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users and teachers. Thishas been quite well achieved. The layout and choiceof fonts, combinedwith a relaxedwriting styleand sufficientfigures,make for comfortablecoursematerial. Its best use will indeed be as course material, becauseit is not a handbook, though still quite comprehensive.It touches upon manyn i t w t t y points, though only lightly, and this distinguishesit from a handbook. I find this a disadvantage,asI tend to buy a book onlywhen it answers mostof the toughestquestionsI can think of. I was somewhatsurprisedwhen I lookedfor someof the less frequently coveredtopicssuch asinformation on new musical instruments:it mentioned the possibilityof using instrumented glovesand suitsfor the controland generationof MIDI. The limitationsof MIDI alsowere discussed-certainlythis topic was not to be omitted. However, there was no mention of new methodsunder development to communicatebetween musical instruments or specifictechniquesto imple ment demanding musicalpieces.And I found nothing more on the actualuse of MIDI by musiciansand composersor on techniquesto achieveparticular sound effectsand musical structures.I think that musician/composerswould be most interestedin this information. The book remains,therefore, fairly technical and descriptiveonlyof technology, protocols,and so forth. Other topics deservingbetter coverageare computeraided composition,MIDI programming languages (HMSL,Formula, etc.) and the “MIDIfication” of electroacoustic instrumentsand its associatedproblems and possibilities. Thisis important for many musicians. The chapter “GettingHelp”neglected to mention the discussion groupssynth-1 and emusic-1availablevia distseflauvm. bitnet>or anyother listserver.Thewhole conceptof internet/bitnet has been left out. Last,but not least, I missed a d i s c u s sion of cubase in the chapteron sequencer s o h e ;such a finesequencer cannotbe omitted!The book is promoted for itsgenerality,and it has succeeded quitewell in avoiding a focuson specific brandsof music gear,but I still believe that cubase shouldhave been included. All in all, the book seems to be most useful asan introduction and/or assup porting materialfor a course.Do not try to find detailedanswers, and don’t know too much about MIDI beforeyou read it. Musicians mightbe a bit disappointed. Computeruserswill be another good audience. EXHIBITIONCATALOG 1 ARS ELECTRONICA ’92: DIE NANO/THEWORLD FROM Wl”-END0 & NAN0 Karl Gerbel and PeterWeibel,eds. PVS Verlager, Linz, Austria, 1992.The book is bilingual (German/English). Reukwed by KlemensPolatschek, Ars Electronica, Brucknerhaus, Untere Donauhnde 7, A4020 Linz, Austna. E mail: The Worldfim W i n :Endo &Nan0 was the title of the 1992Ars Electronicain Linz, Austria.Thisfestival of electronic art and virtual philosophyis one of the more advanced in the world-a proposition that each year’seventmust be measured against. “Endo”refers to adophysicsand “nano”to nanotechnology,two branches of sciencejust beginningto emerge and-as festivalorganizer Peter Weibel puts it in this catalogue’sintroductory essay-“two new radical transformations of our world image.” The term nanotechnologywas coined by K Eric Drexler,whoworksat Stanford University. In 1986he proposed a new machinetechnologyon the nanometric level (ananometeristhe billionth of a meter), the tiniestone that has ever been imagined.Molecular nanomachines shouldallowus to build and manipulate the world atom by atom,in the way gridtunnel microscopesare showingit today, but in a far moreversatile manner. It is a greatachievementof thisbook that it reprints two articlesfrom WholeEarth Revieuand thus allowsroom for criticism of the whole approach.There are so many theoreticaldifficulties remaining that nanotechnologymay neverbe manifested . Compared to the rather straightforward engineer’svision of nanotechnole gy,endophysicsis more esoteric;it was presented by Otto F. Roessler as an “extensionof science”that “hasso far been largely confined to sciencefiction.” Endophysicsconcentrateson systems that are influencedby an observer-that means by us. It suspectsthat so-called realityis merelyour modest endoview of a greater ex0world, an idea that humankind has alwaysexpressedin gnosticformulasand fairytales,in religion and in art. Endophysicsis a method for investigating the existenceof the proposed WELT VON INNEN-END0 & outer world by constructingmodel worlds (on a levelbelow our real world). Virtual reality (alsoknown as cyberspace ) is a recent and prominent example of this approach and, accordingto Peter Weibel, representsonlya special case of endophysics. “aninterfaceonlyvisible fromwithin,” electronictechnologyshallallow us to imagine a viewpoint from outside, to extend the interface in nanometricand endophysicalterms-“to break out of the prison of spaceand time.” machinepar excellence,because of its participatory,interactiveand virtual nature. Thus, it shall move art from an external and objectcentered viewpoint to an internal and...


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