Hear After: Matters of Life and Death in David Tudor’s Electronic Music

In David Tudor’s electronic music, home-brew modular devices were carefully connected together to form complex feedback networks wherein all components—including the composer/performer himself—could only partially ‘influence’ one another. Once activated, the very instability of mismatched connections between the components triggered a cascade of signals and signal modulations, so that the work “composed itself,” and took “a life of its own.” Due to this self-producing, perpetuating nature of his works, Tudor insisted on what he called “the view from inside,” focusing more on the internal observation of his devices and sound than in materials external to the immanence of performance. When Tudor passed away in 1996, it became apparent that the sheer lack of resources outside the work—scores, instructions, recordings, texts—had made many of his music impossible to perform in his absence. The works that took a life of their own could not survive their composer’s death partially because of his utter reliance on them to do their work. By connecting often mismatched resources obtained from extended research on Tudor, this paper presents modular observations that seem to offer certain perspectives on the issue of life and death surrounding Tudor’s music. A comparison with developments in systems theory, most notably autopoiesis, outlines a mechanism for the endless life of sounds that compose themselves. Moving out of this theoretical reflection, a fieldwork report of an ongoing attempt to ‘revive’ some of Tudor\u27s works is offered. This report demonstrates the observer shifting from one ‘inside’ to another—from an electronic circuitry inside a particular device, to a network composed of several devices, and further into the activation of a composite instrument. Meandering away from the archives, the composer’s “view from inside” of his electronic devices is set side by side with recent insights of object-oriented ontology. A certain portion of this observation then feeds itself back to the perspective of autopoiesis, while others proceed to extract a distinct notion of ‘life’ out of object-orientation, this time in programming: an indeterminate ‘waiting’ time inherent in each ‘object’ that cannot be computed within a singular universal time. This latency embedded in objects that await activation correlates to the trajectory of the observer who is always in a transit from one ‘inside’ to another, finding different objects on each level of observation, and for whom, therefore, the delineation between life and death is always indeterminate. This view provides further explanation to the operative mechanism of Tudor’s music, wherein mismatched components sought to activate and influence one another, constituting an ‘electronic ecology’ endowed with a life of its own, but filled with partial deaths. The paper thus observes ultimately a parallel between the composer’s trajectory within his performances and that within his life, while attempting to reenact the complex nature of these said trajectories through the meandering manner of its own delivery

Analysis of Bioconversion and Bacterial Community of Thermophilic Hydrogen Production Using UASB Reactor (Advanced Studies on Sustainable Animal Production: Interrelationships among Human, Animal and Environment, 8th International Symposium of Integrated Field Science)

Poster Sessio

Regulation of base excision repair: Ntg1 nuclear and mitochondrial dynamic localization in response to genotoxic stress

Numerous human pathologies result from unrepaired oxidative DNA damage. Base excision repair (BER) is responsible for the repair of oxidative DNA damage that occurs in both nuclei and mitochondria. Despite the importance of BER in maintaining genomic stability, knowledge concerning the regulation of this evolutionarily conserved repair pathway is almost nonexistent. The Saccharomyces cerevisiae BER protein, Ntg1, relocalizes to organelles containing elevated oxidative DNA damage, indicating a novel mechanism of regulation for BER. We propose that dynamic localization of BER proteins is modulated by constituents of stress response pathways. In an effort to mechanistically define these regulatory components, the elements necessary for nuclear and mitochondrial localization of Ntg1 were identified, including a bipartite classical nuclear localization signal, a mitochondrial matrix targeting sequence and the classical nuclear protein import machinery. Our results define a major regulatory system for BER which when compromised, confers a mutator phenotype and sensitizes cells to the cytotoxic effects of DNA damage

Testing Above- and Below-Canopy Representations of Turbulent Fluxes in an Energy Balance Snowmelt Model

Turbulent fluxes of sensible and latent heat are important processes in the surface energy balance that drives snowmelt. Modeling these fluxes in a forested environment is complicated because of the canopy effects on the wind field. This paper presents and tests a turbulent flux model developed to represent these processes in an energy balance snowmelt model. The goal is to model these processes using the readily available inputs of canopy height and leaf area index in a way that minimizes the number of parameters, state variables, and assumptions about hard to quantify processes. Selected periods from 9 years of eddy-covariance (EC) measurements at Niwot Ridge, Colorado, were used to evaluate the effectiveness of this modeling approach. The model was able to reproduce the above-canopy sensible and latent heat fluxes reasonably with the correlation higher for sensible heat than latent heat. The modeled values of the below-canopy latent heat fluxes also matched the EC-measured values. The model captured the nighttime below-canopy sensible heat flux quite well, but there were discrepancies in daytime sensible heat flux possibly due to mountain slope circulation not quantifiable in this kind of model. Despite the uncertainties in the below-canopy sensible heat fluxes, the results are encouraging and suggest that reasonable predictions of turbulent flux energy exchanges and subsequent vapor losses from snow in forested environments can be obtained with a parsimonious single-layer representation of the canopy. The model contributes an improved physically based capability for predicting the snow accumulation and melt in a forested environment

The FLUXNET2015 dataset and the ONEFlux processing pipeline for eddy covariance data

The FLUXNET2015 dataset provides ecosystem-scale data on CO2, water, and energy exchange between the biosphere and the atmosphere, and other meteorological and biological measurements, from 212 sites around the globe (over 1500 site-years, up to and including year 2014). These sites, independently managed and operated, voluntarily contributed their data to create global datasets. Data were quality controlled and processed using uniform methods, to improve consistency and intercomparability across sites. The dataset is already being used in a number of applications, including ecophysiology studies, remote sensing studies, and development of ecosystem and Earth system models. FLUXNET2015 includes derived-data products, such as gap-filled time series, ecosystem respiration and photosynthetic uptake estimates, estimation of uncertainties, and metadata about the measurements, presented for the first time in this paper. In addition, 206 of these sites are for the first time distributed under a Creative Commons (CC-BY 4.0) license. This paper details this enhanced dataset and the processing methods, now made available as open-source codes, making the dataset more accessible, transparent, and reproducible.Peer reviewe

What Does Musicology Have to Do With Archiving? Three Experiences of Engagement

Musical practices derived from post-1960s experimental music created heterogeneous musical materials and traces—including scores, preparations and instrument modifications, electronic instruments, custom-made devices, and recordings. The Romantic work concept on which most traditional musical archives are based is unsuitable to preserve this expanded apparatus of objects and concepts, and rethinking the musical archive is becoming urgent.This colloquy collected the experiences of three researchers, engaging with five institutions, three creators, and four countries. Yet the archival issues presented are eerily similar. These experiences involve David Tudor (paper-based archive at the Getty Research Institute, Los Angeles, CA, and the David Tudor Instrument Collection at Wesleyan University, Midtown, CT); Mario Bertoncini (paper-based archive at the archive of the Akademie der Künste, Berlin, and his object collection at the moment stored at the Fondazione Isabella Scelsi, Rome); Gayle Young (who still owns all her production).Les pratiques musicales dérivées de la musique expérimentale depuis les années 1960 ont produit des matériaux et des traces musicales hétérogènes, comprenant des partitions, des préparations et modifications d’instruments, des dispositifs personnalisées, des enregistrements. Le concept d’oeuvre sur lequel la plupart des archives musicales traditionnelles se fondent, remontant au romantisme, n’est pas adapté pour préserver ce complexe élargi d’objets et de concepts, et il est de plus en plus urgent de repenser les archives musicales.Cette discussion rapproche les expériences de trois chercheur·e·s, qui s’intéressent à cinq institutions et trois créateur·rice·s dans quatre pays différents. Pourtant, les problèmes relatifs aux archives qu’on rencontre présentent des ressemblances troublantes. Ces expériences regardent : David Tudor (archives papier au Getty Research Institute à Los Angeles, Californie, et David Tudor Instrument Collection à la Wesleyan University à Midtown, Connecticut); Mario Bertoncini (archives papier aux archives de l’Akademie der Künste à Berlin et collection d’objets hébergée actuellement à la Fondazione Isabella Scelsi à Rome); Gayle Young (qui est toujours en possession de toute sa production)