Leonardo

DopplerDenAuthor(s): Steve MannSource: Leonardo, Vol. 24, No. 4 (1991), pp. 487-488Published by: The MIT PressStable URL: http://www.jstor.org/stable/1575534 .

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ing of subtle rat noises played for the duration of the installation.

I had hoped to make a room for rats in which they could stay comfort-

ably, yet leave anytime that they wanted. But since I did not want to show my rat friends as art objects for the viewers, there were no live rats in the exhibition space. Instead, the

spirit of the rats was present.

POSTCARD CARNIVAL

Michael S. Horwood, 8 Grovetree PI., Bramalea, Ontario, Canada L6S 1S8.

Postcard Carnival is a live electro- acoustic piece/event, a media barrage celebrating the wonder, joy and ex- citement of an amusement park. Postcard Carnivalwas created for a retro-

spective concert of my works at the Music Gallery, Toronto, 22 February 1990.

The score for Postcard Carnival con- sists of program/descriptive notes, narration and a CUE sheet. The 'per- formers' include the narrator

(sound/text composer, Richard Truhlar), two slide projectionists, a videocassette recorder operator, a

grinder organist, a violinist, a pianist and a tape-cassette player. The first

projector shows slides from postcards of amusement parks and the second

projector shows amusement park pho- tographs. Video footage of the parks is presented and the narrator (elec- tronically processed) reads from a list of postcard texts.

Dan Wilke, a friend and amuse- ment park enthusiast from Buffalo, NY, introduced me to the wonderful sounds of his grinder organ, which he made from a kit, and to the rolls of music that he cut from a template. I

incorporated these sounds into Post- card Carnival and created a separate piece called Interrupted Waltz, in which the grinder organ's part is a stand- alone piece.

Interrupted Waltz continues my work with music based on interruptions. It consists of two ideas constantly inter-

rupting each other: a carnival-type waltz and a more freely composed, 'noisier' part based on dissonant inter- vals and small clusters. The waltz re- flects the nervousness and impatience of our lifetime, filled, as it is, with

ing of subtle rat noises played for the duration of the installation.

I had hoped to make a room for rats in which they could stay comfort-

ably, yet leave anytime that they wanted. But since I did not want to show my rat friends as art objects for the viewers, there were no live rats in the exhibition space. Instead, the

spirit of the rats was present.

POSTCARD CARNIVAL

Michael S. Horwood, 8 Grovetree PI., Bramalea, Ontario, Canada L6S 1S8.

Postcard Carnival is a live electro- acoustic piece/event, a media barrage celebrating the wonder, joy and ex- citement of an amusement park. Postcard Carnivalwas created for a retro-

spective concert of my works at the Music Gallery, Toronto, 22 February 1990.

The score for Postcard Carnival con- sists of program/descriptive notes, narration and a CUE sheet. The 'per- formers' include the narrator

(sound/text composer, Richard Truhlar), two slide projectionists, a videocassette recorder operator, a

grinder organist, a violinist, a pianist and a tape-cassette player. The first

projector shows slides from postcards of amusement parks and the second

projector shows amusement park pho- tographs. Video footage of the parks is presented and the narrator (elec- tronically processed) reads from a list of postcard texts.

Dan Wilke, a friend and amuse- ment park enthusiast from Buffalo, NY, introduced me to the wonderful sounds of his grinder organ, which he made from a kit, and to the rolls of music that he cut from a template. I

incorporated these sounds into Post- card Carnival and created a separate piece called Interrupted Waltz, in which the grinder organ's part is a stand- alone piece.

Interrupted Waltz continues my work with music based on interruptions. It consists of two ideas constantly inter-

rupting each other: a carnival-type waltz and a more freely composed, 'noisier' part based on dissonant inter- vals and small clusters. The waltz re- flects the nervousness and impatience of our lifetime, filled, as it is, with

ing of subtle rat noises played for the duration of the installation.

I had hoped to make a room for rats in which they could stay comfort-

ably, yet leave anytime that they wanted. But since I did not want to show my rat friends as art objects for the viewers, there were no live rats in the exhibition space. Instead, the

spirit of the rats was present.

POSTCARD CARNIVAL

Michael S. Horwood, 8 Grovetree PI., Bramalea, Ontario, Canada L6S 1S8.

Postcard Carnival is a live electro- acoustic piece/event, a media barrage celebrating the wonder, joy and ex- citement of an amusement park. Postcard Carnivalwas created for a retro-

spective concert of my works at the Music Gallery, Toronto, 22 February 1990.

The score for Postcard Carnival con- sists of program/descriptive notes, narration and a CUE sheet. The 'per- formers' include the narrator

(sound/text composer, Richard Truhlar), two slide projectionists, a videocassette recorder operator, a

grinder organist, a violinist, a pianist and a tape-cassette player. The first

projector shows slides from postcards of amusement parks and the second

projector shows amusement park pho- tographs. Video footage of the parks is presented and the narrator (elec- tronically processed) reads from a list of postcard texts.

Dan Wilke, a friend and amuse- ment park enthusiast from Buffalo, NY, introduced me to the wonderful sounds of his grinder organ, which he made from a kit, and to the rolls of music that he cut from a template. I

incorporated these sounds into Post- card Carnival and created a separate piece called Interrupted Waltz, in which the grinder organ's part is a stand- alone piece.

Interrupted Waltz continues my work with music based on interruptions. It consists of two ideas constantly inter-

rupting each other: a carnival-type waltz and a more freely composed, 'noisier' part based on dissonant inter- vals and small clusters. The waltz re- flects the nervousness and impatience of our lifetime, filled, as it is, with numerous interruptions.

All parts of Postcard Carnival relate to amusement parks, my life-long hobby. The only exception is the solo

numerous interruptions. All parts of Postcard Carnival relate

to amusement parks, my life-long hobby. The only exception is the solo

numerous interruptions. All parts of Postcard Carnival relate

to amusement parks, my life-long hobby. The only exception is the solo

violin. The violinist is instructed to

play excerpts from familiar classical orchestral repertoire in a manner that strongly suggests 'practicing'. Ironically, the power and beauty of classical music propelled me into a career of music, yet now the perform- ance of my own music competes with classical music. The violin's part is an

homage to this strange dichotomy.

DOPPLERDEN

Steve Mann, McMaster University, Communications Research Labora-

tory, Hamilton, Ontario, Canada L8S 4K1.

One of my current works in the

making, DopplerDen, is an interactive environment in which the speeds of

light and sound are reduced in a vir- tual way. It embodies a sort of time

warp, based on stretching physical realities, such as the tendency for a train whistle to sound higher in pitch or a light source to look more blue when approached at near the speed of sound or light.

There are windows and various

light sources in the room. When viewers walk toward one of these sources of light, the light turns bluish. When they walk away, it turns red- dish. When they stand still, all the

lights are their normal colors. If viewers walk north, the light sources (windows and lamps) on the north side of the room (in front of viewers) turn bluish, and those on the south side (behind the viewer) turn red- dish. Those to the viewers' left and

right remain the same color. The effect is most dramatic when

the viewer first enters the room. Walk-

ing down the corridor, the room is

completely bathed in blue, and the

sign above the door-"But SLOW, what light through yonder window breaks"-seems most appropriate to the mood.

There is also a computer with a dis-

play that looks green when the viewer stands still, but the color changes as the viewer moves. The range of colors is similar to the lights, but the com-

puter display always maintains a much more richly saturated color than that of the lights. When the viewer moves toward it, the screen

violin. The violinist is instructed to

play excerpts from familiar classical orchestral repertoire in a manner that strongly suggests 'practicing'. Ironically, the power and beauty of classical music propelled me into a career of music, yet now the perform- ance of my own music competes with classical music. The violin's part is an

homage to this strange dichotomy.

DOPPLERDEN

Steve Mann, McMaster University, Communications Research Labora-

tory, Hamilton, Ontario, Canada L8S 4K1.

One of my current works in the

making, DopplerDen, is an interactive environment in which the speeds of

light and sound are reduced in a vir- tual way. It embodies a sort of time

warp, based on stretching physical realities, such as the tendency for a train whistle to sound higher in pitch or a light source to look more blue when approached at near the speed of sound or light.

There are windows and various

light sources in the room. When viewers walk toward one of these sources of light, the light turns bluish. When they walk away, it turns red- dish. When they stand still, all the

lights are their normal colors. If viewers walk north, the light sources (windows and lamps) on the north side of the room (in front of viewers) turn bluish, and those on the south side (behind the viewer) turn red- dish. Those to the viewers' left and

right remain the same color. The effect is most dramatic when

the viewer first enters the room. Walk-

ing down the corridor, the room is

completely bathed in blue, and the

sign above the door-"But SLOW, what light through yonder window breaks"-seems most appropriate to the mood.

There is also a computer with a dis-

play that looks green when the viewer stands still, but the color changes as the viewer moves. The range of colors is similar to the lights, but the com-

puter display always maintains a much more richly saturated color than that of the lights. When the viewer moves toward it, the screen

violin. The violinist is instructed to

play excerpts from familiar classical orchestral repertoire in a manner that strongly suggests 'practicing'. Ironically, the power and beauty of classical music propelled me into a career of music, yet now the perform- ance of my own music competes with classical music. The violin's part is an

homage to this strange dichotomy.

DOPPLERDEN

Steve Mann, McMaster University, Communications Research Labora-

tory, Hamilton, Ontario, Canada L8S 4K1.

One of my current works in the

making, DopplerDen, is an interactive environment in which the speeds of

light and sound are reduced in a vir- tual way. It embodies a sort of time

warp, based on stretching physical realities, such as the tendency for a train whistle to sound higher in pitch or a light source to look more blue when approached at near the speed of sound or light.

There are windows and various

light sources in the room. When viewers walk toward one of these sources of light, the light turns bluish. When they walk away, it turns red- dish. When they stand still, all the

lights are their normal colors. If viewers walk north, the light sources (windows and lamps) on the north side of the room (in front of viewers) turn bluish, and those on the south side (behind the viewer) turn red- dish. Those to the viewers' left and

right remain the same color. The effect is most dramatic when

the viewer first enters the room. Walk-

ing down the corridor, the room is

completely bathed in blue, and the

sign above the door-"But SLOW, what light through yonder window breaks"-seems most appropriate to the mood.

There is also a computer with a dis-

play that looks green when the viewer stands still, but the color changes as the viewer moves. The range of colors is similar to the lights, but the com-

puter display always maintains a much more richly saturated color than that of the lights. When the viewer moves toward it, the screen color 'blue shifts', and the fan inside the computer speeds up, making a

high-pitched sound. Even the high- pitched ringing (horizontal oscillator

color 'blue shifts', and the fan inside the computer speeds up, making a

high-pitched sound. Even the high- pitched ringing (horizontal oscillator

color 'blue shifts', and the fan inside the computer speeds up, making a

high-pitched sound. Even the high- pitched ringing (horizontal oscillator

sound), typical of video displays, and the occasional error beep from the

speaker vary markedly with viewer movement.

"Radio plays that forgotten song" (Radar Love), which sounds normal when the viewer stands still but wows and flutters in speed when the viewer moves around. In fact, the song speeds up whenever the viewer moves toward it and slows down when the viewer walks away from it. The music even stops completely if the viewer walks away from it faster than about two paces per second, because the

speed of sound in the DopplerDen is two meters per second. If observers were to move away faster than the

speed of sound, the sound would never reach them. Thus, when viewers leave DopplerDen, if they run

quickly down the corridor, looking over their shoulders, the sound stops and the room is completely dark.

The clock in DopplerDen has a little cartoon caption over it, as if it is try- ing to say something to the observer. The caption reads, "The hurrier you go the aheader I get". Quite literally, as the observer moves about quickly, the clock actually speeds up, and as the observer slows down to smell the

potted house plants in DopplerDen, the clock slows down and stops when the observer stops. Thus, just as time seems to fly when one is late for com-

pletion of a project, time in the

DopplerDen flies if the viewer tries to

hurry the visit. The idea is to slow down like the integrated media (sound, light, radar, etc.) in DopplerDen.

Then, suddenly, some faulty com-

ponent in the clock starts making this awful buzzing noise, but when ob- servers walk toward it to listen more

closely, they realize the buzz goes up in pitch; don't forget that even seem-

ingly unintentional sounds must not break the two-meters-per-second sound barrier.

All the elements of DopplerDen are

currently functional modules scat- tered around my home and office. I am still looking for the ideal place to set them all up. The most difficult modules to install, the Doppler win- dow panels, are adjustable in size so

they can fit behind any window frame. I hope to achieve ajuxtaposition

between the modern-looking compu-

sound), typical of video displays, and the occasional error beep from the

speaker vary markedly with viewer movement.

"Radio plays that forgotten song" (Radar Love), which sounds normal when the viewer stands still but wows and flutters in speed when the viewer moves around. In fact, the song speeds up whenever the viewer moves toward it and slows down when the viewer walks away from it. The music even stops completely if the viewer walks away from it faster than about two paces per second, because the

speed of sound in the DopplerDen is two meters per second. If observers were to move away faster than the

speed of sound, the sound would never reach them. Thus, when viewers leave DopplerDen, if they run

quickly down the corridor, looking over their shoulders, the sound stops and the room is completely dark.

The clock in DopplerDen has a little cartoon caption over it, as if it is try- ing to say something to the observer. The caption reads, "The hurrier you go the aheader I get". Quite literally, as the observer moves about quickly, the clock actually speeds up, and as the observer slows down to smell the

potted house plants in DopplerDen, the clock slows down and stops when the observer stops. Thus, just as time seems to fly when one is late for com-

pletion of a project, time in the

DopplerDen flies if the viewer tries to

hurry the visit. The idea is to slow down like the integrated media (sound, light, radar, etc.) in DopplerDen.

Then, suddenly, some faulty com-

ponent in the clock starts making this awful buzzing noise, but when ob- servers walk toward it to listen more

closely, they realize the buzz goes up in pitch; don't forget that even seem-

ingly unintentional sounds must not break the two-meters-per-second sound barrier.

All the elements of DopplerDen are

currently functional modules scat- tered around my home and office. I am still looking for the ideal place to set them all up. The most difficult modules to install, the Doppler win- dow panels, are adjustable in size so

they can fit behind any window frame. I hope to achieve ajuxtaposition

between the modern-looking compu-

sound), typical of video displays, and the occasional error beep from the

speaker vary markedly with viewer movement.

"Radio plays that forgotten song" (Radar Love), which sounds normal when the viewer stands still but wows and flutters in speed when the viewer moves around. In fact, the song speeds up whenever the viewer moves toward it and slows down when the viewer walks away from it. The music even stops completely if the viewer walks away from it faster than about two paces per second, because the

speed of sound in the DopplerDen is two meters per second. If observers were to move away faster than the

speed of sound, the sound would never reach them. Thus, when viewers leave DopplerDen, if they run

quickly down the corridor, looking over their shoulders, the sound stops and the room is completely dark.

The clock in DopplerDen has a little cartoon caption over it, as if it is try- ing to say something to the observer. The caption reads, "The hurrier you go the aheader I get". Quite literally, as the observer moves about quickly, the clock actually speeds up, and as the observer slows down to smell the

potted house plants in DopplerDen, the clock slows down and stops when the observer stops. Thus, just as time seems to fly when one is late for com-

pletion of a project, time in the

DopplerDen flies if the viewer tries to

hurry the visit. The idea is to slow down like the integrated media (sound, light, radar, etc.) in DopplerDen.

Then, suddenly, some faulty com-

ponent in the clock starts making this awful buzzing noise, but when ob- servers walk toward it to listen more

closely, they realize the buzz goes up in pitch; don't forget that even seem-

ingly unintentional sounds must not break the two-meters-per-second sound barrier.

All the elements of DopplerDen are

currently functional modules scat- tered around my home and office. I am still looking for the ideal place to set them all up. The most difficult modules to install, the Doppler win- dow panels, are adjustable in size so

they can fit behind any window frame. I hope to achieve ajuxtaposition

between the modern-looking compu- ter and traditional decor in Doppler- Den. The choice of decor will be

important to set the mood for the anachronisms that enhance the

ter and traditional decor in Doppler- Den. The choice of decor will be

important to set the mood for the anachronisms that enhance the

ter and traditional decor in Doppler- Den. The choice of decor will be

important to set the mood for the anachronisms that enhance the

Words On Works 487 Words On Works 487 Words On Works 487

This content downloaded from 188.72.96.157 on Mon, 16 Jun 2014 05:39:37 AMAll use subject to JSTOR Terms and Conditions

twisted sense of time. Those who have visited my office have no doubt

acquired a new idiomatic expression, 'time to do the red shift', meaning time to run, see you later, adios, ciao.

THE LIGHTNING BOX

Pauline Oliveros, 156 Hunter Street, Kingston, NY 12401, U.S.A.

The Lightning Box (1990) is a one- hour collaborative sound meditation with computer-controlled delay pro- cessors and lighting. It was created under my direction during a resi-

dency in the Media Arts Program at the Banff Centre in Alberta, Canada.

The Lightning Box calls for the play- ers, as they are listening to the sounds that they are currently playing, to also listen for and respond to repetitions and modifications of their own sounds as well as to each other. Sound from each player is picked up by microphones and is then

processed by computer-controlled digital delays. The delay times are

changed by a program that results in

transposition and pitch bending of each player's sound in a variety of forms and speeds ordinarily not ac- cessible in real-time performance. Computer-controlled lighting design conducts the ensemble.

The computer programs were writ- ten by Cornelia Colyer, in collabora- tion with me. The digital interface that allows direct program control of the delay processors was constructed

especially for this project by David Ward of PanDigital Corporation. The

Lightning Box was performed at the Banff Centre in February 1990 with the following personnel: Pauline Oliveros, accordion; Michael Century, keyboard; Panaiotis, voice and mix; Trevor Tureski, marimba; Cornelia

Colyer, programmer; Colin Griffiths, set design and technical coordinator.

BICYCLE TV: SOME INTERACTIVE EXERCISE

Nancy Paterson, 475 The West Mall #1513, Etobicoke, Ontario, Canada M9C 4Z3.

Bicycle TV (copyrighted in Canada) consists of a 1950s-style bicycle with a

twisted sense of time. Those who have visited my office have no doubt

acquired a new idiomatic expression, 'time to do the red shift', meaning time to run, see you later, adios, ciao.

THE LIGHTNING BOX

Pauline Oliveros, 156 Hunter Street, Kingston, NY 12401, U.S.A.

The Lightning Box (1990) is a one- hour collaborative sound meditation with computer-controlled delay pro- cessors and lighting. It was created under my direction during a resi-

dency in the Media Arts Program at the Banff Centre in Alberta, Canada.

The Lightning Box calls for the play- ers, as they are listening to the sounds that they are currently playing, to also listen for and respond to repetitions and modifications of their own sounds as well as to each other. Sound from each player is picked up by microphones and is then

processed by computer-controlled digital delays. The delay times are

changed by a program that results in

transposition and pitch bending of each player's sound in a variety of forms and speeds ordinarily not ac- cessible in real-time performance. Computer-controlled lighting design conducts the ensemble.

The computer programs were writ- ten by Cornelia Colyer, in collabora- tion with me. The digital interface that allows direct program control of the delay processors was constructed

especially for this project by David Ward of PanDigital Corporation. The

Lightning Box was performed at the Banff Centre in February 1990 with the following personnel: Pauline Oliveros, accordion; Michael Century, keyboard; Panaiotis, voice and mix; Trevor Tureski, marimba; Cornelia

Colyer, programmer; Colin Griffiths, set design and technical coordinator.

BICYCLE TV: SOME INTERACTIVE EXERCISE

Nancy Paterson, 475 The West Mall #1513, Etobicoke, Ontario, Canada M9C 4Z3.

Bicycle TV (copyrighted in Canada) consists of a 1950s-style bicycle with a

twisted sense of time. Those who have visited my office have no doubt

acquired a new idiomatic expression, 'time to do the red shift', meaning time to run, see you later, adios, ciao.

THE LIGHTNING BOX

Pauline Oliveros, 156 Hunter Street, Kingston, NY 12401, U.S.A.

The Lightning Box (1990) is a one- hour collaborative sound meditation with computer-controlled delay pro- cessors and lighting. It was created under my direction during a resi-

dency in the Media Arts Program at the Banff Centre in Alberta, Canada.

The Lightning Box calls for the play- ers, as they are listening to the sounds that they are currently playing, to also listen for and respond to repetitions and modifications of their own sounds as well as to each other. Sound from each player is picked up by microphones and is then

processed by computer-controlled digital delays. The delay times are

changed by a program that results in

transposition and pitch bending of each player's sound in a variety of forms and speeds ordinarily not ac- cessible in real-time performance. Computer-controlled lighting design conducts the ensemble.

The computer programs were writ- ten by Cornelia Colyer, in collabora- tion with me. The digital interface that allows direct program control of the delay processors was constructed

especially for this project by David Ward of PanDigital Corporation. The

Lightning Box was performed at the Banff Centre in February 1990 with the following personnel: Pauline Oliveros, accordion; Michael Century, keyboard; Panaiotis, voice and mix; Trevor Tureski, marimba; Cornelia

Colyer, programmer; Colin Griffiths, set design and technical coordinator.

BICYCLE TV: SOME INTERACTIVE EXERCISE

Nancy Paterson, 475 The West Mall #1513, Etobicoke, Ontario, Canada M9C 4Z3.

Bicycle TV (copyrighted in Canada) consists of a 1950s-style bicycle with a

twisted sense of time. Those who have visited my office have no doubt

acquired a new idiomatic expression, 'time to do the red shift', meaning time to run, see you later, adios, ciao.

THE LIGHTNING BOX

Pauline Oliveros, 156 Hunter Street, Kingston, NY 12401, U.S.A.

The Lightning Box (1990) is a one- hour collaborative sound meditation with computer-controlled delay pro- cessors and lighting. It was created under my direction during a resi-

dency in the Media Arts Program at the Banff Centre in Alberta, Canada.

The Lightning Box calls for the play- ers, as they are listening to the sounds that they are currently playing, to also listen for and respond to repetitions and modifications of their own sounds as well as to each other. Sound from each player is picked up by microphones and is then

processed by computer-controlled digital delays. The delay times are

changed by a program that results in

transposition and pitch bending of each player's sound in a variety of forms and speeds ordinarily not ac- cessible in real-time performance. Computer-controlled lighting design conducts the ensemble.

The computer programs were writ- ten by Cornelia Colyer, in collabora- tion with me. The digital interface that allows direct program control of the delay processors was constructed

especially for this project by David Ward of PanDigital Corporation. The

Lightning Box was performed at the Banff Centre in February 1990 with the following personnel: Pauline Oliveros, accordion; Michael Century, keyboard; Panaiotis, voice and mix; Trevor Tureski, marimba; Cornelia

Colyer, programmer; Colin Griffiths, set design and technical coordinator.

BICYCLE TV: SOME INTERACTIVE EXERCISE

Nancy Paterson, 475 The West Mall #1513, Etobicoke, Ontario, Canada M9C 4Z3.

Bicycle TV (copyrighted in Canada) consists of a 1950s-style bicycle with a

twisted sense of time. Those who have visited my office have no doubt

acquired a new idiomatic expression, 'time to do the red shift', meaning time to run, see you later, adios, ciao.

THE LIGHTNING BOX

Pauline Oliveros, 156 Hunter Street, Kingston, NY 12401, U.S.A.

The Lightning Box (1990) is a one- hour collaborative sound meditation with computer-controlled delay pro- cessors and lighting. It was created under my direction during a resi-

dency in the Media Arts Program at the Banff Centre in Alberta, Canada.

The Lightning Box calls for the play- ers, as they are listening to the sounds that they are currently playing, to also listen for and respond to repetitions and modifications of their own sounds as well as to each other. Sound from each player is picked up by microphones and is then

processed by computer-controlled digital delays. The delay times are

changed by a program that results in

transposition and pitch bending of each player's sound in a variety of forms and speeds ordinarily not ac- cessible in real-time performance. Computer-controlled lighting design conducts the ensemble.

The computer programs were writ- ten by Cornelia Colyer, in collabora- tion with me. The digital interface that allows direct program control of the delay processors was constructed

especially for this project by David Ward of PanDigital Corporation. The

Lightning Box was performed at the Banff Centre in February 1990 with the following personnel: Pauline Oliveros, accordion; Michael Century, keyboard; Panaiotis, voice and mix; Trevor Tureski, marimba; Cornelia

Colyer, programmer; Colin Griffiths, set design and technical coordinator.

BICYCLE TV: SOME INTERACTIVE EXERCISE

Nancy Paterson, 475 The West Mall #1513, Etobicoke, Ontario, Canada M9C 4Z3.

Bicycle TV (copyrighted in Canada) consists of a 1950s-style bicycle with a color monitor mounted in front, facing the cyclist. Also included are a videodisc player, a front wheel direc-

tion-sensing device and a rear wheel

color monitor mounted in front, facing the cyclist. Also included are a videodisc player, a front wheel direc-

tion-sensing device and a rear wheel

color monitor mounted in front, facing the cyclist. Also included are a videodisc player, a front wheel direc-

tion-sensing device and a rear wheel

color monitor mounted in front, facing the cyclist. Also included are a videodisc player, a front wheel direc-

tion-sensing device and a rear wheel

color monitor mounted in front, facing the cyclist. Also included are a videodisc player, a front wheel direc-

tion-sensing device and a rear wheel

motion-detector assembly. These devices are linked to the videodisc

through a programmable audio/ video controller.

A viewer/cyclist may cycle up to a crossroads and steer the bicycle to

proceed in any direction. The video- disc player is capable of playing at half-speed, normal speed, and 2 x

speed. This means that the video, which was shot at approximately 17 miles per hour, can be sped up or slowed down by the rider simply by pedalling faster or slower.

In the preproduction stage, a

branching system (a maze that oper- ates within a grid) was designed and a

large production grid was researched. There are a limited number of road

segments that can fit on the video- disc, so the production grid was de-

signed to keep the rider contained within a set 'world'. Cyclists cannot 'fall off the edge of the disc', no mat- ter which way they choose to turn.

The original videotape was shot in and around the small, scenic town of Belfountain, Ontario, near the forks of the Credit River. Footage of wind-

ing country roads offers different

paths to the viewer/cyclist within the 'world' offered by the videodisc.

INSECT MYTHOLOGY INSECT TECHNOLOGY

Paul Rutkovsky, 227 Westridge Dr., Tallahassee, FL 32304, U.S.A.

Insect Mythology Insect Technology is a fabricated civilization created as a site-

specific proposal for the Metro-Dade Art in Public Places Trust in southern Florida. To develop a pseudo-history and visual representation of insect ar- chitecture, I utilized personal comput- ers to generate graphic images. Four locations were chosen for simulated excavation sites revealing insects and their structures. Each site represented a different geologic time in the insect civilization, beginning two million

years ago and leading to its decline a million and a half years later. Digging activity, equipment and materials were still apparent on one active site.

I described the pseudo-history of Insect Mythology Insect 7echnology in this way:

An ancient civilization of insects in-

motion-detector assembly. These devices are linked to the videodisc

through a programmable audio/ video controller.

A viewer/cyclist may cycle up to a crossroads and steer the bicycle to

proceed in any direction. The video- disc player is capable of playing at half-speed, normal speed, and 2 x

speed. This means that the video, which was shot at approximately 17 miles per hour, can be sped up or slowed down by the rider simply by pedalling faster or slower.

In the preproduction stage, a

branching system (a maze that oper- ates within a grid) was designed and a

large production grid was researched. There are a limited number of road

segments that can fit on the video- disc, so the production grid was de-

signed to keep the rider contained within a set 'world'. Cyclists cannot 'fall off the edge of the disc', no mat- ter which way they choose to turn.

The original videotape was shot in and around the small, scenic town of Belfountain, Ontario, near the forks of the Credit River. Footage of wind-

ing country roads offers different

paths to the viewer/cyclist within the 'world' offered by the videodisc.

INSECT MYTHOLOGY INSECT TECHNOLOGY

Paul Rutkovsky, 227 Westridge Dr., Tallahassee, FL 32304, U.S.A.

Insect Mythology Insect Technology is a fabricated civilization created as a site-

specific proposal for the Metro-Dade Art in Public Places Trust in southern Florida. To develop a pseudo-history and visual representation of insect ar- chitecture, I utilized personal comput- ers to generate graphic images. Four locations were chosen for simulated excavation sites revealing insects and their structures. Each site represented a different geologic time in the insect civilization, beginning two million

years ago and leading to its decline a million and a half years later. Digging activity, equipment and materials were still apparent on one active site.

I described the pseudo-history of Insect Mythology Insect 7echnology in this way:

An ancient civilization of insects in-

motion-detector assembly. These devices are linked to the videodisc

through a programmable audio/ video controller.

A viewer/cyclist may cycle up to a crossroads and steer the bicycle to

proceed in any direction. The video- disc player is capable of playing at half-speed, normal speed, and 2 x

speed. This means that the video, which was shot at approximately 17 miles per hour, can be sped up or slowed down by the rider simply by pedalling faster or slower.

In the preproduction stage, a

branching system (a maze that oper- ates within a grid) was designed and a

large production grid was researched. There are a limited number of road

segments that can fit on the video- disc, so the production grid was de-

signed to keep the rider contained within a set 'world'. Cyclists cannot 'fall off the edge of the disc', no mat- ter which way they choose to turn.

The original videotape was shot in and around the small, scenic town of Belfountain, Ontario, near the forks of the Credit River. Footage of wind-

ing country roads offers different

paths to the viewer/cyclist within the 'world' offered by the videodisc.

INSECT MYTHOLOGY INSECT TECHNOLOGY

Paul Rutkovsky, 227 Westridge Dr., Tallahassee, FL 32304, U.S.A.

Insect Mythology Insect Technology is a fabricated civilization created as a site-

specific proposal for the Metro-Dade Art in Public Places Trust in southern Florida. To develop a pseudo-history and visual representation of insect ar- chitecture, I utilized personal comput- ers to generate graphic images. Four locations were chosen for simulated excavation sites revealing insects and their structures. Each site represented a different geologic time in the insect civilization, beginning two million

years ago and leading to its decline a million and a half years later. Digging activity, equipment and materials were still apparent on one active site.

I described the pseudo-history of Insect Mythology Insect 7echnology in this way:

An ancient civilization of insects in-

motion-detector assembly. These devices are linked to the videodisc

through a programmable audio/ video controller.

A viewer/cyclist may cycle up to a crossroads and steer the bicycle to

proceed in any direction. The video- disc player is capable of playing at half-speed, normal speed, and 2 x

speed. This means that the video, which was shot at approximately 17 miles per hour, can be sped up or slowed down by the rider simply by pedalling faster or slower.

In the preproduction stage, a

branching system (a maze that oper- ates within a grid) was designed and a

large production grid was researched. There are a limited number of road

segments that can fit on the video- disc, so the production grid was de-

signed to keep the rider contained within a set 'world'. Cyclists cannot 'fall off the edge of the disc', no mat- ter which way they choose to turn.

The original videotape was shot in and around the small, scenic town of Belfountain, Ontario, near the forks of the Credit River. Footage of wind-

ing country roads offers different

paths to the viewer/cyclist within the 'world' offered by the videodisc.

INSECT MYTHOLOGY INSECT TECHNOLOGY

Paul Rutkovsky, 227 Westridge Dr., Tallahassee, FL 32304, U.S.A.

Insect Mythology Insect Technology is a fabricated civilization created as a site-

specific proposal for the Metro-Dade Art in Public Places Trust in southern Florida. To develop a pseudo-history and visual representation of insect ar- chitecture, I utilized personal comput- ers to generate graphic images. Four locations were chosen for simulated excavation sites revealing insects and their structures. Each site represented a different geologic time in the insect civilization, beginning two million

years ago and leading to its decline a million and a half years later. Digging activity, equipment and materials were still apparent on one active site.

I described the pseudo-history of Insect Mythology Insect 7echnology in this way:

An ancient civilization of insects in-

motion-detector assembly. These devices are linked to the videodisc

through a programmable audio/ video controller.

A viewer/cyclist may cycle up to a crossroads and steer the bicycle to

proceed in any direction. The video- disc player is capable of playing at half-speed, normal speed, and 2 x

speed. This means that the video, which was shot at approximately 17 miles per hour, can be sped up or slowed down by the rider simply by pedalling faster or slower.

In the preproduction stage, a

branching system (a maze that oper- ates within a grid) was designed and a

large production grid was researched. There are a limited number of road

segments that can fit on the video- disc, so the production grid was de-

signed to keep the rider contained within a set 'world'. Cyclists cannot 'fall off the edge of the disc', no mat- ter which way they choose to turn.

The original videotape was shot in and around the small, scenic town of Belfountain, Ontario, near the forks of the Credit River. Footage of wind-

ing country roads offers different

paths to the viewer/cyclist within the 'world' offered by the videodisc.

INSECT MYTHOLOGY INSECT TECHNOLOGY

Paul Rutkovsky, 227 Westridge Dr., Tallahassee, FL 32304, U.S.A.

Insect Mythology Insect Technology is a fabricated civilization created as a site-

specific proposal for the Metro-Dade Art in Public Places Trust in southern Florida. To develop a pseudo-history and visual representation of insect ar- chitecture, I utilized personal comput- ers to generate graphic images. Four locations were chosen for simulated excavation sites revealing insects and their structures. Each site represented a different geologic time in the insect civilization, beginning two million

years ago and leading to its decline a million and a half years later. Digging activity, equipment and materials were still apparent on one active site.

I described the pseudo-history of Insect Mythology Insect 7echnology in this way:

An ancient civilization of insects in- digenous to Florida thrived on Key Biscayne two million years ago. They inhabited almost every square foot of the Key but dominated the area that

digenous to Florida thrived on Key Biscayne two million years ago. They inhabited almost every square foot of the Key but dominated the area that

digenous to Florida thrived on Key Biscayne two million years ago. They inhabited almost every square foot of the Key but dominated the area that

digenous to Florida thrived on Key Biscayne two million years ago. They inhabited almost every square foot of the Key but dominated the area that

digenous to Florida thrived on Key Biscayne two million years ago. They inhabited almost every square foot of the Key but dominated the area that

later became Crandon Zoo. On the old zoo site, the insects built an advanced civilization that has mystified and baffled entomologists, anthropologists, archaeologists and scientists ever since remains of the civilization were first discovered in 1979, shortly before the zoo closed.

Four major excavation sites, including one currently in progress directly beneath the main gate, are located in the old zoo. Specialists have unearthed bizarre evidence of a highly sophisti- cated insect civilization, with living and

working environments not unlike our

twentieth-century cities.

The insects, including mites, spiders and centipedes, developed an amazing ability to harness their own physical energy and a capacity to utilize the natu- ral resources of the Florida Keys. These insects built their own cities and con- structed an empire based on a high- technology culture. It is believed that less than one million years ago they began to harness a form of energy simi- lar to electricity. This allowed them to build extraordinarily large and compli- cated structures (by insect standards). At one point in their evolution it is believed that the insects metamor-

phosed into a resemblance of their own technological creations.

MACHINEDREAMS

Jill Scott, P. 0. Box 1001, Darling- hurst 2010, NSW, Australia.

MachineDreams uses video to trigger zones of individual sound samples. It is an interactive installation in which the reaction of the participant to the visual component of the space pro- duces a soundscape.

The visual component refers to vi- sions of technological utopia, demon- strated by four modified machines taken from the lives of four women in

history. These machines are a sewing machine (1900), a typewriter (1940), a mixmaster (1960), and a telephone switchboard (1990).

Four graphics images, displayed on a wall, connect the technology on dis-

play and the human body. The sound

composition reflects the utopian dreams of each era and the tech-

nology itself. The sound for MachineDreams was

sponsored by Perceptive Systems, Mel-

bourne, Australia, and was created

later became Crandon Zoo. On the old zoo site, the insects built an advanced civilization that has mystified and baffled entomologists, anthropologists, archaeologists and scientists ever since remains of the civilization were first discovered in 1979, shortly before the zoo closed.

Four major excavation sites, including one currently in progress directly beneath the main gate, are located in the old zoo. Specialists have unearthed bizarre evidence of a highly sophisti- cated insect civilization, with living and

working environments not unlike our

twentieth-century cities.

The insects, including mites, spiders and centipedes, developed an amazing ability to harness their own physical energy and a capacity to utilize the natu- ral resources of the Florida Keys. These insects built their own cities and con- structed an empire based on a high- technology culture. It is believed that less than one million years ago they began to harness a form of energy simi- lar to electricity. This allowed them to build extraordinarily large and compli- cated structures (by insect standards). At one point in their evolution it is believed that the insects metamor-

phosed into a resemblance of their own technological creations.

MACHINEDREAMS

Jill Scott, P. 0. Box 1001, Darling- hurst 2010, NSW, Australia.

MachineDreams uses video to trigger zones of individual sound samples. It is an interactive installation in which the reaction of the participant to the visual component of the space pro- duces a soundscape.

The visual component refers to vi- sions of technological utopia, demon- strated by four modified machines taken from the lives of four women in

history. These machines are a sewing machine (1900), a typewriter (1940), a mixmaster (1960), and a telephone switchboard (1990).

Four graphics images, displayed on a wall, connect the technology on dis-

play and the human body. The sound

composition reflects the utopian dreams of each era and the tech-

nology itself. The sound for MachineDreams was

sponsored by Perceptive Systems, Mel-

bourne, Australia, and was created

later became Crandon Zoo. On the old zoo site, the insects built an advanced civilization that has mystified and baffled entomologists, anthropologists, archaeologists and scientists ever since remains of the civilization were first discovered in 1979, shortly before the zoo closed.

Four major excavation sites, including one currently in progress directly beneath the main gate, are located in the old zoo. Specialists have unearthed bizarre evidence of a highly sophisti- cated insect civilization, with living and

working environments not unlike our

twentieth-century cities.

The insects, including mites, spiders and centipedes, developed an amazing ability to harness their own physical energy and a capacity to utilize the natu- ral resources of the Florida Keys. These insects built their own cities and con- structed an empire based on a high- technology culture. It is believed that less than one million years ago they began to harness a form of energy simi- lar to electricity. This allowed them to build extraordinarily large and compli- cated structures (by insect standards). At one point in their evolution it is believed that the insects metamor-

phosed into a resemblance of their own technological creations.

MACHINEDREAMS

Jill Scott, P. 0. Box 1001, Darling- hurst 2010, NSW, Australia.

MachineDreams uses video to trigger zones of individual sound samples. It is an interactive installation in which the reaction of the participant to the visual component of the space pro- duces a soundscape.

The visual component refers to vi- sions of technological utopia, demon- strated by four modified machines taken from the lives of four women in

history. These machines are a sewing machine (1900), a typewriter (1940), a mixmaster (1960), and a telephone switchboard (1990).

Four graphics images, displayed on a wall, connect the technology on dis-

play and the human body. The sound

composition reflects the utopian dreams of each era and the tech-

nology itself. The sound for MachineDreams was

sponsored by Perceptive Systems, Mel-

bourne, Australia, and was created

later became Crandon Zoo. On the old zoo site, the insects built an advanced civilization that has mystified and baffled entomologists, anthropologists, archaeologists and scientists ever since remains of the civilization were first discovered in 1979, shortly before the zoo closed.

Four major excavation sites, including one currently in progress directly beneath the main gate, are located in the old zoo. Specialists have unearthed bizarre evidence of a highly sophisti- cated insect civilization, with living and

working environments not unlike our

twentieth-century cities.

The insects, including mites, spiders and centipedes, developed an amazing ability to harness their own physical energy and a capacity to utilize the natu- ral resources of the Florida Keys. These insects built their own cities and con- structed an empire based on a high- technology culture. It is believed that less than one million years ago they began to harness a form of energy simi- lar to electricity. This allowed them to build extraordinarily large and compli- cated structures (by insect standards). At one point in their evolution it is believed that the insects metamor-

phosed into a resemblance of their own technological creations.

MACHINEDREAMS

Jill Scott, P. 0. Box 1001, Darling- hurst 2010, NSW, Australia.

MachineDreams uses video to trigger zones of individual sound samples. It is an interactive installation in which the reaction of the participant to the visual component of the space pro- duces a soundscape.

The visual component refers to vi- sions of technological utopia, demon- strated by four modified machines taken from the lives of four women in

history. These machines are a sewing machine (1900), a typewriter (1940), a mixmaster (1960), and a telephone switchboard (1990).

Four graphics images, displayed on a wall, connect the technology on dis-

play and the human body. The sound

composition reflects the utopian dreams of each era and the tech-

nology itself. The sound for MachineDreams was

sponsored by Perceptive Systems, Mel-

bourne, Australia, and was created

later became Crandon Zoo. On the old zoo site, the insects built an advanced civilization that has mystified and baffled entomologists, anthropologists, archaeologists and scientists ever since remains of the civilization were first discovered in 1979, shortly before the zoo closed.

Four major excavation sites, including one currently in progress directly beneath the main gate, are located in the old zoo. Specialists have unearthed bizarre evidence of a highly sophisti- cated insect civilization, with living and

working environments not unlike our

twentieth-century cities.

The insects, including mites, spiders and centipedes, developed an amazing ability to harness their own physical energy and a capacity to utilize the natu- ral resources of the Florida Keys. These insects built their own cities and con- structed an empire based on a high- technology culture. It is believed that less than one million years ago they began to harness a form of energy simi- lar to electricity. This allowed them to build extraordinarily large and compli- cated structures (by insect standards). At one point in their evolution it is believed that the insects metamor-

phosed into a resemblance of their own technological creations.

MACHINEDREAMS

Jill Scott, P. 0. Box 1001, Darling- hurst 2010, NSW, Australia.

MachineDreams uses video to trigger zones of individual sound samples. It is an interactive installation in which the reaction of the participant to the visual component of the space pro- duces a soundscape.

The visual component refers to vi- sions of technological utopia, demon- strated by four modified machines taken from the lives of four women in

history. These machines are a sewing machine (1900), a typewriter (1940), a mixmaster (1960), and a telephone switchboard (1990).

Four graphics images, displayed on a wall, connect the technology on dis-

play and the human body. The sound

composition reflects the utopian dreams of each era and the tech-

nology itself. The sound for MachineDreams was

sponsored by Perceptive Systems, Mel-

bourne, Australia, and was created with the 3DIS System. The images were created on the Silicon Graphics 4D80GT and proprietary software, IBM PC with Lumena by Time Arts

with the 3DIS System. The images were created on the Silicon Graphics 4D80GT and proprietary software, IBM PC with Lumena by Time Arts

with the 3DIS System. The images were created on the Silicon Graphics 4D80GT and proprietary software, IBM PC with Lumena by Time Arts

with the 3DIS System. The images were created on the Silicon Graphics 4D80GT and proprietary software, IBM PC with Lumena by Time Arts

with the 3DIS System. The images were created on the Silicon Graphics 4D80GT and proprietary software, IBM PC with Lumena by Time Arts

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