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Leonardo Electronic Almanac                 Volume 8, No. 11
                                          November, 2000
Craig Harris,  Executive Editor
Patrick Maun,  Gallery Editor/Curator
Craig Arko,    Coordinating Editor
Michael Punt,  LDR Editor-in Chief
Roger Malina,  LDR Executive Editor

Editorial Advisory Board:
Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey,
Joan Truckenbrod

                         ISSN #1071-4391
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                          |  CONTENTS  |
                          |____________|

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INTRODUCTION

<  This Issue  >
                                  Craig Harris

FEATURE ARTICLES
                                                                    
<  Computer Music Experiences, 1961-1964  >
                                  by James Tenney

<  James Tenney: an Interview  >
                                  interviewed by Douglas Kahn

<  Editorial: A Life Connecting Art and Science: The Connectivity of
   Lives Makepeace Tsao (1918--2000)  >
                                  by Karen Tsao
                                  
LEONARDO DIGITAL REVIEWS

<  This Month's Reviews  >
                                  Michael Punt

OPPORTUNITIES

<  Northwestern University - music technology faculty  >
<  Graduate Teaching Fellow - Electroacoustic Music at the University
   of Oregon  >
<  Music Department at Mills College  >

ANNOUNCEMENTS

<  2000 Leonardo New Horizons Award  >
<  The Eighth Brazilian Symposium  >
<  ICMC 2001 -- Call for Musical Submissions  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

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                          |  INTRODUCTION  |
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<  This Issue  >
                                  Craig Harris, Executive Editor


Leonardo Electronic Almanac
Volume 8, Number 11
Introduction

As some of the LEA readership has heard through various messages on
the Internet grapevine, I am ending my 8-year tenure as Executive
Editor of Leonardo Electronic Almanac with Volume 8. When
Leonardo/ISAST Chairman Roger Malina and I started this project in
1993 there was a clear need for a Web-based mechanism for
communication among those interested in the realm where art, science
and technology converge. LEA was created to serve this need, and to
stimulate activity on the Internet that would complement the hard copy
publication activities of the International Society for the Arts,
Sciences and Technology. It was also determined that there was a need
to establish a long-term, accessible archive that would be available
to artists and researchers. We are naturally thrilled that LEA has
evolved to include such a vast archive, and continues to provide
current information about activities around the world. It is also
astounding to note how many arts-related journals and magazines have
arrived on the Web scene, and we are gratified to have contributed to
this growth, and to have provided a model for how the Internet can be
used to facilitate communication and to disseminate work to wider
communities.

So after eight years it is time for me to pass the torch to a new
people, and it will become the mandate of the new leadership to
determine how LEA best fits into the overall Leonardo/ISAST
publication resources, and how LEA can best serve the international
community, given the current environment. It has been thrilling for me
to have been involved in this valuable project, and I will continue to
participate, though in the role of Guest Editor from time to time. I
would like to take this opportunity to thank the LEA community for
working with me through the years to develop the rich content that now
resides in the LEA archive. This could never have been accomplished
without the ongoing content contributions from our vast community. I
would also like to thank Janet Fisher and MIT Press for making it
possible to launch and operate this experiment. There can be no doubt
that the activity is valued in the community, and I hope that the LEA
readership will continue to support its development as things
transform in the coming months.

I will be closing out Volume 8 with two fascinating issues. LEA Volume
8, Number 11 includes a fascinating seminal article by James Tenney,
"Computer Music Experiences," with an Introduction by Douglas Kahn,
and an Interview that Douglas Kahn conducted with James Tenney. This
is a remarkable opportunity for the community to connect with this
renowned pioneer of computer music, and we are happy to have this in
our archive. Also in this issue is an article written by Karen Tsao
about her father, Makepeace Tsao, providing insights into his life and
work. Finally, Michael Punt provides information about the latest
activities in Leonardo Digital Reviews.

LEA Volume 8, Number 12 will appear shortly after this issue is
launched, and will be dedicated to content presented at a remarkable
symposium, Living Architectures, hosted at the Banff Centre for the
Arts. Sara Diamond will be presenting an introduction, and Molly Cox
will be serving as Guest Editor for this issue. Two more issues will
appear during the first six months in Volume 9. This represents a
fabulous wealth of information, and we are fortunate to have this
in-depth view into the work of so many artists working in new media.

Once again, thank you all for your support of our endeavor through the
years. Please continue to participate. Ultimately the value is
determined by the participation of the community, as indicated by the
tremendous, valuable archive that is found in Leonardo Electronic
Almanac. It has been my pleasure to have contributed to the field in
this way, and I look forward to staying in touch with the community in
the future.


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                   |  FEATURE ARTICLES    |
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<  Computer Music Experiences, 1961-1964  >
                                  by James Tenney

------------
Introduction
------------

I arrived at the Bell Telephone Laboratories in September, 1961, with the 
following musical and intellectual baggage:

1. numerous instrumental compositions reflecting the influence of
Webern and Varese;

2. two tape-pieces, produced in the Electronic Music Laboratory at
the University of Illinois - both employing familiar, "concrete"
sounds, modified in various ways;

3. a long paper ("Meta Hodos, A Phenomenology of 20th Century Music
and an Approach to the Study of Form," June, 1961), in which a
descriptive terminology and certain structural principles were
developed, borrowing heavily from Gestalt psychology. The central
point of the paper involves the clang, or primary aural Gestalt, and
basic laws of perceptual organization of clangs, clang-elements, and
sequences (a higher order Gestalt unit consisting of several clangs).

4. a dissatisfaction with all purely synthetic electronic music that
I had heard up to that time, particularly with respect to timbre;

5. ideas stemming from my studies of acoustics, electronics and -
especially - information theory, begun in Hiller's classes at the
University of Illinois; and finally

6. a growing interest in the work and ideas of John Cage.

I leave in March, 1964, with:

1.  six tape compositions of computer-generated sounds - of which all
but the first were also composed by means of the computer, and several
instrumental pieces whose composition involved the computer in one way
or another;

2.  a far better understanding of the physical basis of timbre, and a
sense of having achieved a significant extension of the range of
timbres possible by synthetic means;

3.  a curious history of renunciations of one after another of the
traditional attitudes about music, due primarily to a gradually more
thorough assimilation of the insights of John Cage.

In my two-and-a-half years here I have begun many more compositions
than I have completed, asked more questions than I could find answers
for, and perhaps failed more often than I have succeeded.  But I think
it could not have been much different.

The medium is new and requires new ways of thinking and feeling.  Two
years are hardly enough to have become thoroughly acclimated to it,
but the process has at least been begun.

I want to express my gratitude to Max Mathews, John Pierce, Joan
Miller, and to all my friends and co-workers who have done so much to
make my stay here not only instructive but pleasant.  My questions and
requests for assistance have always been responded to with great
generosity, and I shall not soon forget this.

... [Content omitted: Ed.] ...

[Ed. note: the complete content of this article is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]

*************************************************************

<  James Tenney: an Interview  >
                                  interviewed by Douglas Kahn

Douglas Kahn
Email: <Douglas.Kahn@uts.edu.au>

------------
Introduction
------------

The interview with the composer James Tenney concentrates on his work
during the 1960s, when he was working at Bell Telephone Laboratories
in Murray Hill, New Jersey (September 1961 to March 1964), and
participating in the flourishing experimental arts scene in New York
City. While at Bell Labs Tenney worked closely with Max Mathews, John
Pierce and others, as one of the first composers to use computer
synthesized sound (most of his computer compositions from the time are
included on the compact disc, James Tenney: Selected Works, 1961-1969,
available from Frog Peak Music, or CDeMUSIC). David Lewin preceded him
briefly at Bell Labs, but Tenney was the first composer there on a
protracted basis, let alone one who could bring such formidable
knowledge of the underpinnings of twentieth century composition to
bear. Indeed, Meta / Hodos, his Masters Thesis at the University of
Illinois, finished just before he arrived at Bell Labs, proposed
nothing less than a fundamentally new approach to understanding
twentieth century composition (after having a long cult status among
composers, Meta / Hodos is increasingly being recognized as one of the
most important musical documents of the 20th century). Tenney's work
from this period can be understood from a larger perspective. Given
that music was the first art to use computers in a sophisticated way,
Tenney could also be understood as one of the first digital artists.
With many digital artists today moving so easily among the arts, there
is good reason to do the same historically.

During this time, Tenney was married to the artist Carolee Schneemann,
was close friends with the experimental filmmaker Stan Brakhage, was
heavily influenced by the music and thought of John Cage, and could be
found among Fluxus and other experimental artists. I was interested in
finding out how he reconciled these two, apparently disparate worlds,
one highly technical, the other senuous, poetic, and political. Many
artists now are both artistically and technologically sophisticated,
and the practice of retaining artists within research settings has
become more common. But in the early 1960s, Tenney was one of a very
few artists in the world in this position. His experience of this
"schism" or, rather, the fact that he did not experience it as a
schism, is increasingly relevant today.

As you will read, the way he reconciled these two areas of his life
had to do with his entire approach to music. By mid-20th century,
several trends within Western art music had accepted that all sounds
(ostensibly) were available for musical use, and this became codified
in the work of John Cage, the musique concrete composers, and others
during the 1950s. For some people, the potential of
computer-generated, digitally- synthesized sound was imagined within a
similar framework: the computer could construct, from the microsecond
elements of a wave form, all possible sounds. Tenney went beyond that
and said that the computer was differentiated by its capacity to not
only generate all sounds but to constitute a continuum between and
among any and all musical and sonic entities, and to do so from the
inside out, from the most minute elemental level to the largest
organizational form. Whereas other musical technologies like the tape
recorder were, in effect, restricted to invoking an emblematic ideal
of all sounds, the computer was able to actually create and establish
gradients among them. As he says toward the end of the interview, "It
is a temperamental thing of mine. I like to make those bridges, those
connections." It is this impulse that underscores his talent to
reconcile seemingly disparate realms wherever they might occur: a sine
tone and white noise, a research lab and the avant-garde, Murray Hill
and Soho and so on. For Tenney, computer sound synthesis became the
instrument of a personal and cultural stimulus toward synthesis.

The interview is accompanied by Tenney's own account of his work at
Bell Labs, "Computer Music Experiences, 1961-1964", written soon after
his departure. It is a very important document but has not been widely
available, having been previously published in Electronic Music
Reports #1 (Utrecht: Institute of Sonology, 1969). Leonardo is pleased
to have the opportunity to present it here.

The period covered in the interview is but one part of a long,
productive and ongoing career, as a composer, theorist, and teacher.
Tenney left New York for California, where he took up a position at
Cal Arts starting in July 1970 and, after teaching many years in the
Music Department at York University, he has returned to Cal Arts to
take up the Roy E. Disney Family Chair in Musical Composition.

The interview was conducted at York University and at Tenney's home in
Toronto during February 1999, concurrently with an investigation of
Tenney's papers held in the Special Collections of the Scott Library
at York University. The research was sponsored in part by a grant from
the Australian Research Council and the Faculty of Humanities and
Social Sciences at University of Technology, Sydney, where I teach. I
would like to thank Dan Lander, Lauren Pratt, and Larry Polansky for
their kind assistance with different parts of this project, to the
staff of Special Collections of the Scott Library for their kind and
professional assistance, and to Maria Iacono for help with
transcription. Anyone interested in Tenney's early works should refer
to the compact disc mentioned above and to Larry Polanksy's
indespensible essay, "The Early Works of James Tenney," Soundings 13:
The Music of James Tenney (1984). Most of all, many thanks to James
Tenney who fielded any question I threw his way with much tolerance
and a healthy dose of good humor. In fact, one final note, I had to
remove the traditional [laughs] from the transcription because it
would have increased the length of the interview by half.

... [Content omitted: Ed.] ...

[Ed. note: the complete content of this article is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]

*************************************************************

<  Editorial: A Life Connecting Art and Science: The Connectivity of
   Lives Makepeace Tsao (1918--2000)  >
                                  by Karen Tsao

Karen Tsao
9346 Fauntleroy Way, SW
Seattle, WA 98136, U.S.A.

----------------------------
Makepeace Tsao (1918 - 2000)
----------------------------

My father, Makepeace Uho Tsao, who helped Leonardo through the
transition after Frank Malina's death, died 6 August 2000 of heart
failure. His life contained both the sciences and the arts, driven by
his interests, his energy and his values. What I learned from him
about these qualities led to both of us becoming involved with
Leonardo.

On the science side, the facts feed easily into the standard obituary,
the recitation of someone's life.

Makepeace was born at the end of August 1918 in Shanghai, China, into
a science-oriented family. The way the date in the lunar calendar was
recorded left some uncertainty about which of three days to convert to
in the Julian calendar. My father used the middle one, 28 August, as
closest to the right date; it also coincided with Confucius's
birthday. His English name is a translation of his Chinese one, given
to him because he was born at the end of a war. His father was
president of a technical university, a modern development in China in
the first decades of the twentieth century. Of five siblings who came
to the United States, four pursued careers in chemistry, physics or
engineering.

He graduated from college at seventeen and taught high school physics
before coming to the United States in 1938. Like many Chinese students
of the time, he came in through Vancouver, British Columbia, to
Seattle (avoiding Angel Island), going immediately on to Ann Arbor,
Michigan, where he pursued graduate studies in organic chemistry at
the University of Michigan. His interest turned to the chemistry of
biological systems. However, the field of biochemistry had not yet
been established, so he earned his Ph.D. in Pharmacological Chemistry
in 1944. His parents urged him and his siblings to remain in the
United States as the Chinese Communist Revolution offered bleak
prospects in Shanghai. He married Annette Robertson Lambie in 1947,
and they had four children.

His work at the University of Michigan Pediatric Research Lab included
developing the first tests for phenyl ketone urea (PKU), which allowed
diagnosis of this deadly childhood disorder early enough for effective
treatment. He also remade other diagnostic tests to use smaller
samples, so that the testing would be less taxing on the small bodies
of infants. As assistant and associate professor of biochemistry in
the School of Medicine, he taught clinically at the university
hospital and conducted research as well.

From 1967 to 1983, he served as professor on the medical school
faculty of the University of California at Davis, doing research and
clinical teaching. He was made Professor Emeritus when he retired from
academia.

Makepeace was then able to be more fully active in the arts, which had
always figured in his life. Here the obituary becomes less of a
chronicle and not solely about Makepeace.

In China, he had learned to paint with ink and brush and to play the
organ; in the U.S. he continued to play the piano, though he often
remarked on the difference in technique. He dug out an additional
basement room to create a painting studio in our first house. He
worked first in oils, then in acrylics and painted until his last few
years (see Color Plate 0 No. 0). His avid interest in photography
centered on recording events and sights around him. His photography
was a visual journal, although it sometimes ranged to exploring how
vision and the camera express concepts. In both of these media, he
took classes and experimented on his own. He also ventured into
sculpture using glass panels. He applied his sense of visual surprise
and fascination with structure in his work, exploring how vision
functions and how to expand the representation of what we cannot see
directly. For example, his paintings from microphotographs of crystals
reflect his interpretation of the enlarged structural order.

In addition to his own creative pursuits, he fostered and promoted the
arts and artists. He and my mother took us four children to many
performances and museums and provided us with lessons in music, visual
art and dance. For Makepeace this was more than just exposure to
culture. Rather it was part of fostering in us the Chinese model of
the scholar- poet, rendered in contemporary terms. Today we children,
among us, engage in writing in various forms, dancing, acting,
photography and music, though we now earn our livings mostly by other
means.

At the University of Michigan in the early 1960s, our family became
associated with the avant-garde arts group ONCE, appropriately through
a chance meeting with composer Robert Ashley and his wife, painter
Mary Ashley, when they came to see about renting the house where my
father had dug out the basement studio. The ONCE group was one of the
earliest in performance art and electronic music, at a time when the
electronic processors often were built by the musicians. Here,
Makepeace's photographic record documented their performances. As a
family we went to many of the ONCE events and occasionally
participated in minor ways.

Retirement from one career was the opportunity for another. He owned
and operated two art galleries, The Art Works in Fair Oaks California,
and The Slant Gallery in Sacramento, which he later moved to Davis.
Through the galleries, he encouraged many visual artists, especially
women artists to whom he gave the chance for solo shows. Through the
galleries, he asserted his belief in the importance of the arts to our
social and inner well-being.

In addition to science and art, there was another important thread in
my father's life. In Ann Arbor, my father had not been obviously
political. However, political considerations shaped some of his
choices. He never returned to China, in protest to the totalitarian
government there, which had also bulldozed his parents' graves. We
never traveled to the Southern states. Makepeace did not want to
contribute to an economy that at the time included overt racism, nor
expose his family to the harm of traveling where my parents'
interracial marriage and miscegenation of children were illegal. He
did not become a U.S. citizen before 1966, when the immigration quotas
were substantially increased, as he had a green card and did not want
to take a scarce slot needed more by someone else.

When we moved to Davis, Makepeace became more engaged in the
community. He managed numerous local political campaigns. He was a
founding member of a community service organization in Davis and
served on quite a few non-profit boards. He tied in his interest in
art to community affairs by putting the Davis Art Center on a sound
footing and leading the campaign to construct a facility to house it.
He served by supporting and doing, by carrying out all the little
steps that comprise an achievement. He lived by a value he wanted to
convey to his children, that our gifts and talents are meant to help
others.

An obituary can also be a history of how the effect one has on another
person comes back in one's life. My father found architecture
fascinating. He thought it a lovely blend of the technical and the
creative, though he mostly was aware of it as form of a sculptural
nature. I picked up this interest, as it was sympathetic with my
spatially based thinking and attraction to essential human endeavors
for shelter, clothing, food and water. This led to my going to MIT to
study architecture, where high school friend Rick Wilson (to become
another Leonardo stalwart) was doing the same. We both became friends
with Roger, Frank Malina's son. My father had also instilled in me as
part of his service ethic an enjoyment of being productive. So I took
a job in college at the MIT Press as a book designer. In 1981, when
Roger needed help to keep Leonardo going, it was an important
opportunity for me to help with my visual and organizational skills by
taking on the role of managing editor during the critical time of
transition. And of course my father also volunteered to be involved,
along with Rick and my sister Aimee.

An obituary is also a record of a person's legacy. Here is what
Makepeace brought to Leonardo: He encouraged it to cover all the arts,
not just the visual ones. This led to the establishment of Leonardo
Music Journal. He pushed for articles that surveyed a broader span of
time and perspective to improve our understanding of the art-science
connection. Yet he staunchly supported continuing articles written by
the artists themselves, which give Leonardo its special meaning to
artists. The Makepeace Tsao Leonardo Prize became possible because of
his endowment for it. He helped run editorial functions and, as
always, recruited others whenever he could to help the organization
renew itself.

But I think his work at Leonardo is not quite done. Since its start,
Leonardo has delved into the ways that creativity crosses between the
arts, science and technology and manifests in new forms. There is
another vital quality that these disciplines share. We can use them to
improve how we treat one another and how we live our lives together.
My hope is that Leonardo will honor the memory of my father by
exploring, as thoroughly and explicitly as it has for creativity, how
allying these endeavors can enhance human connectivity. Imagine the
wealth of possibilities in linking art, science and technology through
social conscience.

------------
Author note:
------------

Karen Tsao works as a senior urban design planner for the city of
Seattle and is a poet on the way to becoming a librettist.

[Ed. note: the complete content of this article is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]


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            |                          	   |
            |    LEONARDO DIGITAL REVIEWS  |
            |    		    2000.11        |
            |______________________________|


Editor-in Chief: Michael Punt
Executive Editor: Roger Malina
Managing Editor: Bryony Dalefield
Web Editor: Sudhira Hay

By curious coincidence (or not) this months Leonardo Digital Reviews
is dominated by discussions about sound, music and the neglect of the
audio in generalised accounts of audio-visual history and theory. Most
notable is a review article by Yvonne Speilmann on this issue prompted
by Douglas Kahn's book Noise, water, meat: a history of sound in the
arts. Speilmann's review, long by LDR standards, sets the agenda for
a neglected area of critical study, and points to Kahn's timely
intervention. Rahma Khazamr has reviewed the CD-ROM La musique
Electroacoustique by the Groupe de Recherches Musicales, whilst Curtis
Bahn reflects on EREIA by "Doctor Nerve" and the Sirius String
Quartet. Finally we are grateful to Paul Hertz for his review of Perry
R. Cook's book Music, Cognition, and Computerized Sound: An
Introduction to Psychoacoustics.

In the pipeline are further discussions of the Cinderella of
audio-visual criticism, which should make some inroads into a serious
deficit in the predominantly visual interpretation of the twentieth
century that dominates the literature. The agenda that Kahn sets
together with the other featured material in this month's LDR may even
point to a topic and methodology that can drive a revisionism that can
bring research in the arts and sciences even closer.

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Visit Leonardo Digital Reviews online to read these reviews in full
together with the latest postings in LDR Raw as they come in.
<http://mitpress.mit.edu/e-journals/Leonardo/ldr.html> Your comments
are welcome at <ldr@Leonardo.org>

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                           _________________
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                          |  OPPORTUNITIES  |
                          |_________________|

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<  Northwestern University - music technology faculty  >

Senior Associate Dean Frederick L. Hemke
Northwestern University School of Music
1965 South Campus Drive
Evanston, IL 60208
URL: <http://www.northwestern.edu/musicschool/musictech>

POSITION: Music Technology

RANK: Assistant Professor, Tenure-track; Senior Lecturer

RESPONSIBILITIES: Teaching, research and creativity in music and audio
for new media. The composition, production, recording, and performance
of music for emerging audio media, combined media and the internet.
Classes may include: Recording and Sound Design, Composing for Visual
Media and Games, Performing with Synthesizers, Audio Production with
ProTools, Multimedia Software Development, Introduction to Music
Technology, and courses in popular music. An active professional
career in research and/or creativity is essential in maintaining a
position of leadership and being a role model for students. A degree
in music is desired. Responsibilities also include supervising
master's theses and doctoral dissertations.

CONTEXT: The School of Music at Northwestern University offers a major
in music technology at the undergraduate, master's and Ph.D levels.
The music technology program is located within the Department of
Academic Studies and composition (which also includes programs in
musicology, music cognition, theory, education, and composition).
Visit our web site:
<http://www.northwestern.edu/musicschool/musictech>.

The music technology faculty is highly interdisciplinary and the
program emphasizes a broad range of musical activities. The faculty
strive to build interdisciplinary bridges within the School of Music
and to collaborate with the broader academic/artistic/research
community of the University.

Northwestern is a private university, located north of Chicago on the
shores of Lake Michigan in Evanston, Illinois. The University's
240-acre campus provides faculty and students with a vibrant
educational setting that blends the best of urban and suburban. The
Northwestern University School of Music offers a unique musical
education based on tradition, innovation, and excellence. Established
in 1895 as an integral and inseparable part of the University, the
School of Music combines the privileges and resources of a world-class
private research university with a nationally ranked music program of
conservatory intensity and many faculty are also members of the
Chicago Symphony, Lyric Opera and Civic Orchestras.

QUALIFICATIONS:	Doctorate and collegiate teaching experience highly
preferred.

SALARY:	Negotiable depending on qualifications and experience.

STARTING DATE: September 1, 2001

Those interested in applying should send a letter of application
including phone and email, curriculum vitae, a list of 3 references
with phone and email, and one example of professional work. Additional
references and works may be requested at a later date. Applicants
wishing to have their submissions returned, must include a
self-addressed mailer with the correct postage attached. For full
consideration, all application materials must be received by March 15,
2001 and addressed to the above contact.

Northwestern University is an Affirmative Action/Equal Opportunity
Employer. Hiring is contingent upon eligibility to work in the United
States. Women and minorities are encouraged to apply.

*************************************************************

<  Graduate Teaching Fellow - Electroacoustic Music at the University
   of Oregon  >

For Additional Information:
Contact Jeffrey Stolet
University of Oregon, School of Music
Tel:  (541) 346-4542
Email:  <stolet@darkwing.uoregon.edu>

Apply To:
Graduate Office, School of Music
University of Oregon
1225 University of Oregon
Eugene, OR 97403-1225
Tel: (541) 346-5664
Email: <gradmus@oregon.uoregon.edu>


University of Oregon Graduate Teaching Fellowships in Electroacoustic
Music

Position: Graduate Teaching Fellowships in Electroacoustic Music.
Duties may include assisting in the operation of the studios of Future
Music Oregon and teaching beginning classes in electroacoustic music.

Qualifications: Candidates must be accepted in to a degree granting
program in music at the graduate level with preference going to those
pursuing master's in Intermedia Music Technology or master's or
doctoral degrees in music composition.  Applicants with strong
backgrounds in sound synthesis and interactive environments (MAX) will
be given preference.

Stipend: Varies for (1) master's degree, (2) doctoral degree, and (3)
doctoral candidate.  Total range of salary and tuition is
approximately $9,523 - $20, 307.  This includes in-state or
out-of-state tuition ($6,150 or $10,449), a cash stipend ranging from
$3,373 (GTF I @ .2 FTE) to $9,858 (GTF III @ .49 FTE) and some
incidental fees (Figures are for 2000-2001.)

Information: The University of Oregon School of Music is one of the
oldest and most comprehensive music schools on the West Coast.  As a
synthesis of a conservatory (performance and jazz studies) and a
department of music (composition, computer music, music theory, music
history, ethnomusicology, and music education), the school offers a
wide range of degrees from the baccalaureate through the doctorate. 
The University enrollment is 18,000 and the Eugene-Springfield area
has a population of 220,000, with an unusually active musical and
cultural life, including resident symphony orchestra, opera, and
ballet companies.  The renowned Oregon Bach Festival is affiliated
with the School of Music.

Deadline: Completed applications will be reviewed beginning March 1,
2001 to fill  positions that begins in Fall of 2001.  All applicants,
in addition to completing the standard UO and School of Music graduate
application process, should submit 1) a summary of all music software
and hardware with which they have experience, including the extent of
work with each item, and 2) a tape (cassette or DAT) or CD containing
several recent examples of original work in the electroacoustic
domain.

The University of Oregon is an affirmative action, equal opportunity
institution, committed to cultural diversity and compliance with the
Americans with Disabilities Act.

*************************************************************

<  Music Department at Mills College  >

For further information, please call:
The Office of Graduate Studies
Tel: 510-430-3309
Fax: 510-430-2159
Email <grad-studies@mills.edu>
URL: <http://www.mills.edu>

We're looking for adventurous women . . .

Whether you're classically trained, improvisor, DJ, or experimentalist
whether you're interested in acoustic or electronic music whether you
have a strong vision or are unsure of which road to take the
world-renowned Music Department at Mills could be the place for you!

 *small classes
 *a supportive and friendly atmosphere
 *space to imagine and create
 *the skills you need to realize your ideas
 *your questions about music technology treated with respect - and
  answered
 *a wide range of interdisciplinary activities
   (dance, art, digital arts, theater, video)

Mills College is situated in one of the most vibrant and creative
areas in the United States, within easy reach of Oakland, Berkeley,
and San Francisco.

Mills Music Faculty includes composer/audio engineer Maggi Payne, and
pioneering composer and visionary Pauline Oliveros, as well as
distinguished composer/improvisers Chris Brown, Alvin Curran, and Fred
Frith, and noted scholars Michelle Fillion and David Bernstein.

The instrumental teaching faculty includes some of the finest
musicians in the Bay Area (such as the Abel-Steinberg-Winant Trio),
and our concert series presents cutting-edge performers from all over
the world (recent visitors include AMM, Anne Bourne, Abbie Conant,
Lesli Dalaba, Douglas Ewart, Amy Denio, Jose Maceda, Ikue Mori, Ursula
Oppens, Jim O'Rourke, Zeena Parkins, Aki Takahashi, & Richard
Teitelbaum)

WE SAY YES - the freedom to explore and experiment, the freedom to
find your own voice,the freedom to be yourself...............

Financial assistance is available.

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                          |                 |
                          |  ANNOUNCEMENTS  |
                          |_________________|

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<  2000 Leonardo New Horizons Award  >

For more information about the Leonardo Awards Program, contact

Leonardo/ISAST
425 Market Street, 2nd Floor
San Francisco, CA 94105, U.S.A.
Email: <isast@sfsu.edu>
URL: <http://mitpress.mit.edu/Leonardo/>

Leonardo/ISAST is proud to announce the recipients of the 2000
Leonardo New Horizons Award for Innovation in New Media: Gregory
Barsamian and Graham Harwood.

Gregory Barsamian creates dream-based animated sculptures --
zoetrope-like machines that produce three-dimensional animations. In
these works, he fashions narratives composed of images from the
unconscious and presents them on spinning armatures in a darkened
space. His most recent traveling exhibition, Innuendo Non Troppo, was
shown in Tokyo and throughout the United States. He lives and works in
New York.

Graham Harwood is a member of the technological media group Mongrel,
which focuses on collaborative, socially engaged products -- art,
software and workshops. Harwood started out in the 1980s working with
publications on such topics as working-class culture and new media in
culture and society, moving on to studies and work in programming and
education. Most recently he was commissioned by the Tate Gallery,
London, to produce an exploration of the Tate collection, the history
of Millbank and its prison and a "reversioning" of the Tate's website.
Harwood lives and works in London.

The New Horizons Award was established in 1986 to acknowledge the
numerous challenges faced by artists as they strive for exposure and
recognition. These challenges are amplified for artists working with
new media and techniques -- especially artists pushing the boundaries
of the integration of art and technology. With the New Horizons Award,
Leonardo/ISAST seeks to recognize emerging artists for innovation in
new media.

The 10 finalists for the New Horizons Award for 2000 were selected
from a larger group nominated by members of the Leonardo/ISAST
community around the world. These artists share a commitment to the
incorporation of technology and to the achievement of significant
imaginative content, yet employ many diverse types of media within
dramatically different aesthetic results.

The finalists were (in alphabetical order): Gregory Barsamian
(U.S.A.), a sculptor whose kinetic and animated works probe
fundamental dilemmas of human existence; Bruno Buesch and Tina Cassani
(France/Switzerland), two multimedia artists who produce global radio
network events; Jose Wagner Garcia (Brazil), who has employed a range
of technology to create a multi-level installation probing
environmental concerns in the Amazon basin; Graham Harwood (U.K.),
whose interactive video fictions (e.g. Rehearsal of Memory) combine
stunning aesthetics with a profound social conscience; Toshio Iwai
(Japan), who creates vivid yet playful interactive audio-visual and
sound pieces; Tran T. Kim-Trang and Karl Mihail (U.S.A.), two video
artists who also create complex installation works that probe the
ethical implications of science; Melinda Rackham (Australia), whose
screen-based digital art, sculpture and online (Web) art (e.g.
Carrier) examine a provocative range of subjects from identity in the
digital world to online sex; Marie Sester (France), who blends
architecture with sound and video art to force re-examination of
modern environments; Igor Stromajer (Slovenia), a Web and performance
artist whose work ranges from street performances to "megapathetic
symphonies" and radiophonic sound/digital art; Fabian Wagmister
(Argentina/U.S.A.), the creator of an enormous international Intranet
project, Worship, which has resonant historical and social content.

This year's New Horizons jury included: Donna J. Cox, professor,
School of Art and Design/National Center for Supercomputing
Applications, University of Illinois at Urbana-Champaign; Herve
Fischer, Daniel Langlois Chair in Digital Technologies and Fine Arts,
Universite Concordia FIAM, and co-chair of La Cite des arts et des
nouvelles technologies de Montreal; Ginette Major, chair of Le Cafe
Electronique de Montreal and co-chair of La Cite des arts et des
nouvelles technologies de Montreal; Roger Malina, astronomer and
executive editor of Leonardo; Rejane Spitz, artist and professor of
art at PUC-Rio University, Rio de Janeiro, Brazil; Annette Weintraub,
media artist and professor of art at The City College of New York;
Benjamin Weil, Curator of Media Arts, San Francisco Museum of Modern
Art; and San Francisco Bay Area art critic Barbara Lee Williams.

Past recipients of the New Horizons Award for Innovation have included
Evelyn Edelson-Rosenberg (U.S.A.), Jean-Marc Philippe (France),
Jaroslav Belik (Canada), Peter Callas (Australia), Patrick Boyd
(U.K.), Christian Schiess (U.S.A.), I Wayan Sadra (Indonesia), and
Kitsou Dubois (France).

--------------------------------------
History of the Leonardo Awards Program
--------------------------------------

The first Leonardo award, the Frank J. Malina Leonardo Award for
Lifetime Achievement, was established in 1985 to honor artists who
have melded technology and the visual arts over a lifetime. The
initial recipient, Hungarian artist Gyorgy Kepes, was a founder of
both the New Bauhaus (Chicago) and MIT's Center for Advanced Visual
Studies. His art and life were dedicated to the advancement of new
technologies and relationships among scientific discoveries and art.

In 1987, Leonardo gave its first Leonardo Award for Excellence to
recognize outstanding and particularly significant articles published
in Leonardo. Recipients of this award have included composer and
musician Alvin Lucier (U.S.A.), artist George Gessert (U.S.A.), artist
and theorist Eduardo Kac (U.S.A./Brazil).

The newest Leonardo award, the Makepeace Tsao Leonardo Award, was
given to Herve Fischer and Ginette Major of La Cite des arts et des
nouvelles technologies de Montreal. This award recognizes
organizations and artists' groups that have increased public awareness
of art forms involving science and technology, particularly through
the sponsoring of exhibitions. The award is named for the late
Makepeace Tsao -- biochemist, professor, gallery owner and artist --
who served at various times as editorial board member, advisor and
benefactor of Leonardo/ISAST.

*************************************************************

<  The Eighth Brazilian Symposium  >

The general Chair of SBCM2001:

Geber Ramalho
Universidade Federal de Pernanbuco
Email: <glr@cin.ufpe.br>

VIII Brazilian Symposium on Computer Music
31 July - 03 August 2001
Fortaleza, Brazil
URL: <http://www.cin.ufpe.br/~sbcm2001>

The Eighth Brazilian Symposium will be held in Fortaleza, the capital
of Ceara state, from 31 July to 03 August, 2001.

The Brazilian Symposia  are organized by NUCOM, the computer music
branch of the Brazilian Computing Society (SBC) and take place within
the Annual SBC Congress.

There are key-note speeches by renowned researchers, paper sections,
music papers, tutorials and demonstrations. Researchers, composers,
educators, manufacturers and all concerned with the interplay between
music and technology are invited to submit work.

*Important dates* 

06 March 2001: closing date for submitting music-papers
03 April 2001: closing date for submission of papers
24 April 2001: notification of acceptance of works
10 May 2001  : closing date for submitting the final version of the
               papers


--------------------
Submission of papers
--------------------

Papers Chair: 

Eduardo Reck Miranda
Sony Computer Science Lab Paris
Email: <miranda@csl.sony.fr>

Complete papers reporting ongoing or concluded research should be
submitted (abstracts or incomplete papers will not be accepted).

Note that there are two different categories of papers, both of which
will be published in the proceedings.

The categories are as follows:

a) Research papers: These papers should report concluded scientific
and/or technical research results or systems. They must be written in
English and should not exceed 8 pages;

b) Discussion papers: These papers will discuss ongoing research work.
They may be written in Portuguese, Spanish or English and should not
exceed  6 pages.

Please state clearly in a covering front page:

* what topics (if any) best describes your subject matter
* the paper category that you are submitting (research or discussion)
* the name(s) and address(es) of the author(s)

Since the reviewing process is anonymous, the heading of the first page
of the paper should contain only the title. You are kindly requested
not to reveal your identity in your paper (avoid self reference etc.).
Preferred format for submission are RTF, EPS or PDF. Should a
prospective participant need to submit a paper saved in a format other
than RTF, PDF or EPS, please check with the papers Chair.

How to submit (in order or preference):

[1] Place your paper in a public domain area of your network and send
an Email informing the URL or FTP address to E. Miranda
<miranda@csl.sony.fr> Please write "SBCM Submission" in the subject of
your Email.

[2] Send your paper as a file attachment to an Email to E. Miranda.
<miranda@csl.sony.fr>.  Compressed files are preferred (most standard
compression schemes for Unix, Mac OS or Windows are accepted).

As with previous symposia, a selection of *Research papers* will be
considered for publication in international journals, as appropriate.

--------------------------
Submission of music papers
--------------------------

Music papers Chair:
Didier Guigue
Universidade Federal da Paraiba
Email: <dguigue@openline.com.br>

Composers are invited to submit music papers. A music paper is a
composition accompanied by a Discussion paper presenting the
compositional procedures and the role of the computer in the
compositional process. These papers plus the compositions will be
refereed by a dedicated committee and will appear in the proceedings.

The music papers will be presented in two concert sessions of 3 papers
each. Each composer will have 30 minutes in total, for audition,
communication and discussion.

More details about the music paper sections as well as instructions
for submission can be obtained directly from the music papers Chair:
<dguigue@openline.com.br>.

More information on submitting a tutorial proposal or a demo section
will published on the Web.  Please watch the symposium's Web site for
up-to-date information: <http://www.cin.ufpe.br/~sbcm2001>.

*************************************************************
<  ICMC 2001 -- Call for Musical Submissions  >

Laboratorio Nacional de Musica Electroacustica
Calle 17 esq. I, No 260, Primer piso, Vedado, C.
Habana,CP 10400,Cuba
Tel: (537) 30-3983
Fax: (537) 66-2286/33-3716
Email: <Lnme@cubarte.cult.cu>

---------
ICMC 2001
---------

The 2001 ICMC will take place from Tuesday, September 18 to Sunday,
September 22, 2001 in Havana, Cuba. We are currently accepting
submissions for papers and musical submissions until the deadline of
January 15, 2001.

***NOTE -- Please consult the website at:  www.ICMC2001.ORG for detailed
submission instructions.  The information on this web site will be
considered the official version of the ICMC 2001. ***

----------------------------
Call for Musical Submissions
----------------------------

ICMC 2001 welcomes submissions using:  computers and various acoustic
instruments (see below), interactive performance, improvisation, sonic
processing and spatialization, loudspeakers and sound diffusion
systems (eight channels maximum).  Composers are strongly encouraged
to provide their own computers, associated hardware and software
required for their performance.  The ICMC committee reserves the right
to reject submissions that are not practical to perform in Cuba.

There are two principle ensembles available:

The Cuban ensemble "Nuestro Tiempo," with flute, oboe, clarinet,
bassoon, horn, trumpet, trombone, 2 percussion, keyboard, 6 first
violins, 4 second violins, 3 violas, 3 cellos, 2 contrabass.

The Danish ensemble "Contemporanea," with Fritz Gerhard Berthelsen,
clarinets, Christian Martinez, percussion, Arendse Dalgaard, violin,
Kalina Goudeva, double bass, and Ejnar Kanding, computer, sound
diffusion.

In addition, there are several guitar ensembles, a saxophone quartet,
clarinet quartet, piano/violin duo, chorus, and extensive percussion,
in classical, folkloric and popular idioms.

Naturally, works using digitally generated tape are also welcome. All
commonly used formats (DAT, ADAT, CD) may be submitted.

---------------
Call for Papers
---------------

All contributions of papers, posters, studio reports, and
demonstrations must be submitted by e-mail.

** Abstracts must be submitted as standard ASCII files **

Final submissions will be in .ps or .pdf format; please refer to web
page for details.  This year we welcome extended abstracts, not to
exceed 3,000 words for Long Paper submissions and no more than 1,500
words for other submissions. Do not sneak in references to yourself in
the abstract; the jury process is anonymous.

Email all abstracts to: <papers@icmc2001.org>
(ICMC 2001 Papers Chair:  Dr. Peter Driessen, University of Victoria,
Canada)

Remembering the legacy of Stanley Kubrick, we subtitle this historic
conference "ICMC 2001 in Havana: A Cultural Odyssey."  Papers dealing
with the influence of digital technology in both Western music and in
other, traditional cultures are strongly encouraged, and also papers
dealing with improvisation in electroacoustic music.  We will have
special sessions relating to "Open Art, Open Software & Open
Hardware," with the following focus:

* Open source Standards for Encoding and Communication of Music and
  Sound
* Open art, open software, open hardware
* Linux, Hurd and Audio
* Improvisation in Computer Music
* Visualizing Music 
* Sound Repositories
* Open Scientific Literature

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  ___________________
 |  ACKNOWLEDGMENTS  |
 |___________________|

=============================================================

LEA and Leonardo/ISAST gratefully acknowledges Al Smith and The Malina
Trust for their support of Leonardo Electronic Almanac.
____________________________________________________________
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The LEA Word Wide Web site contains the LEA archives, including all
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  |  SUBSCRIPTION  |
  |  INFORMATION   |
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Editorial Address:

Leonardo Electronic Almanac
718 6th Street SE
Minneapolis, MN 55414-1318
Tel: (612) 362-9390
Fax: (612) 362-0097
Email: <lea@mitpress.mit.edu>
_____________________________________________________________

Copyright (2000), Leonardo, the International Society for the Arts,
Sciences and Technology

All Rights Reserved.

Leonardo Electronic Almanac is published by:

The MIT Press Journals
Five Cambridge Center
Cambridge, MA 02142 USA

Reposting of this journal is prohibited without permission of
Leonardo/ISAST, except for the posting of news and events listings
which have been independently received. Leonardo/ISAST and the MIT
Press give institutions permission to offer access to LEA within the
organization through such resources as restricted local gopher and
mosaic services. Open access to other individuals and organizations is
not permitted.
_____________________________________________________________
<  Ordering Information  >

Leonardo Electronic Almanac is free to Leonardo/ISAST members and to
subscribers to the journal Leonardo for the 1999 subscription year.
The rate for Non-Leonardo individual subscribers is $35.00, and for
Non-Leonardo institutional subscribers the rate is $50.00. All
subscriptions are entered for the calendar year only.

Send orders to: <journals-orders@mit.edu>

Please include full mailing address or MIT Press account number,
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Individuals and institutions interested in advertising in Leonardo
Electronic Almanac, either in the distributed text version or on the
World Wide Web site should contact <journals-info@mit.edu> at MIT
Press for details.
===================================================================
<  End of Leonardo Electronic Almanac 8(11)  >
===================================================================