Symposium on Small Computers in the Arts
October 8-12, 1987 Philadelphia, Pennsylvania
1 Seventh Symposium on Small Computers in the Arts -1987
1987 Symposium on Small Computers in the Arts_______________
WELCOME...to the Seventh Annual Symposium on Small Computers in the Arts. The Symposium is held each year to bring together people interested in the creative uses of computers in the arts. We use the term "small computers" in our name, but we interpret this to mean "accessible". With the continuing development of the ever more powerful, appliance-like personal computers, many people have been able to apply these fantastic tools to their specialties. What is being done with large computers today may soon be possible with much smaller, more accessible microcomputers. The Symposium is a forum for people working with both large and small computers. It is also a mixture of diverse talents and backgrounds, with attendees coining from the arts, computer sciences, engineering and from academia. This interesting blend of people and the intimate nature of the Symposium combine to create a unique atmosphere that brings participants back year after year.
This year we have added many new speakers to the "old reliables" who form the backbone of the Symposium. The topics have broadened to include talks on jewelry, interior design, a panel session on sculpture, and a session on integrating disciplines in the arts. Three important concerts will emphasize the use of computers in performance art and will include a variety of video accompaniment
We have provided technical sessions, workshops, exhibits, demonstrations, an art gallery, and several live performance concerts. Equally important, we have scheduled plenty of social time to enable you to meet people with interests similar to yours. We invite you to immerse yourselves in the activities and enjoy yourself. We hope you leave with as much enthusiasm for the Symposium as we have when we meet to organize this event. Please keep in touch with us both during the Symposium, and of course during the up-coming year until the next one. We value your support, comments, interest, and involvement.
The Symposium Organizing Committee The Symposium on Small Computers in the Arts
This symposium has its origins at a computer music concert held in 1978 as a part of the Personal Computing '78 Show in Philadelphia. The success of that concert prompted its organizers to continue the effort at subsequent shows. Talks about computer music and then graphics were added over the next two years to round out the con-cert. In 1981, it was decided to hold an entire meeting based on computers in the arts and the Symposium on Small Computers in the Arts was born. In subsequent years the Symposium has grown in content and attendance, but has always maintained its informal and intimate atmosphere. The evening computer music concerts are still some of the high points of each year's event.
The Symposium is organized and run by volunteers. Planning for next year begins soon and if you wish to help or have any suggestions, please contact one of the staff during the meeting, or write to us at the address listed below.
Small Computers in the Arts Network
The Small Computers in the Arts Network (SCAN), Inc. was formed in 1985 as a non-profit, educational corporation and recently received its tax-exempt status. As a non-profit group, SCAN is better able to serve the artists, educators, and other interested persons. SCAN's activities include producing this Symposium and other meetings, publishing our resource guide (Small Computers in the Arts News), and keeping a database of artists and persons working in the field. To keep communications flowing during the year that stretches between meetings we publish a magazine called The Small Computers in the Arts News. This 80 page resource guide includes articles, reviews of books and equipment, graphics and original works of art, discussions of current interest, and a calendar of events. It is published in February, June and October. The October issue will contain the Proceedings for this Symposium. Please feel welcome to contribute to the magazine with articles, graphics, or in whatever other ways you would like. We are always looking for new materials and insights. A subscription for this triennial publication is $15, and can be purchased either at the Symposium or by writing to the following
SCAN Inc. P.O. Box 1954 Philadelphia, PA 19105
Seventh Symposium on Small Computers in the Arts -1987
Thursday, October 8
1:00 - 7:00 Registration at Holiday Inn
2:00 - 4:30 Talking Music: Music Space and the Visual Arts Panel: Sound/Image,Technology
and Performance (PCA Auditorium). Part of New Music America.
8:00 - 10:30 The New Instrument: Computer Music Concert
Port of History Auditorium co-sponsored by New Music America 87. Featuring: Joel Chadabe, Ron Kuivila, Salvatore Martorano, Roger Reynolds, Richard Teitelbaum, and Laurie Spiegel. (Separate admission fee except for full Symposium registrants.)
Friday, October 9
8:00 - 5:00
11:00 - 5:00
9:00 - 9:15
9:15 - 10:00
Registration
Exhibits Open
Opening Remarks and SCAN Update
Computers in the Arts
Perspectives in Computer Music
J. William Mauchly
ENSONIQ Corp, 155 Great Valley Parkway, Malvern, PA 19355
In the last five years the use of personal computers in music has progressed from a rare hobby to a widespread activity supported by a substantial commercial market Today, small computers provide tools for composers and musicians which are far more powerful than their large-computer ancestors. What is available now? What problems are still to be solved?
Bill Mauchly is a senior software engineer at ENSONIQ Corp, and has contributed very significantly to the design and implementation of several digital music systems. He has been involved with computer music for many years, and he has been involved with the Symposium since its inception. His history also includes being a professional guitarist, recording engineer, and synthesis!.
The Computer Art Aesthetic
Cynthia Goodman
School of Visual Arts, New York, NY
A brief overview of artistic applications of the computer.
Cynthia Goodman is a professor in the Master of Computer Art program at the School of Visual Arts in New York. She is the author of Digital Visions: Computers in Art published by Harry N. Abrams and the Everson Museum (1987) and she is curator of the exhibition "Computers and Art" being circulated by the Everson Museum in 1987 and 1988.
10:00
10:30
Panel Session: State of the Art
3 Seventh Symposium on Small Computers in the Arts -1987
10:30 - 12:00 Session 1A - Computers in Music Education I
Music Mouse and Related Animals
Laurie Spiegel
How can we productively structure computer tools for creativity? Must "Intelligent" computer-based creative instruments be elaborate systems running complex algorithms? If not, how far can we get by putting very simple elements - processes and data representations - into simple but highly variable and easily, spontaneously, changeable relationships? Music Mouse and other creativity systems that embody the latter approach will be looked at with this question in mind.
Laurie Spiegel has been trying out one model after another in the software she has written over the past IS years for her own use as a composer. Her music, composed using these computer-based logical systems, has been played in venues ranging from New Music America to the New York Philharmonic. She has been released recordings on Philo, Capriccio, and 1750 Arch Records, and is widely heard in film, video, and dance projects. Her computer graphics have been exhibited in the US, Europe, and Japan. After musical training at Juilliard, she did several years of work at Bell Labs before changing her focus to personal computers at the end of the!970's. She has taught computer and electronic composition at Cooper Union and New York University. At present she is a freelance composer and independent software author living in New York City. She is currently best known tat Music Mouse, her program for computer-assisted musical improvisation, published by OpCode Systems for Macintosh and Amiga computers.
Thinking as Trope, and Music as Metaphor
Mary Jane DeGenaro
Music Shapes for Learning
Music Systems for Learning, founded in 1984, is a software development company dedicated to designing and producing products that give users power, control, and understanding of musical worlds. MSL believes that the structure of a musical composition mirrors the process of creative thinking and therefore by entering and exploring a musical composition creative energies are tapped and ideas generated.
Mary Jane DeGenaro, president of MSL and a music educator, will talk about the computer as an entry into such worlds, demonstrating MusicShapes™ as an example of a creative learning environment.
Session IB - Computers in Graphics Education I
From the Classroom to the Real World
Darcey Gerbarg, School of Visual Arts, New York
Darcey Gerbarg is the Director of the computer art program at the School of Visual Arts in New York. She will discuss aspects of the curriculum and present student works.
Computer Graphics: Curriculum Development at Pratt Institute
Isaac Victor Kerlow
Pratt Institute
200 Willoughby Ave, PS 2 Brooklyn, NY 11205-3897
This year marks the Centennial Anniversary of Pratt Institute, in Brooklyn, NY as well as the introduction of a BFA Program in Computer Graphics. The purpose of this presentation is to examine how the Computer Graphics Programs operate in the context of The School of Art and Design. These programs included the BFA and the Graduate Concentration in Computer Arts which has been offered for the last three years. We will review the philosophies of the programs, as well as the specific course descriptions, facilities, and student work.
Seventh Symposium on Small Computers in the Arts -1987
Isaac Victor Kerlow is an artist designer involved in visual projects that require computer graphics technology. He currently directs the.Computers Graphics Programs, and is an Assistant Professor of Three-Dimensional Modeling and Animation at the Graduate School of Art and Design at Pratt Institute. Kerlow is co-author of Computer Graphics for Designers and Artists, a reference and textbook published this year by Van Nostrand Reinhold in New York, and acts as consultant on computer graphics techniques and strategies to several institutions.
3D Painting in a 2D World
Mike Gotten
A brief showing of the use of small computers to preview designs for larger commercial projects and to storyboard animations. Examples to be shown include the use of a low cost paint program to preview the interior design of a large record company, to design a large mural for Chemical Bank, and to storyboard some TV logos and commercials.
Mike Gotten was a founding member, art director, production designer, and synthesizer player for the Tubes from 1973 to 1986. He is currently the producer for several new music groups. He does free-lance computer aided painting and computer animation for corporate clients including Mitsubishi, CBS Records, Capitol, EMI, Adidas, and Pacific Bell.
11:00 - 1:30 Lunch, Exhibits, and Vendor Forums
2:00 - 4:30 Talking Music: Music, Space, and the Visual Arts Panel: Sound/Object,
Environments and Participation (PCA Auditorium)
1:30 - 3:00 Session 2A - Computers in Music Education II
The new IBM Music Feature Card
Juanita Crawford
Christina School District, Newark, Delaware
This demonstration will use the software PlayRec, Personal Composer, and GUIDO to demonstrate the capabilities of the new IBM Music Feature Card. The card can provide up to 240 voices, can function as a 16 track recorder, has MIDI, and is comparable to having 8 synthesizers in your computer.
Juanita Crawford teaches vocal arts in grades 1-3 in the Christina School District, Newark, Delaware. She is running a pilot project for the school district on music education. This project received national attention at an Apple Computer Symposium in May, 1986. Ms. Crawford was featured on the cover of the September 1986 issue of Incider magazine. She has been the speaker at the Computers and Young Children Convention as well as many other meetings including the upcoming MECC in November and also at National Music Education Convention in April 1988 where she will be speaking on using MIDI with young children. Ms. Crawford teaches computer classes to teachers in the district. She studied under Dr. Fred Hofstetter at the University of Delaware.
The University of Delaware Videodisc Project
Juanita Crawford
Christina School District Newark, Delaware
The much acclaimed music videodisc series of the University of Delaware will be demonstrated. Discussion will cover the advantages of using videodiscs and will include score analysis and Schubert's Erl Konig. The disc's slide bank features many composers, places, and instrument demonstrations, in both video and audio. The talk will conclude with a demonstration of Dies Irae and an opera.
Seventh Symposium on Small Computers in the Arts -1987
Session 2B - Computers in Graphics Education II
Visual Metaphors Used in Teaching "C" Programming Concepts to Artists
Duane Palyka and Tetsu Ishimaki
Computer Graphics Laboratory, New York Institute of Technology PO Box 170, Wheatley Road, Old Westbury, NY 11568
What does blowing a hot trumpet, eating corn, and roasting in hell have to do with learning "C" programming? Duane Palyka discusses the use of creative mythology and personal iconography to teach "C" programming to artists. Apply a light coat of some programming language to survive the heat.
Duane M. Palyka is an artist and computer scientist at the New York Institute of Technology Computer Graphics Laboratory. He received both a BS in mathematics and a BFA in painting from Carnegie-Mellon University. During his employment as a research associate and systems programmer in computer graphics at the University of Utah, he received an MFA from their art department His computer art has been exhibited internationally since 1968.
Student Blocks and Breakthroughs
Lauretta Jones
The creative blocks suffered by students of computer graphics are not all peculiar to the discipline, but computer graphics does offer some unique approaches in overcoming these blocks. Lauretta Jones will share some of her experiments and successes in using 2-D paint systems to teach students ways of seeing, thinking, and finding the courage to break through.
Lauretta Jones currently works in New York City as an independent designer, illustrator, and consultant specializing in computer based graphics technology. She also teaches at the School of Visual Arts in New, York, where she has developed computer graphics courses for graphic designers and illustrators. She is a founding member of the Computer Arts Discipline of the Graphic Artists Guild, and serves on the board of the New York City chapter of SIGGRAPH.
Computer Controlled Video Design for the Classroom
Victor Grauer
This talk will include a demonstration of the Video Procedures Library, an ultra-high-level language for the creation of dynamic video displays in a classroom setting. Examples of student video presentations created with VPL will be shown.
Dr. Victor Grauer has been active as an artist and educator in music, film, intermedia, and computer video. He has taught at the University of Pittsburgh Music Department and Pittsburgh Film Makers and is currently employed as Computer Arts Co-ordinator at the Pittsburgh High School for Creative and Performing Arts. Dr. Grauer has been a pioneer in the field of structural film; his works have been presented internationally.
3:00 - 3:30 Refreshments and Exhibits
3:30 - 5:30 Session 3 - Integrating Disciplines in the Arts
New
thoughts and new ideas for software in the arts
Dr. Timothy Leary
Timothy Leary is a name familiar to most of us as a pioneer in the exploration of the human
Seventh Symposium on Small Computers in the Arts -1987 6
mind, though many people are not aware that one of his most active interests is in the relationship of human intelligence with the computer. He has been working on several software concepts which have led to the development of the Mind-Movie program and Neuromancer (to be released by Activision next year). He is particularly interested in the creative applications of personal computers.
Novice Programming and Music Representation David Levitt MIT Media Lab Cambridge, MA
Computing kits like Hookup allow novices to create music and animation by connecting wires and icons on the screen. Other programs use built in knowledge of harmony to provide training wheels and feedback so novices learn concepts while making music.
David Levitt completed his graduate degree in the MIT AI lab where he wrote software that created music such as jazz arrangements and improvisations.
The Sound Vision Connection
Stuart Sharpe
Stuart will be demonstrating how to make the connection between sound and animation. He will be showing Videoworks II in color and Videoworks Interactive in color on the Mac II.
Stuart Sharpe works for Macromind doing interactive demos and production work. He has produced six videos with his own music and animation, all made on small computers.
5:30 - 6:30 Break
6:30 - 7:30 Reception: hors 'd oeuvres and cash bar 7:30 - 8:00 ' "The Cybernetic Person of the 21st Century" - Dr. Timothy Leary 8:00 - 10:00 Computer Music and Video Performances
Local Boys Make Good
Musicians:
Tom Metcalf, John Greenland, and Mike Ford
Video Artists:
Bob Yannes performing with the Fairlight CVI
Brooke Boering with CEEMAC/Fire Organ
Thomas Metcalf has enjoyed success as a performer, composer, and sound developer for the past ten years. The history of his musical training includes several years of study with pianist Duncan Stearns. Tom's compositions have been featured on a number of WXPN radio broadcasts, including "Directions in Music", "Diaspar", and the"Experimental Radio Project". Tom has been employed with ENSONIQ Corp for the past three years, and currently holds the position of Sound Designer/ Analog Engineer. He is responsible for most of the samples contained in the critically acclaimed sound library for the ENSONIQ Mirage Digital Sampling Keyboard.
John Greenland has been involved in the process of making music for many years. As a performer, his proficiencies include percussion, electric and acoustic guitar, and keyboards. Over the past few years, he has composed and recorded his own works in an 8-track home studio, and has worked with several local bands as sound engineer and arranger. John has been employed at
Seventh Symposium on Small Computers in the Arts -1987
ENSONIQ Corp for over two years, and currently holds the position of Sound Designer. He is responsible for the creation of many of the patches in the sound library for the ENSONIQ ESQ-1 Digital Wave Synthesizer. John graduated with a BFA degree from Beaver College in 1976, and has enjoyed success as a visual artist as well as a musician. His paintings and sculptures have been shown in Pennsylvania and New Jersey.
Mike Ford has been studying piano since he was five, and the time spent practicing is reflected in his formidable technique. He has studied at Philadelphia Music Academy, and later privately with Susan Stair. He has played electronic keyboards in progressive rock bands, and has an intimate understanding of synthesizers. He is an active composer, and works with ENSONIQ Corp developing sounds and sequences for their line of digital musical instruments. He also performs regularly at the Adam's Mark Hotel in Philadelphia.
Bob Yannes is a comrade to every electron. He is one of the founders of ENSONIQ Corp, and has been the principal systems designer for the ENSONIQ line of digital musical instruments. Prior to ENSONIQ, he worked at Commodore, where he was involved with the design of the Commodore 64. His interest in things electronic has led him to the Fairlight Computer Video Instrument, with which he improvises to the music performed. Amazing yet tasteful.
Tom DeWitt and the Raytel Visual Music Festival
Laser visualization of music by Happy Rhodes. The animation was created with the Pantomation Tracking System running on an Apple n, the EAB Videolab, and a Serge Modular music system. It was recorded on PCM videotape and is displayed with the Raytel Model 4 projector. Ms. Rhodes' music was recorded at Cathedral Sound Studios in Rensselaer, NY by Pat Tessitore.
Ed Tannenbaum with Videos of Dance and Special Effects
Seventh Symposium on Small Computers in the Arts -1987 8
Saturday, October 10_____ ___ ___
9:00 - 6:00 Exhibits Open
9:00 - 12:00 Workshops
This year we present eleven workshops on a variety of topics. Each is an in-depth presentation, demonstration, or discussion on a particular topic relevant to technology in the arts. Most workshops will be 1 1/2 hours in duration, thus you will be able to participate in two of them on Saturday morning. Note: no surcharge for Full Registrants and Saturday Registrants.
The Macintosh as an Integrated Design Tool
Les Derby
This workshop will show how to combine various types of graphic data and page composition software and will give an overview of the different types of graphics generation software.
Electronic Media Curriculum Issues
Bill Kolomyjec and Walter Wright
The curricula at Northern Illinois University and Virginia Commonwealth University will be discussed and compared. Student works will be shown. Bill Kolomyjec's "Logical-Illogical Diagram of How to Get Things Done in Higher Education" will be shown. Issues such as what comes first, the curriculum or the lab and where does computer graphics belong (design or art) will be discussed. A survey of curricula around the U.S. will be reviewed
Advanced Sequencing Techniques, SMPTE Synchronization, and the Current State of Music Technology Since Last Year Tom Stephenson
Tom Stephenson will cover these topics in a tutorial session followed by a discussion of the current state of music technology including recent advances and a look to the future.
Techniques for Solid Modeling Using Commercial Software
Chuck Glassmire
Academic Computing Department
University of Pittsburgh
Pittsburgh, PA
A fundamental tutorial on the process of solid modeling with small computers will be presented. This survey illustrates in non-mathematical terms the synthetic process of creating solids on the computer screen. Topics will include techniques of gathering the database, displaying the wireframe, translation and rotation equations, elementary surface rendering techniques, shading styles, and vocabulary for solid modeling. Mathematical background is helpful but not necessary.
Chuck Glassmire is the graphics coordinator for the academic computing department at the University of Pittsburgh. He will be teaching his first course in computer art starting in January for the Department of Studio Art. He has designed and installed the Advanced Graphics Lab at the University of Pittsburgh which offers hi-res solid modeling, video digitizing (1024 x 1024 x Sbits), advanced art paint systems, and software tools for computer graphics.
CAD Sculpture Rob Fisher
Detailed descriptions of six major projects will be presented, all of which utilized the computer
Seventh Symposium on Small Computers in the Arts -1987
extensively. The focus will be on how computer graphics is integrated into the normal flow of creating these works. A video documentary of the Japan sculpture will show the process from beginning to end.
CEEMAC 1.6 Visual Composition System Brooke Boering
This workshop will demonstrate the CEEMAC visual composition language and particularly its use in motion graphics and in teaching motion graphics. Brooke Boering is the grandaddy of motion graphics on small computers having created and released Fire Organ in the early days of the Apple n computer. CEEMAC, the language used to create Fire Organ, has gone through several revisions and as Brooke announced at last year's Symposium, is now in the public domain.
Who Owns the Image?
Frederick Wilf, J.D. and Joel Diamond
A special open panel discussion on the issue of ownership of the rights to images. With the advent of desktop publishing technologies, electronic storage systems, and computer-based telecommunications, both professional and non-professional computer users have access to thousands of computer generated graphics sources. The popularity of inexpensive image scanners and graphics software have enabled computer users to incorporate and manipulate graphics components in commercial applications, including advertising and other marketing vehicles. A number of controversies have popped up concerning the loss of ownership of original artwork and royalties when images are used in these applications. This special panel group offers both the legal and end-user perspectives on the uses of clipart sources (digitized photographs and images from original art and graphic design images) in trademarks, logos, sketches, photographs, illustrations, blueprints, etc.
Frederick Wilf, J.D., of Elman Associates, a law firm practicing high technology law, will review current controversies affecting the future use of reproduced graphic images, as well as discussing how graphics design professionals can protect their rights, how end users may also protect themselves from copyright infringement Joel Diamond will lead the discussion and present the current issues from the computer user's view point. Mr. Diamond, an independent computer graphics consultant, is involved with every aspect of computer generated image technology, from both creation and application environments.
Procedural Music Languages Jeanne Bamberger
This workshop will present an in-depth look at MusicLogo, created at MTT by Professor Bamberger. MusicLogo incorporates music sequencing and graphics capabilities that can be accessed like any other Logo entity. The use of this easy-to-leam but powerful high level language encourages the flexible development of new exercises and projects for curriculum use.
Textile Graphics Marie Ozmon
A hands-on workshop in using the computer for woven and non-woven textile design. Utilization of commercial and artist-developed programs. Emphasis on utilizing the computer as an exploratory design tool.
Advanced MIDI Topics Jim McConkey
An in-depth review of the MIDI spec and its recent extensions followed by discussions of the normal and advanced uses of MIDI. The discussions will be tailored to the participants, but may include sequencing, patch management, composition, live performance aids, and AI in music software.
Seventh Symposium on Small Computers in the Arts -1987 10
Mondrian, Picasso, and Ephraim Cohen Scrolling by on an Atari 800
Duane Palyka
Mondrian paintings, Picasso drawings, and Ephraim Cohen's own drawing style are simulated by computer programs which run in real time on the Atari 800. Ephraim, an incredible assembly-language programmer, shows how spline functions can simulate various artistic drawing styles. Catch them before they scroll on by.
12:00
- 1:30 Lunch Break, Exhibits, and Vendor Forums
1:30 -
3:30 Session 4A - The Digital Studio I: Music
Fun with MIDI
Paul D. Lehrman
A look at non-standard ways of controlling musical input to a MIDI system, including drum pads and pitch-to-MIDI converters.
Paul Lehrman is a composer, consultant, writer, and software developer. He writes the column "Managing MIDI" for Recording Engineer/Producer. He is a contributor to Studio Sound, MacUser, Electronic Musician, and Computer Music Journal. He is the creator of "The Celtic Macintosh" which is the first all-MIDI album. Mr. Lehrman is president of LehrWare, a consulting and retail company. He is a composer of soundtracks and broadcast music.
A New Approach to Music Software
Joel Chadabe
Intelligent Music
M and Upbeat, two MIDI music programs published by Intelligent Music, represent a new approach to composing and performing: the Intelligent Musical Instrument. An intelligent musical instrument makes musical decisions while it produces sound and responds to a performer's controls.
Joel Chadabe studied with Elliott Carter at Yale University and afterwards in Europe. His music is published by Carl Fischer Inc. and recorded on Opus One, CP2, Folkways, and Lovely Music labels. He teaches electronic music at State University of New York at Albany and at Bennington College, and he is president of Composers' Forum, Inc., in New York City.
New trends in the use of computers in music
Tom Stephenson
Tekcom Corp.
Tom Stephenson is the manager of the music resources division at Tekcom Corporation, the largest pro-audio dealer in the Mid-Atlantic region. He has designed systems for many broadcast, studio, film, and touring applications, including systems for the Grateful Dead, Cyndi Lauper, Academy Award winner Joe Renzeti, and several universities.
Session 4B - Panel Session: Sculpture and the Computer
Jon Fordyce, Chairman
Panelists: Rob Fisher, Judy Kracke, Rita Starpattern, Stephen Pevnick, Mary Visser, Sally Weber
11 Seventh Symposium on Small Computers in the Arts -1987
This panel discussion will address the relative advantages and disadvantages of small computer 3-D graphic software for use by sculptors. Special attention will be given to Atari 520 and 1040, Amiga 500 and 1000, and Apple Macintosh computers. Considerations will be given for uses both as 3-D sketch tools and for serious CAD applications.
Moderator Ion Fordyce has been a productive sculptor for 22 years. He began to explore small computer 3-D CAD in 1981. He has exhibited computer generated work nationally. He~has worked as a teacher in a number of public and private schools and has served as a consultant to 3-D computer graphic software developers. He is currently writing, teaching, and exploring the creative capabilities of small computer CAD software
Mary Visser
Mary Visser is president of an arts organization "Women and Their Work" and an assistant professor at Southwestern University in Georgetown, Texas. She recently designed (using a computer) and completed a 9' sculpture for installation at the University Hills Library in Austin, Texas. She uses a Macintosh for her design work and will talk about the software used: what was good, what was limiting, and what she would like to see in the future.
A programmable information display for public spaces
Stephen Pevnick
Art Department
University of Wisconsin at Milwaukee
Milwaukee, WI 53201
This talk will describe a free-falling water droplet fountain. The fountain generates 18,000 water droplets/second from a 2304 nozzle array. It is run by 5 IBM PCs in a distributed processing network and produces programmable 3-D graphics. It can spell in all the world's alphabets and is currently installed in a research lab at the University of Milwaukee. Modular 1 square foot sections, each controlled by a computer, can be joined to form water sculptures of different sizes.
Stephen Pevnick is an Associate Professor at the University of Wisconsin and has an MFA in multi media with a minor in sculpture. He is a member of the Industrial Design Society of America and has been building water fountains for 12 years starting with a PDP-11 with core memory and paper tape operating system in 1976.
Rita Starpattern
Utilizing slides of examples of work, the discussion will focus on sculpture/installations and performance projects that were done in collaboration with other artists. The emphasis of this discussion will be collaborative efforts and how this is effecting her current work with small computers and other sculptors.
Ms. Starpattern is an artist with critical recognition for her sited outdoor sculpture, interart events, and computer assisted sculptural design. Currently she also works as a grants coordinator for a state arts agency; formerly she was the Executive Director for an artist organization which produced and presented visual and performing arts and an art director for a graphics arts training facility. In 86-87 she was a member of the National Endowment for the Arts Visual Policy Overview Panel and in 87 she served as a panelist for the Interdisciplinary Initiative Program of the National Endowment for the Arts and the Rockefeller Foundation.
Seventh Symposium on Small Computers in the Arts -1987 12
The computer and site specific sculpture
Judy Sutton Kracke
The presentation will demonstrate and discuss the utilization of the Amiga computer to superimpose a variety of sculptural images on a variety of sites. A video tape will illustrate the combination of digitized images taken from drawings, maquettes, slides, and photographs with sites taken from video tape, photographs, slides, and architectural drawings.
Judy Sutton Kracke is a conceptual, site specific, environmental sculptor currently using a grant from the Connemara Conservancy Foundation for a sculpture to be installed in Dallas, Texas in 1988. Judy has a B.S. in education, a M.S. and M.F.A. in sculpture and teaches at West Texas State University.
The Integration of Computers in the Interior Architecture Curriculum
Kathleen Stumpf
Northern Illinois University School of Art
DeKalb, IL 60115
The presentation will involve a discussion on how the small computer can be more effectively used in studio instruction and design at all levels of the Interior Architecture curriculum. The demonstration of these ideas will involve charts showing the ideal studio/lab environment and the existing studio/lab environment, and will give suggestions for how a transition can be made between the two. The Macintosh laboratory at NIU will be the focus for a case study.
Kathleen Stumpf, Associate Professor of Art, studied art and design in New York and France. She has a masters degree in Environmental Design from Pratt Institute. Currently, she is a Ph.D. candidate in Architecture at the University of Wisconsin. Present activities involve research and consulting work in Historic Preservation. Other areas of interest and research work include facility design and management and the use of computers in architectural and interior design.
Alignment: A Holographic Sculpture
Sally Weber
A collaboration involving the use of a small computer to design the optical configurations needed to produce the holographic sculpture.
Sally Weber is an artist working wilh holography to produce large format installations. She received a degree in environmental art from the Center for Advanced Visual Studies at MTT and has been working with holography since 1982 and is currently investigating multiple applications for architectural scale holographic installations.
3:30 - 4:00 Refreshments and Exhibits
4:00 - 5:30 Session 5A - The Digital Studio II: Music
Modular Digital Synthesis
Dave Rayna
A presentation of the Rayna Systems Modular Synthesizer Emulator software for the IBM PC and Atari ST personal computers. The program offers a library of 40 modules for constructing and controlling sounds. Hundreds of these sounds may be combined to create timbral compositions. Special controllers, including a 576 note keyboard, will also be demonstrated.
13 Seventh Symposium on Small Computers in the Arts -1987
Dave Rayna has been creating computer music systems and building custom systems for other musicians for more than six years. He combines experience in electronics, computer programming, acoustics, mathematics and music in the process of developing music systems geared toward experimentation and exploration. His systems have been used by LaMonte Young, Alvin Lucier, David Gehrman, John Wiggins and others.
Session SB - Installations
Insect Mythology Insect Technology
Paul Rutkovsky
Insect Myth/Tech is a fictitious civilization of highly evolved insects that dominated a site on Key Biscayne over 2 million years ago. The insects built huge city-like environments that included transportation systems powered by electricity.
Paul Rutkovsky is currently an Associate Professor in the Department of Art at Florida State University. He had a research fellowship from the Center for Advanced Visual Studies at M.I.T. during the summer of 1987.
Three Recent Computer-Based Installations
George Shortess
The speaker will describe three art installations that involved creating or modifying existing environments, using both static visual components and sound patterns that were changed by the way in which people moved in the space. They provided a metaphor of perceptual experience based in the human nervous system.
George K. Shortess is an independent artist and professor of psychology at Lehigh University, where he teaches courses on perception and the visual arts.
"Suburbia without Boundaries"
Tom Klinkowstein
The speaker will describe his work in Europe and the United States using telecommunications and other new electronic media in performances and installations.
Tom Klinkowstein is a media-artist whose work has been shown throughout the world. He lives in New York and teaches at the New School for Social Research and the Moore College of Art.
5:30 - 8:00 Dinner Break - check out the Philadelphia restaurants 7:00 - 8:00 Meet the Artists - Reception and Art Show
8:00 - 9:30 Tenth Annual Computer Music Concert - Holiday Inn Hotel Ballroom
Featuring: Don Slepian, Dr. Richard Boulanger, and Paul Lehrman.
9:30 - 11:00 Videobar Reception. Bring slides, videotapes, and instruments.
Seventh Symposium on Small Computers in the Arts -1987 14
Sunday,
October11__________________________________
9:00 -
3:00 Exhibits Open
9:00 - 10:30 Session 6A - The
Digital Studio III: MIDI Topics
MIDI 101
Jim McConkey
Triangle Audio
A general, and hopefully not too technical, introduction to MIDI; what it is and how it is used.
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Jim McConkey is president and chief software wizard of Triangle Audio, Inc., developers and purveyors of fine MIDI software. An EE by training, he has MIDI retrofitted many instruments from Casio M-10 to large modular synths. His MIDI software includes real-time processors, librarians, and the only real MIDI arpeggiator on the market.
The Public Domain MIDI Standard
Jay Kubicky and Joel Diamond
Joel Diamond and Jay Kubicky will present the only hardware MIDI interface introduced to the general public domain. Developed in early 1986, the technology was published in a feature article in the June 1986 issue of Byte magazine. Since publication, thousands of hobbyists from around the world have built the interface based on the schematics provided in the article. To date, this is the only public domain interface in existence for the PC standard bus, and offers thousands of PC owners the ability to participate in MIDI technology with very little investment! Joel Diamond and Jay Kubicky have formed their own company which develops similar MIDI-related technologies.
Joel is the founder of the Philadelphia Area Computer Society MIDI Users Group, and has lectured, performed on MIDI technology to every major users group in the area, including the Trenton State Computer Festival. Jay Kubicky is a senior at Penncrest Senior High School in suburban Philadelphia..
MusicLogo: An Environment for Procedural Composition Jeanne Bamberger and Armando Hernandes 20C-112, MIT, Cambridge, MA 02139
MusicLogo is a version of the Logo programming language, currently implemented for Apple II, IBM-PC and Macintosh. It incorporates music sequencing and graphics capabilities, and encourages flexible development of new exercises. Users work interactively with fundamental pitch and time relations with immediate feedback.
Jeanne Bamberger is Associate Professor in the Music Department at MIT and Director of Athena Music Lab. She has done research in music and cognition, development of musical intelligence, music theory, and educational environments. Armando Hernandes is a software developer in the Music Department at MIT and chief developer at Athena Music Lab. He has a BSEE from MIT.
Session 6B - The Digital Studio I: Graphics
Macintosh as an integrated design tool
Les Derby
Its superior ability to manipulate visual information has placed the Macintosh in the spotlight as
15 Seventh Symposium on Small Computers in the Arts -1987
the preferred tool for supporting the graphic design process. To practically apply this technology, however, several hurdles must be overcome: public perception that design is the product of the machine, and gaining a clear understanding of the limitations and capabilities it represents.
Les Derby did undergraduate work in Communication Arts and Design at Virginia Commonwealth University, and is now Design Manager for Pohlig Brothers Inc., a paperboard packaging manufacturer in Richmond, Va. He also does free-lance design and systems consulting in the Richmond area.
Envelopes of Color Space: Color Digital Harmony
Donna J. Cox
National Center for Supercomputing 605 E. Springfield Champaign, IL 61820
The Interactive Computer-aided RGB Editor (1C ARE) is a simple, interactive software tool created by the artist/author to manipulate large subsets of RGB color space. This tool provides a systematic color mapping technique for computer-generated or digitized images. Interactive control allows the user to create complex waveforms of color "sounds." Interesting applications include unique color maps for scientific visualization (SIGGRAPH '87 Film and Video Show) and a real-time graphics performance (International Computer Music Conference, 1987). ICARE was originally created and displayed on a high-end workstation and has been translated to a personal computer where it will be a part of the "Interactive Image" exhibit in the Museum of Science and Industry, Chicago. The basic concepts used for color generation and exploration are presented here.
Donna J. Cox is currently a visiting assistant professor in the Art and Design School at the University of Illinois and an adjunct professor for supercomputing applications at the National Center for Supercomputing Applications. She has art work published in more than twenty major publications, has exhibited art work in more than 40 exhibitions, and has given more than 13 presentations in the last three years. Her current interests involve the use of art to visualize scientific data at the National Center.
A Critic's View of Computer Graphics
Dr. Stella Russel
Computer derived imagery ranges from commercial graphics to fine arts. Six criteria concern most art critics in evaluating computer graphics as well as all other forms of art. A few aspects, unique to the computer, and hardly as yet explored, may determine computer masterpieces in years to come.
Stella Pandell Russell, artist, educator, author, lecturer, and art critic has earned a BFA from Hunter College, an MA in art education from Teachers College, a PhD in art history from Columbia University and an MA in computer and video art from NYIT. She is preparing an art history survey and a computer art prospectus for publication.
10:30 - 11:00 Coffee Break and Exhibits
11:00 - 12:30 Session 7A - The Digital Studio IV: Music Performance
Performance Forum
Don Slepian
Don will conduct an impromptu performance with computer instruments and will discuss how you can play these things without sequencers, i.e. solo, real-time. He will discuss how to set up a MIDI net so that you can play any or all of your instruments.
Ed Tannenbaum
Seventh Symposium on Small Computers in the Arts -1987 16
Der Fledermaus
TomDeWitt
Planet Mirth
The ubiquitous computer mouse has grown wings. Here is a non-contact, optically-tracked, three-dimensional input device. We see examples of its uses: conducting Laurie Spiegel's Music Mouse program, reading the lips of an actor to create computer generated character animation, and drawing pictures for laser graphics. The technology is explained. It currently runs on an Apple II but is extensible to any computer with a light pen interface.
Tom DeWitt built his first tracking chroma key system in 1977 to facilitate the integration of pantomime with video special effects. His research has been variously funded by the National Endowment for the Arts, the NY State Council on the Arts, and the Guggeneim Foundation. When he isn't designing laser range finders for Raytel, Inc. of Troy, NY or doing research at Rensselaer Polytechnic Institute, he can be found in his studio on Planet Mirth.
Session 7B - I Got Rhythm, You Got Rhythm, We Algorithm
New Tools for Computer Artists
David Cook
This presentation will focus on hardware and software currently available for the computer graphics artist and educator. Special attention is paid to the IBM-PC line of computers. The discussion will include a briefing on current uses of graphics tools.
David Cook began working with computer graphics during college and continued his learning while working for Lear-Siegler, NASA and other graphics companies. He is currently employed with Computer Design Inc., where he creates fabric design systems. He also consults with several leading manufacturers of graphics hardware and software, including the AT&T EPICenter and GSL groups.
Graphics primitives, sound primitives, and fundamental concepts in electronic art (An
autobiographical survey)
Walter Wright
Dictated while driving cross country, Mr. Wright's paper discusses the people, places and ideas that influenced him in his efforts in the electronic arts. Neither overly technical nor historically accurate, the paper tries to show the links between electronic music, video, and computer graphics from 1967 to the present.
Walter Wright was educated as an architect but never practiced. He spent the last 20 years balancing on the leading edge of technology. He regressed from the big mainframes to small computers, from IBM to the Amiga and now wishes he had more time to spend in his studio.
Algorithmic Art on Small Computers Dr, Bill Kolpmyjec Northern Illinois University
In the sense that the term is being used here, "Process Art" is computer graphic imagery which may be viewed while it is in the process of being generated. Process Art may be easily accomplished using an infinite loop construct and randomly defined variables within a computer program. However, aesthetic process ait requires the visual skills of a designer/artist who has artistic sensibilities as well as an understanding of the capabilities and limitation s of the medium.
17 Seventh Symposium on Small Computers in the Arts -1987
Process An does not come to a conclusion nor does it end in tangible form as an artifact (unless recorded to videotape). Thus, process art must not be considered as "static imagery" but rather as "time based imagery." As time based imagery different standards apply at all levels: conceptualization, programming, delivery, and evaluation.
Small machines or microcomputers are ideal systems for the programming of Process Art This author/artist has been investigating the generation of dynamic computer imagery on the AT&T TARGA 16 board using a collection of low-level experimental graphics primitives written by software engineer David Cook. The graphics primitives library is easily programmable via the C programming language. This talk will address some of the notions associated with making process art on small machines.
12:30
- 2:00 Lunch Break, Exhibits, and Vendor
Forums
2:00 - 3:30 Session 8A - The Digital
Studio V: Music
Eedie and Eddie on the Wire
Peter Langston, Bell Communications Research
"Eedie" and "Eddie" are two fictitious characters that narrate a demonstration of computer music generation. This demonstration involved work going on a Bell Communications Research and is heard by calling (201)644-2332. Peter plays a recording of a call to Eedie and Eddie and interjects explanations and commentary.
Peter Langston has been involved with computer music since 1964 and computer graphics since slightly later. He has been a performing musician since the early 60's, and has appeared on several recordings. He started the Games Group for Lucasfilm Ltd, and is now a researcher in Software Engineering at Bell Communications Research.
Computer analysis and synthesis of an acoustic piano note
Karl Gugel
A PC-AT was used along with a data acquisition unit to digitize and store several acoustic piano notes. The notes were visually analyzed and subjected to Fourier and Walsh Transformations. From this visual analysis, several types of waveform synthesis and data reduction were formulated. Results of this analysis will be presented both visually and aurally.
Karl Gugel has a BS and MS in Electrical Engineering. He has worked for six years as a development engineer for IBM, Boca Raton, Florida in the Entry Systems Division. He enjoys piano playing, tennis, training for triathalons, and sailing.
Session SB - The Digital Studio II: Graphics
Teaching the Turtle C
Marie Ozmon
A discussion of the process of transferring programming knowledge from Logo to C via the simulation in C of a turtle graphics environment.
Marie Ozmon (a.k.a. Morello) is an artist/programmer/teacher. She earned an MA from the Philadelphia College of Art and is an MFA candidate in the A very Graduate School of the Arts. Her current interests are in the exploration of computer world environments for textile design and
Seventh Symposium on Small Computers in the Arts - 1987 18
experimental video. During 1988, she will be co-producing video and computer generated animation sequences with her students.
An Overview of Recent Projects
Rob Fisher
This presentation will be a general overview of recent projects with a focus on Sky Harp (50* high) for the Osaka Hilton international in Japan. The use of micros to provide studies for parts and pieces will be discussed. Examples from the Amiga will be shown.
Rob Fisher has been pioneering the use of computer graphics simulation in environmental sculpture for the past 8 years. During that period he produced many monumental works using this technology including Northern Lights for Playboy's Hotel Casino (581 high). Galaxy for Howard Johnson's headquarters in Qunicy, Mass (86* high) and the recent work (1986) Sky Harp for the Osaka Hilton (56* high ). He is currently developing a major sculpture 50 ' high by 70' long for the atrium of a medical center in Yanbu, Saudi Arabia to be completed next spring. He has lectured and written internationally on the subject
Cybernetic Jewelry: Wearable Microsystems
Vernon Reed
The speaker will present a revolutionary kind of jewelry which employs an on-board microcomputer to generate images in a LCD panel or other display device, making it unique in being defined by software, rather than hardware considerations. The presentation will give the audience a feel for what it is like to work in this new art form.
As the first to incorporate LCD technology into jewelry, Vernon Reed is a pioneer of the electronic jewelry movement. His work has been widely exhibited internationally, both in traditional an jewelry venues and computer art exhibitions. He has been exploring the potential c microcomputer control of LCD's in his work for the past several years.
3:30 - 4:30 Closing Session
MEDLEY MUSIC
1041 lancaster avenue • bryn mawr • PA . 19010 • (215) 527 - 3090
Special thanks for providing some of the musical equipment used in our concerts
19 Seventh Symposium on Small Computers in the Arts -1987
Exhibitors________________________________________ The following companies are exhibiting at the Symposium:
Copyright Office
Library of Congress Washington, D.C. 20559
Contact Julia Huff
Julia Huff, from the U. S. Copyright office will again be available (Friday only) to answer questions on copyright and related topics.
A variety of publications will be available for distribution.
Cricket Software, Inc.
30 Valley Stream Parkway Malvern, PA 19355(215)251-9890
Contact: Carol Clyde
Cricket will be showing the latest versions of their widely used Cricket Graph and Cricket Draw software.
Eclipse Services
842 W. Lancaster Ave. 3rd floor Bryn Mawr, PA 19010
Contact: Jeanette MacNeille
Eclipse Services provides a variety of consulting services and products for the use of computers in the arts.
ENSONIQ Corp
155 Great Valley Parkway, Malvem, PA 19355 (215) 647-3930
Contact: Bob Hager
ENSONIQ is the manufacturer of a line of widely acclaimed digital musical instruments which will be on display.
Garrett Music
266 E. Marshall Ave. Langhorne, PA 19042 (215) 752-7140
Contact: Karl Garrett
Garrett Music specializes in music software sales and MIDI systems consultation.
Intelligent Computer Music Systems, Inc.
POB 8748 Albany, New York 12208 (518) 434-4110
Contact: JoelChadabe
Two new products, M and Jam Factory, provide sophisticated, easy-to-use tools for algorithmic composition.
Music Systems for Learning, Inc.
311 East 38th St. #20C New York, NY 10016(212)661-6096
Contact: Mary Jane DeGenaro
Music Systems for Learning will be demonstrating Music Shapes (TM) which allows shaping building music blocks into bigger and
bigger musical structures with graphic non-traditional visual representations.
New Music America c/o Relache
POB 19209 Philadelphia, PA 19143 (215) 387-4115
Contact: Joe Franklin
The New Music America folks will be selling a variety of books, T-shirts, and other related articles.
The Philadelphia Area Computer Society Special Interest Group on Music and Graphics
c/oPACS Box 312 LaSalle University Philadelphia, PA 19141
Contact: Joel Diamond
The PACS Music and Graphics SIG is are active groups meeting monthly as part of the Philadelphia Area Computer Society.
Information on these groups will be available at the booth.
Rayna Systems
juj Vincent Ave. Lynbrook, NY 11563 (516) 593-9894
Contact: David Rayna
Rayna Systems will be showing then- latest in computer music systems.
Seventh Symposium on Small Computers in the Arts -1987 20
SCAN
Box 1954 Philadelphia, PA 19105
Contact: DickMoberg
The traditional SCAN Store will be selling back issues of the Proceedings and SCAN, the resource guide. Items from various artists
and performers will also be available for sale.
V_Graph, Inc.
1275 Westtown Thomton Road PO Box 105 Westtown, PA 19395 (215) 399-1521
Contact: Rob Morris
V_Graph is a remarkable small software company that has spent the last year and a half developing a new communication medium
called Virtual Video™. Virtual Video is a desktop video production system for video tapes and interactive video without a videodisc.
The system, which can be used to create standalone interactive presentations which incorporate digitized video and animation, using
IBM-PC compatible computers equipped with special video interface hardware, will be demonstrated.
Voyetra Technologies
426 Mt. Pleasant Ave. Mamaroneck, NY 10543(914)698-3377 Contact: FredRomano
Voyetra Technologies will be displaying their line of fine music software for the IBM and compatible computers. Specifically: Sequencer Plus MKI, MKII & MKIII, The Patch Master Plus, Conversion Plus, and Sideman DTX. Also, the OP4000 and OP4001 MIDI Interfaces will be shown.
1987 Symposium Sponsors: Small Computers in the Arts Network, Inc. The Computer Society of the IEEE The Philadelphia Area Computer Society
Donations gratefully received from: Commodore Business Machines ENSONIQ Corp Computer Music Journal
Special thanks to:
University Business Machines -1760 Market Street, Philadelphia, PA Computerland of Philadelphia -1900 Market Street, Philadelphia, PA Medley Music Corp -1071 Lancaster Avenue, Bryn Mawr, PA
We would like to thank the Pennsylvania Council on the Arts for providing partial support to allow selected Pensylvania artists to attend the Symposium.
Art Show Committee:
Alan Cosgrove, Dan McCormick, Des McLean, Anne Seidman, Jennifer Wolf
The art show is supported in part by a grant from the Pennsylvania Council on the Arts.
Symposium Organizing Committee:
Alan Cosgrove, Trip Denton, Carol Flaherty, Nancy Kimmons, Perry Leopold, Bill Mauchly, Dan McCormick, Des McLean, Dick
Moberg, Rob Morris, Tom Porett, Tom Rudolph, Mark Scott, Anne Seidman, John Senior, and Jennifer Wolf.
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Preceedings Editors: Mark Scott, Dick Moberg. Production: Robin Snyder, Jennifer Wolf
SCAN Staffer: Robin Snyder
Symposium Program: John Senior, Nancy Kimmons, Dick Moberg
266 E. Marshall Ave. Langhorne, PA 19047
(215) 752-7140
Where MIDI meets the Mac
Software sales & MIDI consultation
We hope you are enjoying the symposium, and that you will stop by our booth and say hello.
Computer Music Journal
"Computer Music Journal is the single most important source of technical and musical information for those interested in computer music and digital sound synthesis. I read it avidly."
— John Rahn, Editor,
Perspectives of New Music
"Computer Music Journal is the main organ of scholarly communication in the field of computer music. -.-. Thanks to CM], all practitioners of computer music are a little closer to identifying a common language." — F. Richard Moore, Journal of Music Theory
Published quarterly by The MIT Press. Editor: Curtis Roads.
Computer Music Journal is the essential resource for musicians, composers, scientists, engineers, computer enthusiasts, and others interested in electronic music and computer-generated sound. The most respected source for up-to-date information on the application of computers to the world of music, CM] covers composition, performance, sound production, music printing, score analysis, and all aspects of digital audio.
CMJ is the only publication to concentrate exclusively on the technologies and promises of computer-processed music. Issues include:
• in-depth research articles on new developments in this exciting and fast-changing field
• interviews with leading figures in the computer music world
• illustrated, practical reports on new products
• extensive record and book reviews
• announcements of courses and meetings; reports on conferences and conventions in the United States and abroad.
A sound sheet which can be played on any turntable is included in one issue of each volume. Each sound sheet features three to five important new compositions by both established and newer musicians.
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