Articoli di riviste: "Lucier"

1

Barlow, Melinda. "Mary Lucier". Woman's Art Journal 22, n. 2 (2001): 59. http://dx.doi.org/10.2307/1358925.

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DAVIS, RANDAL. "‘… and what they do as they're going …’: sounding space in the work of Alvin Lucier". Organised Sound 8, n. 2 (agosto 2003): 205–12. http://dx.doi.org/10.1017/s1355771803000116.

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This paper considers the early work of Alvin Lucier and its often problematic positioning between concert and installation work as a means of questioning how installation might be defined. Following an introductory survey of Lucier's work, a history of installation in the visual arts is traced through the debate, initiated by Michael Fried, on the ‘theatricality’ of minimalism. Fried's condemnation of the role of the viewer in what he termed ‘literalist’ art became, contrary to his intentions, a central element in thinking about installation work. Fried's position was recently engaged again by Hal Foster in positing a particular phenomenology of minimalist work, which is seen to be directly relevant to the example of Lucier. Having thus established the relevance of this phenomenology to the consideration of sound installations, whether they are themselves minimal works or not, discussion returns to the problematic example of Lucier, and the conclusion that the boundary between concert and installation works may always be permeable, that a precise morphology of installation will remain elusive.

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Ice, George G., Larry L. Irwin e T. Bently Wigley. "Remembering Alan Lucier". Journal of Forestry 112, n. 4 (1 luglio 2014): 383–84. http://dx.doi.org/10.5849/jof.14-051.

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4

Aschour, Didier. "Alvin Lucier, un phénomène sonore". Chimères 47, n. 1 (2002): 155–60. http://dx.doi.org/10.3406/chime.2002.2459.

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5

Curtis, Charles. "Alvin Lucier: A Performer's Notes". Leonardo Music Journal 22 (dicembre 2012): 87–88. http://dx.doi.org/10.1162/lmj_a_00111.

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6

Lerman, Richard. "Thoughts on Alvin Lucier and Performance". Leonardo Music Journal 22 (dicembre 2012): 88. http://dx.doi.org/10.1162/lmj_a_00113.

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7

Spisak, April. "Year of the Reaper by Makiia Lucier". Bulletin of the Center for Children's Books 75, n. 3 (2021): 99. http://dx.doi.org/10.1353/bcc.2021.0598.

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8

Atkinson, Amy. "A Death-Struck Year by Makiia Lucier". Bulletin of the Center for Children's Books 67, n. 8 (2014): 414. http://dx.doi.org/10.1353/bcc.2014.0249.

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9

Jacques, Wesley. "Isle of Blood and Stone by Makiia Lucier". Bulletin of the Center for Children's Books 71, n. 8 (2018): 344–45. http://dx.doi.org/10.1353/bcc.2018.0276.

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10

Lucier, Alvin. "On Stuart Marshall: Composer, Video Artist and Filmmaker, 1949–1993". Leonardo Music Journal 11 (dicembre 2001): 51–52. http://dx.doi.org/10.1162/09611210152780674.

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Alvin Lucier reminisces about his former student and colleague Stuart Marshall. Marshall's sound works investigated such phenomena as the threshold of hearing and the displacement of sound environments, through scores that combined participants and equipment in incongruous ways, with instructions based on seemingly contradictory statements, creating unexpected groupings and responses.

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11

Kuivila, Ronald. "Images and Actions in the Music of Alvin Lucier". Leonardo Music Journal 22 (dicembre 2012): 88. http://dx.doi.org/10.1162/lmj_a_00112.

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12

Iverson, Jennifer. "Disabling the avant-garde: Listening to Berberian and Lucier". Journal of Interdisciplinary Voice Studies 4, n. 2 (1 ottobre 2019): 157–77. http://dx.doi.org/10.1386/jivs_00003_1.

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Abstract Avant-garde electronic music purports to be abstract rather than representational. We are supposed to care only about sound qua sound, but what if the body is fundamentally audible in the musical work? Furthermore, what if the audible body is disabled? This essay pursues several close listenings of the avant-garde electronic works Visage (1961) and I Am Sitting in a Room (1969). Both pieces feature stuttering voices that are highly mediated by technology. Sounding out disabilities from traumatic to mundane, the works promote an aural staring encounter, asking listeners to grapple with the discomfort that they may hear.

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Vandsoe, Anette. "I am Recoding the Sound of My Speaking Voice. Enunciation in Alvin Lucier's I'm Sitting in a Room". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, n. 1 (13 aprile 2012): 96–112. http://dx.doi.org/10.7146/se.v2i1.5175.

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‘I am sitting in a room different from the one you are in’, states the American sound artist and composer Alvin Lucier (1931-) in his canonical piece I am Sitting in a Room (1970), thereby emphasising the very act of enunciation in which someone is addressing someone else in an individual speech act. Though the question of enunciation has been touched upon in several analyses of this piece, none of them have connected it to the strong and vast theoretical field established by the French linguist Émile Benveniste (1902-1976) and further developed by numerous phenomenologically-oriented analytical approaches, particularly in relation to literary and film studies. By shifting our attention from the statement to the very act in which it is produced, the article aims not only to shed light on an essential part of Lucier’s artwork, but also to show how the theory of enunciation can prove fruitful in relation to sound studies as such. In conclusion, the article suggests that in addition to the text, the vocal performance and the recording can also be seen as communicative acts.

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14

Yang, Justin. "Semiotics, Presence and the Sublime in the Work of Alvin Lucier". Leonardo Music Journal 22 (dicembre 2012): 88. http://dx.doi.org/10.1162/lmj_a_00114.

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15

Lee, Peggy Kyoungwon. "The Alpha Orient". TDR: The Drama Review 66, n. 2 (giugno 2022): 45–59. http://dx.doi.org/10.1017/s1054204322000090.

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The alpha brain wave sonification inaugurated by Alvin Lucier in Music for Solo Performer (1965) ushered in biofeedback as a new possibility for art and a racialized fantasy of the “Orient.” The “Alpha Orient” encompasses sonic methods equating alpha brain waves with the supposed exceptional “composure” and “silence” of the East. Eunoia (2013-2014) by Lisa Park and Yoko Ono’s 1964 Cut Piece and 1965 Sky Piece for Jesus Christ expose the Alpha Orient as an ableist fantasy of the Asian woman in the remarkable soundness of her self-control.

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16

Fox, Christopher. "OPENING OFFER OR CONTRACTUAL OBLIGATION? ON THE PRESCRIPTIVE FUNCTION OF NOTATION IN MUSIC TODAY". Tempo 68, n. 269 (16 giugno 2014): 6–19. http://dx.doi.org/10.1017/s0040298214000023.

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AbstractThis article explores some of the diverse forms that musical notation has assumed in the early twenty-first century and discusses its use along a broad spectrum of creative intention, which includes visual representation of sounds, verbal lists of instructions or provocations, and much else. Drawing upon his own experience as a composer, and on studies of the work of composers both older and younger (Stockhausen, Lucier, Wolff; Molitor, Lely), the author examines the changing meanings of notes, staves and clefs, and the possibilities of graphic scores, text scores, and hybrid forms of notation.

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17

Thomas, Gavin, e Arditti Quartet. "Nancarrow, Carter, Ives, Feldman, Lucier, Young, Cage, Yim: Works for String Quartet". Musical Times 134, n. 1809 (novembre 1993): 663. http://dx.doi.org/10.2307/1002818.

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18

Gallet, Bastien. "Composer des étendues, projeter des images : deux pratiques de l’art sonore". Circuit 17, n. 3 (28 febbraio 2008): 21–27. http://dx.doi.org/10.7202/017586ar.

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Résumé Partant d’une description du dispositif hautement « situé » I am sitting in a room (1970) d’Alvin Lucier – une oeuvre qui compose ce qui est dit avec l’espace dans lequel le propos est énoncé –, l’auteur distingue scrupuleusement entre l’installation sonore et l’in situ à proprement parler, ainsi qu’entre l’installation et la projection du son. En choisissant des exemples dans des oeuvres d’artistes aussi variés que Max Neuhaus, Robin Minard, WrK et Bill Viola, entre bien d’autres, l’auteur analyse l’utilisation que chacun fait des sons et des espaces de projections de ceux-ci. En sort un vif portrait des réalisations anciennes et récentes dans la pratique de l’art sonore dans l’espace.

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19

Rose, Ethan. "Translating Transformations: Object-Based Sound Installations". Leonardo Music Journal 23 (dicembre 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.

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20

Burns, Christopher. "Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music". Journal of New Music Research 31, n. 1 (1 marzo 2002): 59–68. http://dx.doi.org/10.1076/jnmr.31.1.59.8104.

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21

Barlow, Melinda, e Mary Lucier. "The Architecture of Image and Sound: Dwelling in the Work of Mary Lucier". Art Journal 54, n. 4 (1995): 53. http://dx.doi.org/10.2307/777695.

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22

Hinton, Diana Davids. "Scientists and Swindlers: Consulting on Coal and Oil in America, 1820-1890 - by Paul Lucier". Centaurus 51, n. 4 (27 ottobre 2009): 321–22. http://dx.doi.org/10.1111/j.1600-0498.2009.00157.x.

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23

TORRENS, HUGH. "Scientists and swindlers: consulting on coal and oil in America, 1820-1890 - By Paul Lucier". Economic History Review 63, n. 1 (febbraio 2010): 271–72. http://dx.doi.org/10.1111/j.1468-0289.2009.00511_28.x.

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24

Desautels, Jacques. "Pierre Lucier, L’Université québécoise : figures, mission, environnements, Québec, Les Presses de l’Université Laval, 2006, 179 p." Recherches sociographiques 49, n. 3 (2008): 584. http://dx.doi.org/10.7202/019896ar.

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25

Reardon-Smith, Hannah. "Lamb, et al. - YARN/WIRE/CURRENTS, vol. 4: works by LAMB , LUCIER , VINE . Yarn/Wire. Bandcamp." Tempo 71, n. 281 (21 giugno 2017): 101–2. http://dx.doi.org/10.1017/s0040298217000304.

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26

Gendron, Bernard. "LA BARBARA'S DOWNTOWN". Tempo 76, n. 301 (luglio 2022): 8–18. http://dx.doi.org/10.1017/s004029822200002x.

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AbstractThis article examines Joan La Barbara's role in New York's Downtown scene, where her career was nurtured. By ‘La Barbara's Downtown’ I mean her perspective on Downtown as reflected in where she performed, who she collaborated with and what she wrote. Beginning with her involvement in the Steve Reich and Philip Glass ensembles in the early 1970s, I follow her through explorations in improvisation with Frederick Rzewski, Garrett List and Charlie Morrow. At the centre is La Barbara's development as an experimentalist composer in various Downtown venues, reinforced by her important collaborations with Alvin Lucier and John Cage. She wrote about the Downtown scene in the SoHo Weekly News in the mid-1970s and after leaving New York continued to write about it in Musical America until the mid-1980s. In all these contexts, I explore the different elements of her experimentalism, which is the overriding thematic of her aesthetic.

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Woloshyn, Alexa. "ELECTROACOUSTIC VOICES: SOUNDS QUEER, AND WHY IT MATTERS". Tempo 71, n. 280 (3 marzo 2017): 68–79. http://dx.doi.org/10.1017/s0040298217000092.

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AbstractQueer processes abound in fixed media electroacoustic music with voice, in both the composition and listening processes. ‘Queer’ means transgressive, unstable, and disruptive, and queer processes break down restrictive traditional binaries. In this article, I name the queer where some may have thought it does not or could not exist, in well-known works by Berio, Stockhausen and Lucier, as well as lesser-known works by Truax, Normandeau and Westerkamp. Any claim to the queer in these electroacoustic works is inherently political because the core of the term's meaning is to disrupt and perturb the status quo, which is maintained by existing power structures. I outline how composers unsettle the gendered voice and exploit its mediating role between the body and language. Studio manipulation is further enhanced by the acousmatic listening context, which is intimate and unsettling (‘queer’), and can depict the ‘third space’ between the bodies of the voice and listener.

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Niazadeh, Rad, Jason Hartline, Nicole Immorlica, Mohammad Reza Khani e Brendan Lucier. "Fast Core Pricing for Rich Advertising Auctions". Operations Research 70, n. 1 (gennaio 2022): 223–40. http://dx.doi.org/10.1287/opre.2021.2104.

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Standard ad auction formats do not immediately extend to settings where multiple size configurations and layouts are available to advertisers. In these settings, the sale of web advertising space increasingly resembles a combinatorial auction with complementarities, where truthful auctions such as the Vickrey–Clarke–Groves (VCG) auction can yield unacceptably low revenue. In “Fast Core Pricing for Rich Advertising Auctions,” Niazadeh, Hartline, Immorlica, Khani, and Lucier study and suggest core-selecting auctions, which boost revenue by setting payments so that no group of agents, including the auctioneer, can jointly improve their utilities by switching to a different outcome. Their main result is a combinatorial algorithm that finds an approximate bidder-optimal core point with an almost linear number of calls to the welfare-maximization oracle. This algorithm is faster than previously proposed heuristics in the literature and has theoretical guarantees. By accompanying the theoretical study with an experimental study based on Microsoft Bing Ad Auction data, the authors conclude that core pricing is implementable even for very time-sensitive practical use cases such as real-time online advertising and can yield more revenue than the VCG or generalized second price auction.

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Fotakis, Dimitris, Kyriakos Lotidis e Chara Podimata. "A Bridge between Liquid and Social Welfare in Combinatorial Auctions with Submodular Bidders". Proceedings of the AAAI Conference on Artificial Intelligence 33 (17 luglio 2019): 1949–56. http://dx.doi.org/10.1609/aaai.v33i01.33011949.

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We study incentive compatible mechanisms for Combinatorial Auctions where the bidders have submodular (or XOS) valuations and are budget-constrained. Our objective is to maximize the liquid welfare, a notion of efficiency for budgetconstrained bidders introduced by Dobzinski and Paes Leme (2014). We show that some of the known truthful mechanisms that best-approximate the social welfare for Combinatorial Auctions with submodular bidders through demand query oracles can be adapted, so that they retain truthfulness and achieve asymptotically the same approximation guarantees for the liquid welfare. More specifically, for the problem of optimizing the liquid welfare in Combinatorial Auctions with submodular bidders, we obtain a universally truthful randomized O(log m)-approximate mechanism, where m is the number of items, by adapting the mechanism of Krysta and Vöcking (2012).Additionally, motivated by large market assumptions often used in mechanism design, we introduce a notion of competitive markets and show that in such markets, liquid welfare can be approximated within a constant factor by a randomized universally truthful mechanism. Finally, in the Bayesian setting, we obtain a truthful O(1)-approximate mechanism for the case where bidder valuations are generated as independent samples from a known distribution, by adapting the results of Feldman, Gravin and Lucier (2014).

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Rogalsky, Matthew. "‘Nature’ as an Organising Principle: Approaches to chance and the natural in the work of John Cage, David Tudor and Alvin Lucier". Organised Sound 15, n. 02 (6 luglio 2010): 133–36. http://dx.doi.org/10.1017/s1355771810000129.

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31

Torres, Rui. "Metaphors of Accumulation in Pieces for Tape, Vinyl and Digital Sound: Addressing the Sonic Experiences of Alvin Lucier, Christian Marclay and John Oswald". International Journal of the Arts in Society: Annual Review 1, n. 6 (2007): 25–32. http://dx.doi.org/10.18848/1833-1866/cgp/v01i06/35280.

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32

Waugh, Michael. "Music 109: Notes on Experimental Music. By Alvin Lucier. Middletown, CT: Wesleyan University Press, 2012. 215 pp. ISBN: 978-0-8195-7297-4". Popular Music 32, n. 2 (maggio 2013): 339–41. http://dx.doi.org/10.1017/s0261143013000238.

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33

Carey, Christian. "Thomas DeLio, Analytical Studies of the Music of Ashley, Cage, Carter, Dallapiccola, Feldman, Lucier, Reich, Satie, Schoenberg, Wolff, and Xenakis. Edwin Mellen Press. $259.95." Tempo 72, n. 285 (19 giugno 2018): 106–7. http://dx.doi.org/10.1017/s0040298218000232.

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34

Saladin, Matthieu. "Electroacoustic Feedback and the Emergence of Sound Installation: Remarks on a line of flight in the live electronic music by Alvin Lucier and Max Neuhaus". Organised Sound 22, n. 2 (12 luglio 2017): 268–75. http://dx.doi.org/10.1017/s1355771817000176.

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Reflecting upon Max Neuhaus’s and Alvin Lucier’s first electronic works on electroacoustic feedback, I will consider how their research into live electronic music, meant to be performed on stage, announced a whole other form of creation, which was paradoxically emancipated from the concert hall and essential to the emergence of sound art: sound installations. If both musicians first appropriated the electronic medium for its possibilities in sound transformation, it appears that these experimentations, and more precisely those using feedback, quickly extended into areas other than research on tone and the live dimension of electronic performances. Indeed, electroacoustic feedback, as a phenomenon of retroaction, goes beyond the mere relationship to the instrument: by manifesting itself in the looping of the electroacoustic chain (microphone-amplification-speakers), it straightaway inscribes the electronic device in a spatial dimension that is linked to the propagation of sound. By analysing Neuhaus’s and Lucier’s first experiments with feedback, the specificities of their apparatuses and the experiences they aimed to create and foster, this article wishes to question the role these experiments played in the emergence of both musicians’ concern with space, which is at the core of any understanding of their later works. We can then re-read their contribution to the history of live electronic music in the light of both bifurcations and lines of flight inherent in their respective bodies of work, in order to look into the emergence of a certain art of sound installation, in which the liveness of live electronic music, far from being pushed aside, seems to lead into other forms of creation and specific aesthetic questions.

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35

Cantin, Serge. "Pierre Lucier, La foi comme héritage et projet dans l’oeuvre de Fernand Dumont, Sainte-Foy, Les presses de l’université Laval, Les éditions de l’IQRC, 1999, 74 p." Études d'histoire religieuse 66 (2000): 105. http://dx.doi.org/10.7202/1006820ar.

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36

IAWA Journal, Editors. "Mechanisms of forest response to acidic deposition. A.A. Lucier ' S.G. Haines (eds.), ix + 241 pp., illus., 1990. Springer Verlag, Berlin, New York, etc. Price: DM 98.00 (hard cover)." IAWA Journal 12, n. 1 (1991): 102. http://dx.doi.org/10.1163/22941932-90001218.

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37

Lister, Rodney. "Music 109: Notes on Experimental Music by Alvin Lucier. Wesleyan University Press, 2012. $24.95 - Robert Ashley by Kyle Gann. University of Illinois Press, 2012. $80.00 (hardbound)/$25.00 (paperbound)". Tempo 68, n. 268 (20 marzo 2014): 109–13. http://dx.doi.org/10.1017/s0040298213001915.

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38

Redhead, Lauren. "Hagen et al. - ‘ETUDE BEGONE BADUM’: works by HAGEN, CICILIANI, LUCIER and PISARO. Håkon Stene (perc.). Ahornfelder AH25 - FERNEYHOUGH: Bone Alphabet (CD Single). Håkon Stene (perc.). Ahornfelder AH26". Tempo 68, n. 269 (16 giugno 2014): 84–86. http://dx.doi.org/10.1017/s0040298214000199.

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Clay, Karen. "Scientists and Swindlers: Consulting on Coal and Oil in America, 1820-1890. By Paul Lucier. Baltimore, MD: The Johns Hopkins University Press, 2008. Pp. xii, 426. $52.00, cloth." Journal of Economic History 69, n. 3 (settembre 2009): 887–88. http://dx.doi.org/10.1017/s0022050709001181.

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Dehghani, Sina, Hamed Saleh, Saeed Seddighin e Shang-Hua Teng. "Computational Analyses of the Electoral College: Campaigning Is Hard But Approximately Manageable". Proceedings of the AAAI Conference on Artificial Intelligence 35, n. 6 (18 maggio 2021): 5294–302. http://dx.doi.org/10.1609/aaai.v35i6.16668.

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In the classical discrete Colonel Blotto game—introduced by Borel in 1921—two colonels simultaneously distribute their troops across multiple battlefields. The winner of each battlefield is determined by a winner-take-all rule, independently of other battlefields. In the original formulation, each colonel’s goal is to win as many battlefields as possible. The Blotto game and its extensions have been used in a wide range of applications from political campaign—exemplified by the U.S presidential election—to marketing campaign, from (innovative) technology competition to sports competition. Despite persistent efforts, efficient methods for finding the optimal strategies in Blotto games have been elusive for almost a century—due to exponential explosion in the organic solution space—until Ahmadinejad, Dehghani, Hajiaghayi, Lucier, Mahini, and Seddighin developed the first polynomial-time algorithm for this fundamental gametheoretical problem in 2016. However, that breakthrough polynomial-time solution has some structural limitation. It applies only to the case where troops are homogeneous with respect to battlegruounds, as in Borel’s original formulation: For each battleground, the only factor that matters to the winner’s payoff is how many troops as opposed to which sets of troops are opposing one another in that battleground. In this paper, we consider a more general setting of the two-player-multi-battleground game, in which multifaceted resources (troops) may have different contributions to different battlegrounds. In the case of U.S presidential campaign, for example, one may interpret this as different types of resources—human, financial, political—that teams can invest in each state. We provide a complexity-theoretical evidence that, in contrast to Borel’s homogeneous setting, finding optimal strategies in multifaceted Colonel Blotto games is intractable. We complement this complexity result with a polynomial-time algorithm that finds approximately optimal strategies with provable guarantees. We also study a further generalization when two competitors do not have zerosum/ constant-sum payoffs. We show that optimal strategies in these two-player-multi-battleground games are as hard to compute and approximate as Nash equilibria in general noncooperative games and economic equilibria in exchange markets.

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Williams, J. C. "Scientists and Swindlers: Consulting on Coal and Oil in America, 1820-1890. By Paul Lucier. (Baltimore: Johns Hopkins University Press, 2008. xvi, 426 pp. $65.00, ISBN 978-0-8018-9003-1.)". Journal of American History 97, n. 3 (1 dicembre 2010): 820–21. http://dx.doi.org/10.1093/jahist/97.3.820.

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Santayana, George. "Lucifer". Overheard in Seville: Bulletin of the Santayana Society 7, n. 7 (1989): 20–23. http://dx.doi.org/10.5840/1989773.

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Rouzel, Joseph. "Lucien". VST - Vie sociale et traitements 76, n. 4 (2002): 63. http://dx.doi.org/10.3917/vst.076.0063.

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Zuber, Roger. "De Lucien écrivain au Lucien de d'Ablancourt". Littératures classiques 13, n. 1 (1990): 9–18. http://dx.doi.org/10.3406/licla.1990.2652.

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Domingues, Joâo. "De Lucien à Lucien : histoire d’une trahison". Cahiers d'études romanes, n. 4 (1 luglio 2000): 167–80. http://dx.doi.org/10.4000/etudesromanes.3244.

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Mazel, Christian. "Lucien Bonnafé". Empan 51, n. 3 (2003): 110. http://dx.doi.org/10.3917/empa.051.0110.

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Laufer, Jacqueline, e Chantal Rogerat. "Lucien Neuwirth". Travail, genre et sociétés 43, n. 3 (2019): 24. http://dx.doi.org/10.3917/tgs.000.0024.

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Grandmougin, Anne-Cécile. "Lucien Herr". Médium 31, n. 2 (2012): 166. http://dx.doi.org/10.3917/mediu.031.0166.

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Bailly-Salin, Pierre. "Lucien Bonnafé". VST - Vie sociale et traitements 78, n. 2 (2003): 16. http://dx.doi.org/10.3917/vst.078.0016.

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Gavelle, Laurent. "Lucien Bonnafé". VST - Vie sociale et traitements 80, n. 4 (2003): 51. http://dx.doi.org/10.3917/vst.080.0051.

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Articoli di riviste sul tema "Lucier"

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