The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking). This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Along with invited panelists, Roy Ascott, Jerome Decock, and Marcos Novak, the panel presented a wide range of perspectives on the topic that covered theory and practice in the areas of art, architecture, and music. While well received the discussion was all too short and only scratched the surface. Thus the inspiration to launch this book project comes from a desire to further explore Worldmaking as Techné in participatory works.

The book, Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, and Music will focus on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers. The book editors are seeking contributions that will challenge the level of involvement and integration of the observer within the generative praxis in a technoscientific agenda. In this spirit, contributions that cover philosophical, theoretical, and practice-based research are all welcome.

PuréeData is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own PuréeData servers.

PuréeData is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation.

BIOGRAPHIES

Ted Hayes is a poet-inventor: conceiving objects and experiences that explore the sublime and the enigmatic through recombination and deconstruction. He is a proponent of what he has dubbed “Research Art,” or art-as-science experiment, and actively investigates the themes, technologies and ramifications of autonomy, emergence, semiotics, pattern recognition, and neural networks. Ted’s works range from a group of language-inventing robots to a mythological city-founding ritual for soprano and string quartet, is a graduate of NYU’s Interactive Telecommunications Program. His operating principle is, in a word, poetry: to pique with enigma and confound with beauty.

The pur­pose is to ex­plore the con­struc­tion and val­u­a­tion of par­tic­i­pa­tory dis­courses, de­signs, or ex­pe­ri­ences and chal­lenge re­ceived wis­dom of par­tic­i­pa­tion’s power. When does the dis­course of par­tic­i­pa­tion mask power? Who has ac­tual ver­sus per­ceived au­thor­ity? How do bot­tom-up, col­lab­o­ra­tive-based, lev­eled so­cial, cul­tural, and po­lit­i­cal ex­per­i­ments cre­ate new in­equal­i­ties?

Work­ing across the arts, music, and pol­i­tics, this panel con­sid­ers the dy­nam­ics of power in me­di­ated par­tic­i­pa­tion. Bor­row­ing its title from the work of Bill Cooke and Uma Kothari, who ques­tioned the le­git­i­macy of par­tic­i­pa­tory de­vel­op­ment pro­jects led by the World Bank and other in­ter-gov­ern­men­tal bod­ies, this panel ad­dresses the un­in­tended con­se­quences of, and the power strug­gles in, col­lab­o­ra­tive music plat­forms, so­cial net­works, wire­less in­fra­struc­tures and open gov­ern­ment ini­tia­tives. The pur­pose is to ex­plore the con­struc­tion and val­u­a­tion of par­tic­i­pa­tory dis­courses, de­signs, or ex­pe­ri­ences and chal­lenge re­ceived wis­dom of par­tic­i­pa­tion’s power. When does the dis­course of par­tic­i­pa­tion mask power? Who has ac­tual ver­sus per­ceived au­thor­ity? How do bot­tom-up, col­lab­o­ra­tive-based, lev­eled so­cial, cul­tural, and po­lit­i­cal ex­per­i­ments cre­ate new in­equal­i­ties?

Paper Ab­stracts

A Brief His­tory of Mu­si­cal Au­thor­ity
by Jon Lei­decker

This pre­sen­ta­tion fo­cuses on the re­la­tion­ship be­tween record­ing, au­thor­ship and the idea of com­po­si­tion. Work­ing across three dif­fer­ent pe­ri­ods, I ex­am­ine the ten­sions be­tween in­di­vid­ual and col­lec­tive mu­si­cal cre­ation and look at music as a liv­ing so­cial prac­tice as op­posed to an ob­ject. West­ern no­ta­tion im­mor­tal­ized in­di­vid­ual com­posers and cre­ated a mu­si­cal hi­er­ar­chy in which music be­came a less col­lab­o­ra­tive so­cial prac­tice and more an in­dus­trial fac­tory re­pro­duc­ing the com­poser’s prop­er­ties. In the early twen­ti­eth cen­tury, record­ing tech­nol­ogy chal­lenged the in­di­vid­ual com­poser’s au­thor­ity by grant­ing the same im­mor­tal­ity to im­pro­vis­ing mu­si­cians and other live per­form­ers. Since the year 2000, new tech­nolo­gies have en­abled col­lec­tive tools for col­lab­o­ra­tive com­po­si­tion (e.g., Rocket Music, Ind­aba). Though these tools promise dis­trib­uted au­thor­ship, they may also be re­in­forc­ing in­di­vid­u­al­is­tic ten­den­cies in mu­si­cal cre­ation, com­po­si­tion, and recog­ni­tion.

Cor­don Off the Con­tempt in a Word Com­part­ment (and Other Whis­per­ing Mo­ments)
Joshua Kit Clay­ton

A video-di­rected group ex­er­cise/med­i­ta­tion/con­ver­sa­tion by Joshua Kit Clay­ton, Cor­don Off the Con­tempt in a Word Com­part­ment (and Other Whis­per­ing Mo­ments) in­ves­ti­gates the uses and val­ues of con­tempt, hy­giene, lan­guage and im­por­tantly, of whis­per­ing, as a means of con­tain­ment- para­dox­i­cally through the process of prop­a­ga­tion. The video asks au­di­ence mem­bers to con­sider and/or dis­cuss their own re­la­tion­ship to con­tempt and other top­ics within the space of the video it­self.

Among other top­ics, this work plays with the no­tion that given a propo­si­tion (for ex­am­ple, a par­tic­i­pa­tory art­work) there is value in one’s con­tempt for the propo­si­tion and its ar­ti­facts, as a means of main­tain­ing one’s agency in the face of the propo­si­tion. Propo­si­tions them­selves may be con­sid­ered au­thor­i­ties and their pre­sen­ta­tion is­sues de­mands to the ob­jects of their “tyranny”, ei­ther im­plic­itly or ex­plic­itly. This work is an ex­plicit, though hu­mor­ous, tyrant, and re­in­forces its au­thor­ity through the iden­ti­fi­ca­tion, en­cour­age­ment, and ma­nip­u­la­tion of the ob­ject’s re­sis­tance to au­thor­ity. A ques­tion for dis­cus­sion is whether given such a de­f­i­n­i­tion of au­thor­ity, is it ever pos­si­ble to elim­i­nate au­thor­ity, and if so what is the value in our ef­forts to do so?

Se­cu­rity Gate 26.11
by John Kim, An­thony Tran, Vasily Tru­bet­skoy

Se­cu­rity Gate 26.11 is an Ar­duino-based, in­ter­ac­tive, elec­tronic art­work that de­tects wire­less emis­sions given off by in­di­vid­u­als, in­clud­ing cel­lu­lar and smart­phone trans­mis­sions, wifi, blue­tooth, RFID, and oth­ers. Se­cu­rity Gate 26.11 pro­duces in­di­vid­u­al­ized au­dio­vi­sual re­sponses to these trans­mis­sions. Our lives are sub­jected to daily forms of sur­veil­lance via mech­a­nisms that are less rec­og­niz­able to us as such, pre­cisely be­cause they are not vis­i­ble. Today, wire­less trans­mis­sions are the cor­pus of con­trol and re­pres­sion, as ev­i­denced by so­phis­ti­cated gov­ern­men­tal sys­tems of mass sur­veil­lance and snoop­ing (Car­ni­vore and its vari­ants) and cor­po­rate mon­i­tor­ing (data-min­ing and soft­ware rec­om­men­da­tion sys­tems).

Se­cu­rity Gate 26.11 demon­strates how we vol­un­tar­ily par­tic­i­pate in tyran­nies of our own cre­ation. Var­i­ous crit­i­cal the­o­rists have com­mented on how in­ter­ac­tive par­tic­i­pa­tion is the ide­ol­ogy of cap­i­tal­ist con­sumerism over in­for­ma­tion net­works. By our par­tic­i­pa­tion in in­for­ma­tional net­works (in­clud­ing cell phone usage, on­line brows­ing, email, SMS and oth­ers), we ac­tively vol­un­teer in­for­ma­tion about our­selves to forms of gov­ern­men­tal and cor­po­rate sur­veil­lance. Data are di­rectly and in­di­rectly col­lected about us in our use of these net­works. Se­cu­rity Gate 26.11 ren­ders vis­i­ble these in­vis­i­ble mech­a­nisms of dis­ci­pline and con­trol and doc­u­ments our par­tic­i­pa­tion in pos­si­ble tyran­nies of our own cre­ation.

Par­tic­i­pat­ing in Par­tic­i­pa­tion: Pol­i­tics and Cit­i­zen Power
by Seeta Peña Gan­gad­ha­ran

Sim­i­lar to the cul­tural zeit­geist in the 1970s, the past sev­eral years have been marked by an op­ti­mistic dis­course about the tech­nolo­gies of po­lit­i­cal par­tic­i­pa­tion in Amer­i­can gov­ern­ment. From elec­tronic town hall meet­ings to Pres­i­dent Obama’s Cit­i­zen Brief­ing Book to the Face­book pages of politi­cians and po­lit­i­cal in­sti­tu­tions, the cur­rent po­lit­i­cal cli­mate is com­mit­ted to in­stan­ti­at­ing ideals of par­tic­i­pa­tory democ­racy in tech­no­log­i­cal tools for cit­i­zens. But what power have these tools cre­ated?

In this pre­sen­ta­tion I apply a sem­i­nal dis­cus­sion of par­tic­i­pa­tory pol­i­tics writ­ten in the 1970s in re­la­tion to mod­ern day ex­pe­ri­ences of cit­i­zen par­tic­i­pa­tion. Writ­ten by Sherry Arn­stein, A Lad­der of Cit­i­zen Par­tic­i­pa­tion, looks at the pal­lia­tive ef­fects of par­tic­i­pa­tory pro­jects, cit­ing the prob­lem of “par­tic­i­pat­ing in par­tic­i­pa­tion”. Seen in re­la­tion to cur­rent ef­forts to har­ness cit­i­zen power in po­lit­i­cal de­ci­sion mak­ing, the prob­lem of “par­tic­i­pat­ing in par­tic­i­pa­tion” un­masks the su­per­fi­cial­ity of par­tic­i­pa­tory pro­jects and prac­tices. Ex­am­ples will be drawn from the Unites States’ pre­mier reg­u­la­tory body for media, com­mu­ni­ca­tions, and in­for­ma­tion pol­i­cy­mak­ing.

Bios of the Par­tic­i­pants

Jon Lei­decker (aka Wob­bly) is a San Fran­cisco-based mu­si­cian, com­poser, and lec­turer on ex­per­i­men­tal elec­tronic music. He has re­leased works on Tiger­beat6, Il­le­gal Art, Alku, Ph­thalo, and oth­ers. He has been pro­duc­ing music since 1987 and on­go­ing stu­dio and live pro­jects in­volve col­lab­o­ra­tions with Peo­ple Like Us, Thomas Dimuzio, Kevin Blech­dom, Tim Perkis, Mat­mos and The Weath­er­man of Neg­a­tiv­land. He is also a mem­ber of the Chop­ping Chan­nel and Sagan. In 2002, Lei­decker was re­spon­si­ble for the first mon­tage and final cleanup of the Keep the Dog album, That House We Lived In (2003).

Joshua Kit Clay­ton is an artist, mu­si­cian, and com­puter pro­gram­mer, liv­ing and work­ing in San Fran­cisco. He is a grad­u­ate of the Bard Col­lege MFA pro­gram in Film/Video. He pro­duces dance music for post-rave ca­su­al­ties both on his own and in the band Pi­geon Funk. He is re­spon­si­ble for the de­vel­op­ment of Jit­ter, a video and 3d graph­ics ex­ten­sion to Cy­cling ‘74’s Max vi­sual pro­gram­ming en­vi­ron­ment. His per­for­mance and video based pro­jects ex­plore com­mu­ni­ca­tion, spec­u­la­tion, value, di­rec­tive, and the space be­tween artist and au­di­ence.

John Kim is an As­sis­tant Pro­fes­sor of New Media The­ory and Prac­tice in the de­part­ment of Media and Cul­tural Stud­ies at Macalester Col­lege. Be­fore ar­riv­ing at Macalester, John taught at the Uni­ver­sity of San Fran­cisco, Stan­ford Uni­ver­sity and Williams Col­lege. In ad­di­tion to re­search­ing new media, he is an artist as well and has ex­hib­ited in­ter­ac­tive in­stal­la­tions at mu­se­ums and gal­leries across the United States.

An­thony Tran is a new media artist re­sid­ing in Min­neapo­lis. His art­works ex­plore and prob­lema­tize the tran­si­tion be­tween con­tem­po­rary hu­mans and fu­ture tech­nolo­gies. He is also a stu­dent at Macalester Col­lege, where his re­search in­ter­ests in­clude cog­ni­tive res­o­nance, vir­tual in­ter­group dy­nam­ics and tag­ging/rec­om­mender sys­tems.

Vasily Tru­bet­skoy is a stu­dent of physics and math­e­mat­ics at Macalester Col­lege. Past re­search has fo­cused on crys­tal­liza­tion and bio­min­eral sys­tems. His in­ter­ests span both dig­i­tal and ana­log elec­tron­ics.

Seeta Peña Gan­gad­ha­ran re­cently com­pleted a Ph.D in the De­part­ment of Com­mu­ni­ca­tion at Stan­ford Uni­ver­sity. She is a post­doc­toral fel­low in the In­for­ma­tion So­ci­ety Pro­ject at Yale Law School. Her dis­ser­ta­tion in­ter­ro­gates con­ven­tional the­o­ries and de­signs for pub­lic par­tic­i­pa­tion in com­mu­ni­ca­tion pol­i­cy­mak­ing. She has sec­ondary re­search in­ter­ests in the cul­tural his­tory of com­mu­ni­ca­tion tech­nolo­gies. She has also worked with ad­vo­cacy and ac­tivist groups, in­clud­ing Cen­ter for Media Jus­tice, Pub­lic Knowl­edge, Media Al­liance, and Prometheus Radio Pro­ject.

Although the commission money has been exhausted, Slocum is still accepting submissions. If you are interested in participating, read the PDF document on the website. Your footage will be added to the video sequence online and exhibited in future gallery exhibitions.

About the Process: In an email he wrote to Helen Thorington (January 11), Slocum describes the difficulties he had finding participants for the project:

Originally I was posting on Internet message boards for Full House, fan film making, and other related topics offering $80 for each completed video, hoping I could get about 18 videos. But nobody was taking the offer so I increased it to $150 and accepted that I had to reduce the number of videos. I ended up having the best results with Craigslist. You can’t post an ad to multiple cities, so I rotated the ad between different locations.

I gradually built a list of people willing to participate, which was complicated to maintain since people frequently expressed interest and later stopped responding to my emails. Most participants did not meet the deadlines I set. I received the first video in early November, and the last three in early January, less than a week before the launch date.

He then goes on to describe the formal challenges he faced:

Originally, I’d wanted the voicing of the dialogue to be so close to the original that it would maintain the hypnotic rhythm of the mockup loop I had created. I specified this in the documentation, but nobody could do it well enough, and the sound from the reshoots didn’t maintain the rhythm of the original concept. I was concerned that the piece wouldn’t work until I had the idea of overlaying the original audio onto the reshoot audio. This maintained the rhythm and emphasized the room reverb (and space) from the reshoots.

I found that the key to making the piece work out was subtle changes. Very slight timing changes made a big difference, equalization of audio, selection between two slightly different takes… Also some of the reshoots did not work aesthetically, but after a lot of experimenting I found that changes in color saturation of the clips could fix problems without changing much about the original authorship of the reshoot. I could bring out colors in dull clips, and control overly complex clips. I also discovered that the transition from under-saturated clips to over-saturated clips can be interesting.

You’re Not My Father is included in Slocum’s solo show “More House” which opens tonight at Dunn and Brown Contemporary, 5020 Tracy Street, Dallas, Texas.

You’re Not My Father is a 2007 commission of New Radio and Performing Arts, Inc. for Networked_Music_Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

Paul Slocum is a musician and new media artist living in Dallas. Computers and computer culture are often the medium and subject of his work. Some of his projects are “The Dot Matrix Synth”, an 80’s dot matrix printer with re-programmed firmware to transform it into a musical instrument, “The Century Callback Project”, a phone number that calls you back 8 times in a century, and “The Time-Lapse Homepage”, a video made with HTML. He is also half of the “Tree Wave” project that creates music and video with obsolete assembly-language-programmed computer and video game gear. Paul is the director and co-founder of “And/Or Gallery” in Dallas, a gallery that specializes in new media artwork. Some of Paul’s performances and exhibitions include Transitio MX in Mexico City, The New Museum of Contemporary Art, Deitch Projects, and Eyebeam in New York, Le Confort Moderne in France, README 2005 in Denmark, and The Liverpool Biennial.

You are not always who other people think you are; you even hear your own voice in a different way. By recording and manipulating a recording of your voice with You Don’t Know Me, you will be able to restore your real voice and share with people how you hear yourself. This is a unique task that nobody else in the world can do. You Don’t Know Me provides a toolset and an online voice gallery. We are looking forward to hearing your true voice.

You Don’t Know Me is a 2010 commission of New Radio and Performing Arts, Inc. for its Turbulence web site. It was supported by the Jerome Foundation.

BIOGRAPHY

Liangjie Xia is a media artist and programmer presently based in New York City. He experiments with alternative forms of communication through innovative applications of technology, and he looks for the humanity behind the digital interface. He loves and contributes to open source projects, and hacks whatever is handy. Liangjie earned his Master of Professional Studies degree from the Interactive Telecommunications Program at NYU in 2010.

Moori, by Haeyoung Kim, is an interactive audience participatory audio-visual performance. By incorporating multiple modes of messaging on a mobile phone, users tell their stories to guided questions by the performer. User data is processed to generate algorithmic audio and visuals while creating a larger narrative. This collaboration creates dialog among the performer and audience members and suggests new possibilities that can exist through the combination of algorithmic animation, audio and language.

Through text inputs, buttons, and multi-touch pads, user-data is processed to generate algorithmic audio and visuals. iPhone, iPod, and iPad users are encouraged to download the Mrmr application prior to the concert. The set up guideline can be found here.

Moori from haeyoung kim on Vimeo.

The UrbanRemix platform consists of a mobile phone system and web interface for recording, browsing, and mixing audio. It allows users to document and explore the obvious, neglected, private or public, even secret sounds of the urban environment. Participants become active creators of shared soundscapes as they search the city for interesting sound cues. The collected sounds, voices, and noises provide the original tracks for musical remixes that reflect the specific nature and acoustic identity of the community.

In collaboration with the Times Square Alliance Public Art Program, UrbanRemix will host a series of events in Times Square. Throughout April and May 2011, the public is invited to capture and contribute sounds from Times Square using the free UrbanRemix apps for iPhone/iOS and Android. Then, using the web site, anyone-anywhere can explore the contributed sounds online, view them on a virtual map of Times Square, and mix and share their own soundscapes. On May 12, New York-based electronic musicians Travis Thatcher and Damon Holzborn will perform live remixes of the collected sounds in a free performance in Times Square.

We look forward to your participation!

Urban Remix from Matt Gilbert on Vimeo.

1. DOWNLOAD the free mobile app:

iOS App: http://bit.ly/gWxGoO

Android App: http://bit.ly/esEuIe

2. LAUNCH the app and sign-in

(username: TimesSquare and password: TimesSquare)

or create your personal user account at http://urbanremix.gatech.edu

3. GO TO TIMES SQUARE, record sounds and take photos, then hit “upload” to share them.

4. Visit http://urbanremix.gatech.edu to see what others have shared and to make your own remixes online.

IF YOU CAN’T GET TO TIMES SQUARE, you can still use our web site to explore and remix the sounds that have been contributed: http://urbanremix.gatech.edu/content/times-square

Nancy Garcia’s interdisciplinary practice incorporates choreography, music/sound, video, performance, image making, and new media. Often slinging the viewer to the edges of performative events, Garcia draws attention to the exultant body, considering it as a site as well as a vehicle for sound and movement. For her first solo exhibition in Miami, Garcia shows a new body of work incorporating photography, a new video entitled Power Trio, and a concept audio compilation, Lover’s Alarm Clock, for which she asked artist friends to “create a sound you want your lover/s to wake up to.” Each track will be downloadable and sharable as a smartphone ringtone at www.loversalarmclock.com, and be available for listening in the gallery.

To coincide with O, Miami Poetry Festival, Garcia is creating an audio walk, an experiential sound journey guiding listeners through a select Miami location. The audio file will be playable on most smartphones and portable media players, and will be available along with a walking guide at www.omiami.org, www.basfisherinvitational.com and www.nancygarcia.org on April 15.

Nancy Garcia was born and raised in Miami, and has been based in New York since 2000. Her work has been shown at the Sculpture Center, Long Island City; Whitney Museum of American Art, NY; Roulette, NY; D’Amelio Terras Gallery, NY; De La Cruz Collection Project Room, Miami; New Langton Arts Center, San Franscico; Greene Naftali Gallery, New York; Movement Research at Judson Church. She has also been featured in festivals such as Images, Toronto; All Tomorrow’s Parties, United Kingdom; and No Fun Fest, New York. As a musician she has performed in the US and abroad with noise band Monotract, toured as a solo performer, collaborated with various artists including Thurston Moore, and released a solo album entitled “Be the Climb” on the Ecstatic Peace record label. In 2009 Garcia produced an epic interdisciplinary performance combining online video, and music from her album with choreography for the proscenium stage, commissioned by the Kitchen, NY. She holds a a Master’s degree from the Interactive Telecommunications program within New York University’s Tisch School of the Arts.

Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of “try it yourself” software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from the Loud Objects’ own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community.

BIOGRAPHY

Graduates of Columbia University, Kunal Gupta, Tristan Perich and Katie Shima have been performing as Loud Objects since 2005. Their performances, focused on sound from programmed microchips, have ranged from live circuit constructions on overhead projectors and slide projectors, to soldering atop a 24-light bulb fluorescent podium, and later with modified fluorescent light guitars.

Loud Objects have performed in the USA and internationally at numerous festivals on four continents, including Sonar (Spain), Transitio_MX (Mexico), Piksel (Norway), Evolution (UK), Bent Festival and Blip Festival (NYC), Electric Eclectics (Canada), Screen Music 2 (Italy), Art and Music with the Overhead Projector (Germany), Festival of Endless Gratitude (Denmark), NIME (Brooklyn). Their varied performances range from solo acts to shifting duets with vocalists, drummers, susophonists, tuba quintets, laptop musicians, singers, painting machines, manatees, and recently as movie soundtracks.

As teachers, they have hosted workshops where attendees learn to build and program sound- generating circuits. They have explored teaching as performance, explaining their motions as they solder their circuit live, fielding questions above the noise. They have spoken and given workshops at Maker Faire (California), Handmade Music Night (Brooklyn), Le Cagibi (Canada), Museum of Science (Arkansas), Columbia University (NYC).

As artists, Loud Objects blanket walls with small speakers and microchips. Instead of pushing buttons, the audience is encouraged to rewire the actual circuit with soldering irons, hanging as part of the installation. These installations have been in shows including Art and the Overhead (Sweden), Piksel (Norway) and Art and Music with the Overhead Projector (Denmark).

The works played will feature all pieces involving audience participation. One of the pieces by Jieun Oh and Ge Wang invites you to submit images and sounds of your daily life (starting today!) to be used in the performance: see: https://ccrma.stanford.edu/~jieun5/converge/

This then leads into the Cagean Musicircus, starting at 8pm!:: see: https://ccrma.stanford.edu/events/ccrma-fall-concert-cagean-musicircus