By Owen Kelly

In 3 elements, this article presents: a quick historical past of the electronic revolution; an exam of ways electronic know-how is now getting used within the arts; and an outline of a few attainable conseqences and advancements of this paintings.

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For this he worked with tapes of the Grateful Dead’s live performances. Specifically, he listened to several hundred versions of Dark Star, the song that the Grateful Dead used as the basis for lengthy and varied improvisations. From these tapes he has produced two extraordinary sixty-minute pieces, Transitive Axis and Mirror Ashes, in which, among other things, the vocalists from one decade harmonise with their younger selves, and the young Jerry Garcia duets with his middle-aged self. Whole performances are speeded up and folded in on themselves to provide percussive sounds.

Moreover, the space can be divided into zones, each of which will trigger different sounds – which may be musical notes, unpitched noises or speech. The space will react to all movements within it, and so a group of people will create a different effect to a soloist. If movement within a space creates sounds, and those sounds are patterned harmonically, then is the participant a dancer or a musician? 54 He has worked with dancers, however, to produce pieces which span both art forms. In 1986 he worked with Kilina Crémona to produce Copernicopera, which was devised and performed in Montpellier.

The fee also allows private users to leave the complex business of understanding the underlying technical aspects of the Internet’s workings to their service provider. When a user in London wants to send a message to somebody using a computer linked to the Internet in, say, Los Angeles, they will dial the local number of their Internet service provider (unless they are directly connected). From here they will gain access to the whole Internet. They will type their message, address it and then send it.

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