POSITION: MONITOR for DREAM HOUSE exhibition (Volunteer Interns)

MELA Foundation Inc.
275 Church Street New York, NY 10013
212-925-8270

September 1998

Mela Foundation is seeking interns for unpaid
volunteer positions of Monitor for Dream House exhibition.

Dream House: Seven Years of Sound and Light,
a collaborative Sound and Light Environment by
composer La Monte Young and visual artist Marian
Zazeela, is presented in an extended exhibition
at MELA Foundation, 275 Church Street, 3rd Floor.
Young and Zazeela characterize the Sound and Light
Environment as a "time installation measured by a
setting of continuous frequencies in sound and light."

POSITION: MONITOR for DREAM HOUSE exhibition (Volunteer Interns)

Hours: Exhibition is open Thursdays and Saturdays
from 2:00 PM to Midnight. Time slots of four to six
hours need to be filled on those days.

Description: Monitor will open or close exhibition;
turn on electronic sound equiptment and turn up
light environment; make sure all technical equiptment
is running properly; greet visitors; distribute
information; answer questions concerning the
environment; sell books and recordings.

Contact: Call the MELA Foundation, 212-925-8270.
If you call, leave a message on the answering machine
with your phone number and times we can reach you.
Or come to 275 Church Street, 3rd Floor, Thursdays
and Saturdays, 2:00 PM to Midnight, and experience
the environment and speak to the monitor on
duty.

Press Commentary on Exhibition:

"... the multifaceted form of the 35-frequency
construction of Young's current installation is
the principal reason it changes hallucinogenically
with every shift in perspective and why the tones
freeze in place as long as one is perfectly still
while the slightest gesture will startle forth
unnamable, wildly plumed melodies from the
luxuriant harmonic foliage. Zazeela's light
sculptures have invariably, teasingly refused
to surrender their entire secret to photographic
reprodution, so much do they depend on
the retinal impact of activated photons in real
time and so much do they exploit, in ways analagous
to Young's techniques, the creation of visual
combination tones and an accumulation of after-images."

-- Sandy McCroskey, 1/1, The Journal of the Just Intonation Network

"Young's newest sine-tone sculpture shimmers and
swirls as you walk around the room and, amazingly,
when you freeze, it does too. Stay at least long
enough to stare at Zazeela's Imagic Light and Ruine
Window, which will imprint your retina with blues
and purples you haven't felt before."

-- Kyle Gann, The Village Voice

"The visitor with an acute ear can actually 'play'
the room like an instrument: explore the sound close
to the wall, close to the floor, in the corner, or
just standing still. Or lie on the floor and allow
the sound to float you into heaven, slide you into
hell, or transport you wherever you want to go.
See if you agree with those who call Young's sound
sculpture a precursor of ambient music.
Zazeela's light installation, "Imagic Light," offers
an intriuging complement to the sound, even though
it is equally effective when viewed in
silence. Using pairs of colored lights and suspended
aluminum mobiles cut out in calligraphic shapes,
Zazeela explores the relationship between object
and shadow, making the tangible intangible, and vice
versa. Enjoy the installation for its mesmerizing
beauty, or try to analyze how the different
colors are achieved, how the mobiles create the
resulting shadows, or perspective the infinite number
of symmetrical patterns in the room."

-- David Farneth, Metrobeat

Music Eternal Light
Art



* David Beardsley
* xouoxno@virtulink.com
*
* virtual dream house monitor
* for the MELA Foundation
*
* http://www.virtulink.com/mela/main.htm

Stuart Dempster's book, "The Modern Trombonist," doesn't discuss
tuning in much detail. It's really about extended trombone
techniques.

Any kind of tuning on a trombone, including adaptive tuning,
would really just depend on the ear of the trombonist. So the
place to find out about that would be to understand adaptive
tuning in relation to just intonation as a theoretical problem,
followed by just intonation ear training.

Off the top of my head, I don't know who has such a program,
but it should be genralizable for most instruments. You can
also make your own examples on a computer, using, for example,
Csound. I have a lot of information on this is my course
notes, http://www.cs.ust.hk/~layers/comp342/comp342.html. (some
of the links will be hooked up later in the semester; you can
view the page source code to find the files now).

Best,

Lydia Ayers