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contact Craig Latta via e-mailat , encouraged to volunteer [4]. with the words ‘requestfor info’ on the subject line. To receive information on NetJam via the U.S. postd SYStern ,wi te to craig L~~~at the mailing address at the beginning of this =ticlea persons interested in helping with the operation of NetJamare also 3. The currentlysupported formatsare UNIX, Macintosh,Amiga,Atari,and IBM-compatiblesye terns. Mostrequired softwaremay be obtained via anonymous ftp from scam.Berkeley.EDU,in the /src/utils directory. 4. While me Par&ofthe operationme best ity (XCF),some tasks,such as producinghardcopy notation,collectingsoftware,and converting files,mightbe efficiently handledelsewhere. Referencesm c l Notes 1. I do notation,mixing and masteringof NetJam -createdcompositions,aswell asassistwith distribution and copyrightissues. 2. See tion of this issue-ED. atthe Computing Fadreview in Current Literature Entrie/Sortie Mathias Fuchs Entr&e/Sortieis a project in which a number ofcomposersworked independentlywith the same acoustic material: a sequence of 26 sound recordingsof doors. These doorsranging from seventeenthcentury palace doors to car doors-were opened, closed and knocked at during the recordings (Figs1-3). A booklet containing photographs ofall the doors recorded was produced by Austrian artist Sylvia Eckermann.The booklet and an audiocassettecontaining the sounds recorded were sent to about 50 musiciansin Europe, Northern America,Australia and the Near East. Computer networks [l]and conventional mail were used to distribute the sound material even farther. The composerswere encouraged to ‘decompose’ [2] the sounds freely in whatever stylistic manner they chose and to make use of any technology available to them. I received compositionsranging from ‘garagerock‘ to ‘musiqueconcrete ’,from ‘computerfunk‘ to ‘algorithmic music’.Despite the differences in style,the pieceswere linked by the acousticalbase material-a common sound vocabulary. compositionsby Simon Waters (United Kingdom),Rik Rue (Australia),Igor Linz-Mafies (Brazil), Elisabeth Schimana (Austria),Lisa Sirois (U.S.A.),Edwin Pfanzagl The Entrie/Surtie project features Mathias Fuchs (radioartist),Kliebergasse 8/3/20, A-1050Wien,Austria. Received 18 September1990. Fig. 1. Glassandsteeldoor,entranceto the UniversityLibrary. (Photo: SylviaEckermann) (Austria),Zorah-MariBauer (Cermany ), GCinter Schneider (Austria), Martin Ebner (Austria) and Mathias Fuchs (Austria).All compositions were done in the spring and summer of 1990.A compilationofthese compositionswas broadcastby “Osterreichischer Rundfunk”,Austria’slargest radio station, in the “Kunstradio”program hosted by Heidi Grundmann. To keep the work in progress, I am now askingfor second-order compositions for the Ent&/Sortie project, based on the first series of compositions . I will sendyou an audiocassette recording of the musical pieces already received,which you may use as the basis for your second-ordercompositions . In this way the process can begin again (and again,and again. ..). The process of communication and composition could trigger a perfect circle of musical recycling. Please Fig. 2. Plasticrefrigeratordoor. (Photo: SylviaEckermann) Music/ScienceForum 105 write to Mathias Fuchs/Kntrie-So&, Kliebergasse 8/3/20, A-1050 Wien, Austria. Referencesand Notes 1. Sounds were digitized,compressed and encoded on a small computer for distribution of the sound material to musicians linked to global computer networks. The fileswere then fed into the international networks EARNand BITNET Fig. 3. Swinging woodendoor at the *cadem" of and were sent to a large number of musicians in Fine (Photo: Europe and North America. SvlviaEckermann) 2. The process of rearranging a complex piece of sonic material, selecting tiny parts or even aspects of a large structure in order to change the meaning ofthe prior material might be called 'decomposition'. This term refers to French philosopherJacques Derrida's concept of deconstruction. 106 Muaic/Scien~ c Forum ...

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