composition environment. Computer language (a sound design computer language). Musical output of "pure tape compositions and interactive works for live performers and electronics," (Burns II 594).
WWW and ICMC in Canada.

1995 Public Organ: An Interactive, Networked Sound Installation. "Commentary on Internet' the use of TV, radio, telephone, spray can, camera and a book." (Chadabe 337). The audience members interacted with these objects. "Web participants will be able to contribute graffiti and images of themselves that will be instantly incorporated into the installation."

(Burns II 440 "multimedia", 594; Chadabe 337)
I could sit here all day 1976 - tape on Women in Electronic Music: 1977 (reissue of New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765) CRI 113

Megan roberts

Raymond and Megan Roberts Ghirardo

Raymond Ghirardo is a sculptor and media artist. Megan Roberts is a composer and media artist.  Together they have been collaborators in video, sound sculpture, installation and performance works for the past 20 years.   Roberts was born in 1952 in Hempstead, New York and received her M.F.A.  in Electronic Music and Video from Mills College Center for Contemporary Music in 1977. Currently Associate Professor at Ithaca College teaching electronic media production.   Ghirardo was born in 1953 in Oakland, California and received his M.F.A. in sculpture from Cranbrook Academy of Art in 1978. Currently Associate Professor at Ithaca College teaching sculpture and digital arts   GRANTS and FELLOWSHIPS CENTER FOR CONTEMPORARY ART, Prague Artist Residency May 2003 CALDERA, Portland, Oregon - Artist Residency January 2003 MACDOWELL COLONY, Peterborough, NH - Artist Residency, March, 2002 FUNDACION VALPARISIO, Almeria, Spain - Artist Residency, January, 2002 YADDO, Saratoga Springs, NY - Artist Residency , February-March 2001 EXPERIMENTAL TELEVISION CENTER, Finishing Funds Grant 2000 NEW YORK FOUNDATION FOR THE ARTS Performance Art/Emergent Forms fellowship 1997-1998 ELECTRONIC ARTS GRANTS PROGRAM, Project grant 1991 NEW YORK STATE COUNCIL ON THE ARTS research and development project 1990 NEW YORK FOUNDATION FOR THE ARTS video fellowship 1988-1989 JAMES D. PHELAN  AWARD in video 1988 HALLWALLS INTERDISCIPLINARY ARTISTS Installation project grant 1988 ITHACA COLLEGE LODESTAR GRANT Installation project grant 1988 NATIONAL ENDOWMENT FOR THE ARTS video fellowship 1983-1984 WESTERN STATES REGIONAL ARTS FELLOWSHIP video fellowship project grant 1983 SOUTHWEST INDEPENDENT PRODUCTION FUND video project grant 1981 MINNESOTA STATE ARTS BOARD Installation/Performance Project Grant 1979 HUMBOLDT ARTS COUNCIL Project Grant 1975 HUMBOLDT STATE UNIVERSITY FOUNDATION Project Grant 1975 SIMPSON LUMBER CO. and LOUISANA PACIFIC LUMBER CO. Project Grants 1975   VIDEO AWARDS TOKYO VIDEO FESTIVAL Tokyo, Japan 1981 (Grand Prize) D.VISIONS NATIONAL VIDEO AWARDS FESTIVAL New York, NY 1981 MINNESOTA INDEPENDENT FILM AND VIDEO FESTIVAL Minneapolis, Minnesota 1980 SAN FRANCISCO ARTS FESTIVAL La Mammelle Video Award, San Francisco, CA 1977 *  COMMISSIONS ACCURATE ART GALLERY Sacramento, California - Sound Sculpture Video Installation 1987 CORTLAND ARTS COUNCIL Cortland, New York - Sound Sculpture/Video Installation 1987 NORTHWEST ARTISTS WORKSHOP Portland, Oregon - Sound Installation 1985 MOBIUS INTERNATIONAL SOUND ART SERIES Boston, Massachusetts - 12 channel video  composition and sound kinetic installation/performance 1984 INTERSECTION FOR THE ARTS San Francisco, CA - outdoor installation 1984 HOUSTON BALLET Houston, Texas - Ochestral Composition, choreographed by Farrel  Dyde, performed Jones Hall, Houston 1983 season * THEATER DANCE UNLIMITED DANCE COMPANY Houston, Texas - Music and mixed media works 1980-1981 THE HOUSTON FESTIVAL Houston, Texas - Kinetic sound sculpture 1981 NEW MUSIC CHAMBER ENSEMBLE Berkeley, California - vocal/electronic  instrumental  composition 1977 * MICHEAL WEISE film soundtrack "I Move" 1976 *   GUEST ARTISTS/LECTURES OTAGO POLYTECHNIC, SCHOOL OF ART, Guest faculty**, Guest artist lecture* Dunedin, New Zealand, 1993-1994 TENTH ANNUAL SYMPOSIUM ON SMALL COMPUTERS IN THE ARTS "Paradigm Shifts".  University for the Arts, Philadelphia, PA 1990 TENTH ANNUAL LEARNING TECHNOLOGIES FAIR Albany, NY 1990 STATE UNIVERSITY OF NEW YORK -Post Currents- Buffalo, NY 1989 RENSSELAER POLYTECHNIC INSTITUTE - Electronic Arts Performance Series Troy, NY 1988 CORTLAND ARTS COUNCIL Cortland, NY 1987 NEW YORK STATE SUMMER SCHOOL FOR THE ARTS Buffalo, NY 1985 HUMBOLDT STATE UNIVERSITY Arcata, CA 1985 EASTERN MONTANA COLLEGE Billings, MT 1985 MASSACHUSETTS INSTITUTE OF TECHNOLOGY Cambridge, MA 1984 HUMBOLDT STATE UNIVERSITY Arcata, CA 1983, 1984 ST. JOOST ACADEMY OF ART Breda, Holland 1982 SCHOOL OF THE MUSEUM OF FINE ARTS Boston, MA 1982 BOSTON FILM/VIDEO FOUNDATION Boston, MA 1982 TAMA ART UNIVERSITY Tokyo, Japan 1981 UNIVERSITY OF WYOMING Laramie, WY 1981,1982 * TEXAS CHRISTIAN UNIVERSITY Ft. Worth, TX 1981 MID-AMERICAN COLLEGE ART ASSOCIATION Houston, TX 1981 ST. CLOUD STATE UNIVERSITY St. Cloud, MN 1979,1980 * UNIVERSITY OF MINNESOTA Minneapolis, MN 1980 MINNEAPOLIS COLLEGE OF ART AND DESIGN Minneapolis, MN 1980 *   BROADCASTS and SCREENINGS of VIDEO WORKS FILMFEAST '94, AUCKLAND INTERNATIONAL SHORT FILM AND VIDEO FESTIVAL,  selected works.  1994 OTAGO POLYTECHNIC, SCHOOL OF ART, Dunedin, New Zealand, screening of works, 1993 VISUAL STUDIES WORKSHOP, No TV and Movies #10 "Time Based Review" selected work   screening and broadcast. Rochester, New York 1991 VIPFILM 8 VIDEO/INSTALLATION/FILM FESTIVAL Berlin, Germany selected work 1990 DONNERSTAG, broadcast on Kanal 4, Cologne, West Germany selected work 1990 NOLLBUDGET FILMFESTIVAL selected work  Stockholm, Sweden 1990 DALLAS VIDEO FESTIVAL, Dallas Museum of Art selected work Dallas, Texas 1990 THE NEIGHBORHOOD FILM/VIDEO PROJECT, Philadelphia, PA screening 1990 VISUAL STUDIES WORKSHOP, No TV and Movies #9, selected work for cablecast. Rochester,  New York. 1990 DELAPLAINE VISUAL ARTS CENTER, Frederick, Maryland  screening  1990 THE OAKLAND MUSEUM selected works,Oakland, CA 1989 MILL VALLEY FILM AND VIDEO FESTIVAL selected work, Mill Valley,CA 1989 VIDEO SHORTS FESTIVAL selected work, Seattle WA 1989 ELECTRONIC IMAGING, Florissant Vallery Gallery, St. Louis, MO selected work 1989 SAN FRANCISCO MUSEUM OF MODERN ART, San Francisco, California selected works 1989 VIDEO REFUSES FESTIVAL 1988 CA College of Arts and Crafts, Sincere Technologies,  San Francisco, California selected work 1988 PCTV-TV Broadcast of selected work, Oakland, California 1988 INFERMENTAL 8, TOKYO EDITION Tokyo, Japan selected work 1988 EUROPEAN MEDIA ART FESTIVAL, Osnabruck, Germany, selected work. 1988 KEDT BREADTH OF VISION Broadcast of selected work Corpus Christi, Texas 1988 UNTAMED VIDEO SUNY Binghamton, Binghamton New York selected work 1988 PEPSICO SUMMER FAIR Performing Arts Center, SUNY Purchase selected work Purchase,  New York  1988 VIDEO ART SACRAMENTO Institute of Design and Experimental Art, Sacramento, CA  selected works 1987 STOCKHOLM INTERNATIONAL VIDEO ART FESTIVAL Kulturhuset,Sweden awarded work 1985 SVERIGES TELEVISION Swedish TV 2 Stockholm Broadcasts of selected work 1985 MOBIUS INTERNATIONAL SOUND ART SERIES Boston, MA 12 channel video work 1984 EXPERIMENTAL PERFORMANCE FESTIVAL, San Antonio,TX selected work 1984 BOSTON FILM/VIDEO FOUNDATION Boston, MA selected work 1984 MEDIA STUDY Buffalo, NY selected work 1984 VIDEO FREE AMERICA San Francisco, CA selected work 1984 EXPLORATORIUM San Francisco, CA selected work 1984 PACIFIC FILM ARCHIVES Berkeley, CA selected work 1984 STEPHEN F. AUSTIN STATE UNIVERSITY Nacogdoches, TX selected work 1984 TEXAS TECH UNIVERSITY Lubbock, TX selected work 1984 AIR GALLERY London, England selected works 1983 MILL VALLEY FILM FESTIVAL Mill Valley, CA awarded work 1983 TOKYO VIDEO FESTIVAL Tokyo, Japan selected work 1983 CENTER FOR IDEA ART Denver, CO exhibition of video works & 12 channel work 1983 HUMBOLDT STATE UNIVERSITY Arcata, CA exhibition of video works 1983 ANTHOLOGY FILM ARCHIVES New York, NY exhibition of video works 1982 ST. JOOST ACADEMY OF ART Breda, Holland exhibition of video works 1982 LONDON VIDEO ARTS London, England exhibition of video works 1982 JUST ABOVE MIDTOWN GALLERY New York, NY exhibition of video works 1982 BOSTON FILM/VIDEO FOUNDATION Boston, MA exhibition of video works 1982 BOSTON MUSEUM SCHOOL Boston, MA exhibition of video works 1982 VEHICULE GALLERY Montreal, Canada selected work 1982 TOKYO VIDEO FESTIVAL Tokyo, Japan GRAND PRIZE AWARD, festival screenings 1981 TAMA ART UNIVERSITY Tokyo, Japan exhibition of video works 1981 SAN FRANCISCO INTERNATIONAL VIDEO FESTIVAL San Francisco, CA awarded work,  festival screenings and public television broadcasts KQED-TV San Francisco, CA broadcasts of selected works 1981-1982 D.VISIONS NATIONAL VIDEO AWARDS FESTIVAL New York, NY awarded work 1981 RICE MEDIA CENTER Houston, TX selected works 1981 TEXPO '81 Houston, TX selected works 1981 ELECTRONIC ARTS '81 University of Texas @ Dallas selected works 1981 KUHT-TV Houston, TX broadcasts of selected works 1981 TEXAS CHRISTIAN UNIVERSITY Ft. Worth, TX exhibition of video works 1981 KTCA-TV Minneapolis, MN broadcasts of selected works 1980 MINNEAPOLIS INSTITUTE OF ARTS Minneapolis, MN exhibition of video works 1980 MINNESOTA INDEPENDENT FILM AND VIDEO FESTIVAL Minneapolis, MN awarded work and festival screenings 1980 FILM IN THE CITIES St. Paul, MN selected work 1979 FORECAST GALLERY Minneapolis, MN selected works 1979 CAPRICORN GALLERY San Francisco, CA selected work 1977 SAN FRANCISCO CONSERVATORY OF MUSIC San Francisco, CA selected works 1976     INSTALLATIONS, INTERMEDIA EXHIBITIONS AND PERFORMANCES OF MUSIC COMPOSITIONS VISUAL STUDIES WORKSHOP, Rochester, NY video installation 2003 SOCIETY FOR CONTEMPORARY PHOTOGRAPHY, Kansas City, Missouri  video installation 2002 VISUAL STUDIES WORKSHOP, Rochester, NY video installation 2001 SPACES GALLERY, Cleveland , Ohio Video/Sound Installation 2000 LAS VEGAS CULTURAL ARTS CENTER, Las Vegas, Nevada sculpture/video/sound installation 2000  HANDWERKER GALLERY Ithaca, New York sculpture/video/sound installations 1999 DOWD FINE ARTS GALLERY Cortland, NY Installation 1997  HANDWERKER GALLERY Ithaca, New York sculpture/video/sound installations 1996 HANDWERKER GALLERY Ithaca, New York installation 1995 EMPIRE STATE PLAZA, Albany, New York sculpture/video installation 1990 STATE UNIVERSITY OF NY, Buffalo, NY sculpture/video installation 1989 SPACES Cleveland, Ohio sculpture/video/sound installation 1989 HANDWERKER GALLERY Ithaca, New York sculpture/video/sound installation 1988 ACCURATE ART GALLERY Sacramento, CA sound/video installation 1987 CORTLAND ARTS COUNCIL GALLERY Cortland, NY sound/video installation 1987 NATIONAL PUBLIC RADIO featured artist, broadcasts of sound works 1985 NORTHWEST ARTISTS WORKSHOP Portland, OR sound installation 1985 MOBIUS INTERNATIONAL SOUND ART SERIES Boston, MA sound performance/installation 1984 INTERSECTION San Francisco, CA outdoor installation 1984 WALNUT CREEK CIVIC ARTS GALLERY Walnut Creek, CA sound installation 1984 CENTER FOR IDEA ART Denver, CO sound installation 1983 HOUSTON BALLET Jones Hall, Houston, TX premiere performances of orchestral composition "A Ballet in Eight Parts" choreographed by Farrel Dyde 1983 * SPEIL-UND KLANGSTRASSE Essen, West Germany Assembly Line installation/ performances 1982 COMMON DENOMINATOR Long Beach City Gallery, Long Beach,CA 1982 ** SUMFEST '81 Houston, TX instrumental & electronic music, mixed media/dance collaboration 1981 HOUSTON FESTIVAL Houston, TX sound kinetic sculpture 1981 3221 MILAM Houston, TX performance collaborations 1981 WALKER ART CENTER - NEW MUSIC AMERICA Minneapolis, MN Assembly Line installation and performances 1980 KTCA-TV St. Paul, MN featured artists "Wyld Rice" performance of Assembly Line 1980 NATIONAL SCULPTURE '80 traveling exhibition ** (McKissick Museum, University of South Carolina, Columbia, SC) (Ashville Museum, Ashville, NC) (Huntsville Museum of Art, Huntsville, AL) (University of Alabama, Birmingham, AL) (Auburn University, Auburn, AL) (Clemson University, Clemson SC) 1980 KPFT-FM Houston, TX featured composer 1980 KPFA-FM Berkeley, CA featured composer 1976,1977,1979 * KSJR-FM Collegeville, MN featured artists, sound works 1979 KIEHLE GALLERY St. Cloud, MN sound kinetic sculpture and video installation 1979 MADE IN MINNESOTA Rochester Art Center, Rochester, MN 1979 ** SAN FRANCISCO MUSEUM OF MODERN ART San Francisco, CA performance of music compositions 1978 1750 ARCH STREET Berkeley, CA music and video performances 1977 MILLS COLLEGE Oakland, CA music and video performances 1977 80 LANGTON STREET San Francisco, CA music and video performances 1977 NEW MUSIC FOR ELECTRONIC AND RECORDED MEDIA (1750 Arch Records #1765)  Anthology  lp 1977 * KUSP-FM Santa Cruz, CA featured composer 1976 * RADIO AMSTERDAM featured composer 1976 * CABRILLO MUSIC FESTIVAL Aptos, CA featured composer 1976 *   RECORDINGS AND PUBLICATIONS TELLUS VIDEO ARTS MUSIC, Audio cassette magazine, August 1987 issue APPLAUSE FOR SMALL PEOPLE - A PYGMATIC FUNCTION score published in "In Case of Fire Break Glass" Center for Contemporary MusicAnthology 1978 * NEW MUSIC FOR ELECTRONIC AND RECORDED MEDIA (1750 Arch Records #1765) Anthology lp 1977 * OH FARRAH (Dumb Records #2) 1976   Descriptions of Video Installation Works by Megan Roberts and Raymond Ghirardo  "Mojacar Shadow" is a documentation of an exhibition/event in Spain. Abstract walking figures one hundred feet tall are projected on the bare mountain site of the ancient city of Mojacar which is now only a carved island of ruins.  2002(1:30)  "Caracoles" is a stop-motion video animation created as one element of an installation, currently in progress. This installation will incorporate large translucent spiral sculptures as surfaces for projected imagery. The video is constructed around issues of form, color and surface as they define a sense of place.   2002 (:50)  "Valley Shadows" is a work in progress. The piece utilizes three tapes and three projectors, projecting directly from above, on a bed of salt. The exaggerated slow motion of the figures is mirrored with the audio creating an etheral, percusssive soundtrack 2001 (1:05)  "Cone Field" is a work that incorporates layers of sound and multiple video projections with sculptural objects through a juxtaposition of natural and synthetic textures on geometric forms. The imagery on the tape is digitally masked so that the projection falls only on the objects, with no spillover to the background or floor.Texture and text are rhythmically interwoven. The texture drifts into manipulated landscapes and the text creates a hidden self portrait of personal identification - numbers that uselessly appear in written english, an obsolete abstraction- both raising iconographic questions. 2000 (3:50)  "MEGAPHONE" is a sound and video installation in which a field of mounted and suspended cone shapes, each housing miniature LCD screens. Projected and kinetic elements on the walls combine with the cone objects and information providing comment, context and contradiction. Conceptually the work draws on ludicrous appeals to attention and placation. 1999 (:55)  "HOODOO" is a installation/landscape of many organically textured hollow ceramic cylinders varying in height from 2' to 12', some with distinct human features. Several tubes house miniature video projectors that rear-screen project the imagery of bubbling mud onto a form-fitted scrim near the top of the tube. Using the recorded real imagery from the natural environment, remembered form, and anthropomorphic exxagerations there emerges a  distilled sense of place.   1997  (2:45)   "CROWD" Although the orientation of this mass of heads suggest organized movement, migration or procession, the various expressions belie any specific purpose, collective mood, attitude or unified disposition. Suspended over this queue are five small loudspeakers emitting a very quiet soundtrack of driving percussion and urgent vocalizations, suggesting a conflicting message of volition vs. reaction. 1996 (1:30)   "INFLATED RUINS" is an imaginary archaeological site of large tyvek architectural and human forms. Among the inflated forms, piles of crushed marble partially obscure buried video screens that show recorded fragmented  gestures of the populace before, during or possibly in anticipation of some collapse. Drifting shards of sound, originally created by the hoses that feed air to the forms, are the voice of this quiet ruined world. 1989 (4:20)   "GHOST ROCKS" is a work is based on the unique rock covered landscape of the gold rush country in Northern California, a landscape created by gold mining processes that washed away the soil and left behind fields and hillsides of boulders. People living there now call these boulders "ghost rocks". The work is a reaction to the contradictory feelings suggested by this elegant but artlessly altered terrain . 1988   "BADLANDS" is a constructed mountain, dry and eroded in appearance, with a path to the 12-foot summit. At the top is an excavated copper-lined pit. At the bottom of the pit, buried in dirt, are three color television monitors which align to form the image of an anguished person pounding the ground. The  mountain resonates with a deep hollow sound as the fist strikes. Physically the work makes reference to fossil sites in the Badlands of South Dakota. 1988 (3:30)   

Anna Rubin
Crying the Laughing and Golden - tape - on New Music Series Vol. 1. Neuma CD 450-71. (1988).

Remembering - soprano, piano, and tape - Society for Electro-Acoustic Music Series Vol. 1. SEAMUS CD EAM 9301 (1992).

Ana rubin
Anna Rubin, assistant professor of composition, has created a striking variety of works, which often draw their lyrical and dramatic power from the voice. Whether sung, spoken or cried, whether instrumental or electro-acoustic, her works explore extremes of the human condition -- a father's nightmares, starvation in the Arctic, the horror of the Holocaust. Her most recent work, Family Stories: Sophie, Sally blends biography, race relations and a poignant recreation of the turn-of-the-century South. In this piece the music is literally drawn out of the recorded speaking voice to create a quilt of luscious harmonies.
 Dr. Anna Rubin is a composer of electroacoustic and instrumental music. She is currently an Assistant Professor of Composition at Oberlin College Conservatory of Music. Her works have been heard on four continents. 

She has received commissions from WNYC Radio, The New York State Council on the Arts, Thomas Buckner, as well as by numerous instrumentalists. Her work has also been supported by grants from the New York Foundation for the Arts and the Ohio State Arts Council. 

Her numerous compositions have been written for varied media including chamber ensembles, orchestra, chorus, digital audio and live electronics.

Carla Scaletti
Lysogeny - harp and tape - on In Celebration of the 25th Anniversary of the Experimental Music Studios. University of Illinois. (1984).

sunSurgeAutomata - tape - on CDCM Computer Music Series Vol. 3. Centaur CRC 2045. ( 1988).

Internet artist? Symbolic Sound Corp. and coinventor of the KYMA composition environment. Computer language (a sound design computer language). Musical output of "pure tape compositions and interactive works for live performaers and electronics," (Burns II 594).
WWW and ICMC in Canada.

1995 Public Organ: An Interactive, Networked Sound Installation. "Commentary on Internet' thr use of TV, radio, telephone, spray can, camera and a book." (Chadabe 337). The audience members interacted with these objects. "Web participants will be able to contribute graffiti and images of themselves that will be instantly incorporated into the installation."

(Burns II 440 "multimedia", 594; Chadabe 337

Carolee Schneemann
 Carolee Schneemann is a multidisciplinary artist who has transformed the very definition of art, especially with regard to discourse on the body, sexuality and gender. Her video, film, painting, photography, performance art and installation works have been shown at the Los Angeles Museum of Contemporary Art, the Whitney Museum of American Art, the Museum of Modern Art, NYC, the Centre Georges Pompidou, Paris, the New Museum of Contemporary Art, NYC, and just recently in a retrospective at P.P.O.W. Gallery, NYC entitled, "Embodied". In 2002 Imaging Her Erotics - Essays, Interviews, Projects was published by MIT Press; previous published books include More Than Meat Joy: Complete Performance Work and Selected Writing (1979, 1997); ABC-We Print Anything-In The Cards; Cezanne, She Was A Great Painter (1976). She lives and works in New Paltz, NY.

Judith Shatin

Judith Shatin’s music has been called “exuberant and captivating… vividly orchestrated and bursting with imaginative detail…both logical and surprising” (San Francisco Chronicle). Described as a composer“fully in control of her material at all points and attuned to what makes an audience come back for more,” (Washington Post), Judith Shatin has created a major body of music. Her Ockeghem Variations (2000), commissioned by the Hexagon Ensemble, was premiered at the Concertgebouw. Her music for the chamber music theatre piece, Houdini: Memories of a Conjurer (2000), commissioned by the Core Ensemble, was premiered at the Portsmouth Music Hall in New Hampshire, once a vaudeville hall where Houdini performed! Other current pieces include Penelope’s Song for viola and electronics.

Shatin’s palette includes electronic and acoustic media, and she happily combines them. This can be heard in Elijah’s Chariot, for string quartet and tape, commissioned  and toured world-wide by the Kronos Quartet, or in Three Summers Heat for soprano and tape, recorded  by Susan Narucki. Shatin is also involved in interactive possibilities of new technologies, as shown in her Sea of Reeds for amplified clarinet and live electronics, toured extensively by F. Gerard Errante; and Kairos for flute and live electronics, performed in Beijing by Patricia Spencer.

            Since 1979, Judith Shatin has been based at the University of, where she is William R. Kenan, Jr. Professor and Director of the Virginia Center for Computer Music. Educated at Douglass College she also holds degrees from The Juilliard School (MM) and Princeton University (Ph.D), where she studied with Milton Babbitt and J.K. Randall. Additional studies included two summers as a Crofts composition fellow at Tanglewood.

            Ms. Shatin's music has been performed by such ensembles as the Denver, Houston, Minnesota, National and Richmond Symphonies; Chamber Music Society of Lincoln Center, Ciompi Quartet and the New Performance Group of Seattle. Her 1492 for piano and percussion was presented at the Moscow Autumn Festival, and at the West Cork Festival. Her awards include four NEA Composer Fellowships, as well as those from the American Music Center, Meet the Composer, and the Virginia Commission for the Arts. Her music has also been commissioned by such groups as the Barlow Foundation, Monticello Trio, National Symphony, Virginia Chamber Orchestra, and the Women's Philharmonic. A two-year retrospective of her music in Shepherdstown, WV, was supported by the Lila Wallace-Readers Digest Arts Partners Program (1992-94). This project culminated in the premiere of her folk oratorio, COAL. Scored for chorus, Appalachian ensemble, electronic playback and synthesizer, with her own libretto, it reflects her efforts to musically touch an entire way of life.

            Recorded on Centaur, CRI, Neuma, New World and Sonora Records, Ms. Shatin’s music is published by Arsis Press, C.F. Peters Corporation, Time Warner and Wendigo Music, the latter distributed by MMB/Norruth. She has held residencies at Bellagio (Italy), Brahmshaus (Germany), La Cité des Arts (France), Mishkan Amanim (Israel) and in the US at  MacDowell, the Virginia Center for the Creative Arts, and Yaddo.
Sea of Reeds 1997 clarinet with extensions & live electronics on CDCM Computer Music Series Vol 29 Centaur Records CRC 2454 (1999)

Three Summers Heat 1989 soprano and computer music on CDCM Computer Music Series Vol 29 Centaur Records CRC 2454 (1999)
Laurie Spiegel

Appalachian Grove - tape on Women in Electronic Music: 1977 (reissue of New Music for Electronic and Recorded Media. 1750 Arch Records LP 1765) CRI 113

Appalachian Grove - tape on OHM - The Early Gurus of Electronic Music. Ellipsis Arts CD3670 (2000)

Soundtrack for Sandin - tape on Miniatures 2 - a sequence of sixty tiny masterpieces. UK: Cherry Red Records CDBRED165; Japan: Consipio Multiplex MXCY80002 (2000)

The Hollows - tape on The Female of the Species. Law & Auder Records CD 1a13cd (London)

Enhanced Gravity - cd-rom presentation with accompanying text and several computer art and scanned hand-drawn images by the composer. Yucca Tree Records YTREGCDR (Switzerland)

The Unquestioned Answer - algorithmic composition for piano (arr. 1976) on Cocks Crow, Dogs Bark: New Compositional Intentions. Leonardo Music Journal CD Series Volume 7 ISAST 7.

The Orient Express (1974, 1st movement); Improvisation on a Computer (1977, excerpt); Hara Mundi(1977 excerpt of Kepler realization) on Computer Music Journal Sound Anthology. Computer Music Journal , MIT Press, March 1996. (early Bell Labs work)

Cavis Muris (1986)- computer-generated tape - on The Virtuoso in the Computer Age III -CDCM Computer Music Series Vol. 13. Centaur CRC CD 2166.

Expanding Universe - computer-generated pieces for tape. Philo LP PH-9003 (Rounder). (1980). Out-of-print

Unseen Worlds - computer-generated pieces for tape. Aesthetic Engineering AE-11001-2. (1991 re-released 1994).

Voices Within (1979) and Drums (1976) on New American Music Vol. 2 American Women Composers LP (out of print)

Information on obtaining Spiegel recordings can be found at http: //

Shiomi, meiko
Mieko Shiomi And Alison Knowles - "Disappearing music for face(smile-no smile) 1964


Worked at NY U Composer workshop in 1970. From 73-74 was at Bell Telephone Labs. In 1976 was a resident at the experimental television lab at WNET. Wanted to turn the listener at home into a composer. Began in 1970s with her work with GROOVE in Bell Labs.
Music Mouse - sounds are based on mouse movement. User composes in realtime by moving the cursor in 2 dimensions along a matrix of pitches.
Her music "weave counterpoint of hauntingly beautiful threads into a single entity of sound." (Burns II 627). Pioneer composer and computer music programmer.
1986 Cavis Muria
1987,1990 Unseen Worlds
(Burns II 626-627; Chadabe 334-335)

Composer Laurie Spiegel attended Shimer and Brooklyn Colleges, Oxford University, and the Juilliard School. After a BA in the Social Sciences, she completed her MA in Music Composition and embarked on a multi-arts creative career that has included numerous performances and recordings of her musical works, video and film soundtrack music and audio and visual special effects, compositions for dance and theater, widely exhibited computer and hand made visual art, video and interactive computer software installations, poetry, fiction and dozens of published writings, mostly about technology and the arts.

After several years of instrumental, analog electronic, and tape composition starting in the late 1960s, Spiegel decided that her creative visions required the greater power of computers, and she began her residence at Bell Labs, where she wrote interactive computer software for both music and image composition from 1973-79. Starting in 1978, she became active in the design and programing of music systems for newer more accessible personal computers, most notably her program "Music Mouse - An Intelligent Instrument".

She has directed computer and electronic music studios and taught composition at New York University and Cooper Union, and has received fellowships and grants from CAPS, ASCAP, Meet-the-Composer, NYFA, the Experimental Television Lab at WNET, and the Institute for Studies in American Music. Her realization of Kepler's "Harmony of the Planets" was sent into space as the opening cut of the Voyager Spacecraft's record "Sounds of Earth".
Some photos from Bell Labs days:

Valerie Soe
Valerie Soe

 Valerie Soe is a writer and experimental videomaker living and working in San Francisco whose productions include Mixed Blood, Picturing Oriental Girls A (Re) Educational Videotape, (Best Bay Area Short, Golden Gate Awards, San Francisco International Film Festival) and "All Orientals Look the Same," (Best Foreign Video, Festival Internazionale Cinema Giovani; First Place, Experimental Category, Visions of U.S. Festival). Other awards include a James D. Phelan Art Award in Video, a 1994 Cultural Equity Grant from the San Francisco Art Commission, a 1994 Art Matters Fellowship, and a 1992 Rockefeller Foundation Intercultural Film/Video Fellowship.  Her most recent video, Beyond Asiaphilia, is an experimental video that looks at miscegenation, lust and Asian masculinity from a personal perspective, as filtered through the lens of Hong Kong movies. It premiered in May 1997 at the Long Beach Museum of Art.  Soe also writes art criticism and has been published in Afterimage, High Performance, Cinematograph and The Independent, among others. She has curated several exhibitions including Girl To Woman Stories For The New Feminism at the University of California, Irvine's Fine Arts Gallery, Teen Scream Girls Make Movies at the 1998 Madcat Women's Film Festival and Teen Riot at Artists' Television Access and Yerba Buena Center for the Arts, as well as several programs on experimental Asian American film and video. She is also on the Board of Directors for Film Arts Foundation and the Association of Independent Video and Filmmakers and is a founding member of X-Factor, an experimental film and videomaker coalition. She is currently on faculty at San Francisco State University's Asian American Studies Department.

Diane Thome
Composer of a wide variety of works which span solo, chamber, choral, orchestral and electronic media, Diane Thome is professor and chair of the Composition Program at the University of Washington School of Music.
1. Bright Air/Brilliant Fire (1997) For flute and computer-realized sound. 
Sarah Bassingthwaighte, flute.
2. UnfoldEntwine (1998) Computer-realized solo work.
3. Like A Seated Swan (1999) For Viola and computer-realized sound.
Dorothy Shapiro, viola.
4. Unseen Buds (1996) For mixed choir and computer-realized sound.
University Chorale, Geoffrey Boers, conductor

One of first women to explore sound synthesis with the computer.
(Burns II 641)

Anaïs - cello, piano, and tape. CRI SD 437. (1980).

Levadi - soprano and tape; Ringing Stillness, Pearl Light - piano and tape; and Veils - tape. Opus One CD 136. (1991).

Palaces of Memory - a retropective of works for various instruments and tape. Centaur CRC CD 2229. (1995).

The Ruins of the Heart - soprano, orchestra, and tape - on CDCM Computer Music Series Vol. 12. Centaur CRC CD 2144. (1992).

Helen Thorington (Net)

Internet Performance
(Burns I 183 "Experimental Music")


Video Artists active in the 80s and 90s, beginning as early as the 70s combining music and imagery. (Woody and Steina worked together).
'We were curious about this new material [video], and the closest cousin was the latest products of electronic music and the synthesizers." (Chadabe 327).
"Video was mostly considered a continuation of film , or had a political or social agenda, but our approach had no social agenda." (Chadabe 327). They felt the different electronic arts were simply "different ways to display the same core products" (Chadabe 327)
Steina Vasulka

Since the mid-1970s, Steina has explored intricate transformations of vision, space and sound, through a dynamic confluence of digital technologies, mechanical devices and natural landscape. After producing a pioneering body of work with Woody Vasulka in the early 1970s, Steina has pursued several distinct inquiries in her more recent videotapes and installations: The electronic interrelation of sound and image; the use of mechanized, pre-programmed image devices for phenomenological explorations of perception, space, and modes of seeing; and the textural fusion of digital and "real" imagery and sound to create layered spatial and temporal systems. In many of her works, the natural landscape of the American Southwest is integral visual material.   In 1975, Steina began Machine Vision, a series of tapes and installations for which she devised mechanical systems with programmed functions -- optical, motorized or rotating devices that include spherical mirrors, prisms, and cameras with lens mobility. Used with her signature electronic manipulation and landscape  imagery, these devices resulted in exhilarating redefinitions of physical and representational space. In richly textured works such as Voice Windows (1986) and Lilith (1987), Steina manipulates digital and camera-generated images, "real" and altered sound with haunting effect, constructing dense layers and multiple perspectives that fuse the natural world and technology in space and time.   Steina's project of manipulating and fusing the "real" and the electronic, sound and image, has in recent years taken the form of performances in which she returns to her roots as a musician. Transposing the strategies of her early Violin Power to a theatrical scale, Steina performs on a violin that digitally generates and controls a  progression of projected images.   Steina Vasulka was born in Reykjavik, Iceland in 1940. She studied at the Music Conservatory in Prague, 1959-63, and emigrated to the United States in 1965. With Woody Vasulka, she has won numerous awards; their collaborative works have been widely exhibited internationally (see Steina and Woody Vasulka). Exhibitions of her individual works have been seen at festivals and institutions including Centre Georges Pompidou, Paris; The Kitchen, New York; Museum of Art, Carnegie Institute, Pittsburgh; The Jonson Gallery, University of New Mexico Art Museum, Albuquerque; and the Whitney Museum of American Art Biennial, among many others.                Steina lives in Santa Fe, New Mexico.
Steina Vasulka

Steina Vasulka was born Steinunn Briem Bjarnadottir in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague. Woody and Steina married in Prague in 1964, and shortly thereafter she joined the Icelandic Symphony Orchestra. After moving to the United States in 1965 she worked in New York City as a freelance musician. The Vasulkas began working with video in 1969, and in 1971, with Andres Mannik, they founded The Kitchen, an electronic media theater. Since 1980 they have lived in Santa Fe, New Mexico. Steina has been an artist-in-residence at the National Center for Experiments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. In 1996 she served as the artistic co-director and software collaborator at the STEIM Institute for Electronic Instrumental Music in Holland. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division. She received the American Film Institute Maya Deren Award in 1992 and the Siemens Media Art Prize in 1995. Under the auspices of Montevideo in Amsterdam her various installations have been shown in and outside Holland, and with other major exhibitions in recent years in Austria, Iceland, and Italy. In 1993 she co-curated with Woody the exhibition and catalogue, Eigenwelt der Apparatewelt (pioneers of electronic art) produced by Peter Weibel for Ars Electronica in Linz, Austria. In 1996 Steina and Woody exhibited eight new media installations under the title Machine Media at the San Francisco Museum of Modern Art, an exhibition repeated in Santa Fe a few months later.

Alicyn Warren

Contraption - drumset and MIDI-generated tape - on CDCM Computer Music Series Vol. 5: Inner Voices. Centaur CRC CD 2076. (1990).

Longing for the Light - computer-generated tape - on Laureats du 19e Concours International de Musique Electroacoustique du Bourges 1991: Cultures Electroniques 6. Le Chant du Monde CD LDC 278053/54. (1991).

Something Else Again 1996 - piano and computer music on CDCM Computer Music Series Vol 29 Centaur Records CRC 2454 (1999)

Music Tech Faculty of U. of Michigan

1997 Molly 13 min allegorical video reflecting upon her mother's death. Used home movies of dog.
(Burns II 438-439)

Pamela Z
Echolocation - voice and electronic processors. Pauline Oliveros Foundation Cassette PZ-C-1.

In Tymes of Olde - tape and Obsession, Addiction, and the Aristotelian Curve (with Barbara Imhoff, harpist) - electronic music. Starkland CD ST 203 (1993).

Parts and Questions - tape - on Dice Two Ishtarlab CD0002 (1996)
African American composer. Music reflects rock and with electronicshi


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