Scot Gresham-Lancaster

A Chronology and description of work.

2004 2003 2002 2000 1999 1998
1997 1996 1995 1994 1993 1992
1991 1990 1989 1988 1987 1986
1985 1984 1983 1982 1981 1980
1979 1978 1977 1976 1975 1969

 

2006: Hub Tour late spring 2006- Cuneo Italy at the "Consevatorio di Musica "Giorgio Federico Ghendini" with the students of Stefano Bassanese -> Padua June 5, 2006 at 9:00 p.m. “The Hub” in concert at the Auditorium “C. Pollini” Centro d'arte degli studenti dell'Università with artistic director and musicologist Veniero Rizzardi making instant criticism in Italian via the online chat that we use to coordinate our playing. -> IRCAM to present at the NIME 2006. Serge Tcherepnin kindly hosted us while in Paris. -> Köln/DE, Brückenmusik, inside Deutzer Rhine bridge curated by Hans Koch

Celllphonia:in the News working with Steve Bull and Tim Perkis we are developing a New York State Council for the Arts commision to create an Open Source Opera that uses the Asterisk PBX to prompt users to speak or sing specific cues that are then mixed with a precomposed score using csound. Perl is used to coordinate all the actions that link phone calls to a mySQL database and allow participants to retrieve the finished rendition of their "scene" via the web, podcast, or over their phone. Premiered at the Mobile Music conference 2006 in March at Brighton UK.

2005:HUB did a 6 day workshop at Tesla in Berlin with a concert on the evening of June 23, 2005. We focused our energy on getting oscgroups to work which enabled us to interconnect via TCP/IP using the OSC protocol. Then in November we did a Four city German tour playing in Dortmund (WDR

AB_TIME III @ NIME 2005 the conference was hosted at the University of British Columbia in Vancouver, Canada May 26th. All spaces are interconnected in "near" s'real time over the Internet with large-scale video projections in the performance areas. Dancers interact with the distortion of time and space created by aiming the video camera at the video projection of the other spaces. Screen inversion, network delay and dropout artifacts all add to the unique texture and dimension of the projection.Tomie Hahn will be a featured artist in this performance dancing to Scot Gresham-Lancaster's custom midi guitar with extended controllers.In Marseilles: Jean-Marc Montera will be playing guitar. In Troy, NY: Pauline Oliveros will be playing accordion and various other small instruments using her Expanded Instrument System (EIS).

 

AB_Time II Tri-location performance in Marseilles, FR, Troy, NY and, Oakland, CA January
Jan. 25 and 26 - 19:00 UTC ( 8:00 PM FWT - 2:00 PM EST - 11:00 AM PST) with Pauline Oliveros,

Skalen / artistic group in Marseilles
MICHÈLE RICOZZI Dancer, Choreographer
JEAN MARC MONTERA Musician
PATRICK LAFFONT Video artist

PAULINE OLIVEROS (Music)
TOMI HAHN (Dance and Shakahachi)
at the iEar studios of the Rensselaer Polytechnical College in Troy, NY

SCOT GRESHAM-LANCASTER: (Music & Video)
HOLLY FURGASON of the Mills College Dance Department
perform at Mills College in Oakland, CA
All spaces are interconnected in "near" s'real time over the Internet with large scale video projections in the performance areas.
Dancers interact with the distortion of time and space created by aiming the video camera at the video projection of the other spaces. Screen inversion, network delay and dropout artifacts all add to the unique texture and dimension of the projection.
The sounds of each space are mapped into the other spaces in a flawed and delayed manner. Creating unexpected discontinuities and delays that inform the interaction between the players and the dancers.

2004:November: The Hub was invited to play at he Dutch Electronic Arts Festival DEAF 2004"As a matter of fact, the pioneering networked music band The Hub have not performed together over the last 10 years. Deaf invited them for a reunion concert in their festival." Tim perkis implemented a flash based client that polled our text chat on AIM and projected it to the audience. We were connected on line to musicians in Tokyo, Montreal, and Marsielles and there video images were projected for the audience as we played in real time. February: Using ProTools and pluggo created VST plugins to exercise real time control over semi programatic playback for an excerpt from "The Martian Time Slip" and a reworking of the material from 1984's "Functions of Permanent Revolution"

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2003: AB_TIME Coordinated Live Internet Performance with the Montevideo Center in Marseilles and the Center for Immersive Technology (iCIM) at California State University, Hayward. Using iChat and recursive video projections on both ends had the camera pointing at the screen. A "house of mirror" effect that included the internet time delay on each new frame. The dancers image flipped left to right from the center on each return from the distant site. The choreographers worked with this unique environment (November 2003)

STEIM Amsterdam working with Jorgen Brinkman created the third prototype of the tensegrity harp. In this version we used two hacked Logitech rumble pad wireless joysticks. The strings of the harp define an octahedron. three struts in the center define the XYZ axis.

Peerings A collaborative Internet2 performance between vocalists, musicians, dancers, designers,and audience members exploring the mediated space of live internet performance. Performers from Rensselaer Polytechnic Institute in Troy, NY and Mills College in Oakland,CA will perform in a common visual and acoustic space by virtue of the high-speed internet, the Synthetic Space Environment, a research project of Rensselaer Polytechnic Institute, and the interdisciplinary Center for Immersive Technology (iCIM) at California State University, Hayward.

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2002: Two pieces were presented at CSUH to inaugurate the newly-formed interdisciplinary Center for Immersive Media (iCIM) and CSUH's presence on Internet2. The first, Exposition: Calpurnia's Dream Obscured by Movement, was a part of Internet2's Fall Member Meeting at the USC's Bing Theatre. The evening at USC consisted of a number of performances, all using features of Internet2.

"New Journey for Four," at CSUH used a live audio and video connection with the iEAR Studios at Rensselaer Polytechnic Institute in Troy, New York. Performing in this piece were: Pauline Oliveros (Accordion), June Watanabe (Dancer), Jay Rizzetto (Trumpet), and Scot Gresham-Lancaster (electronics).journey;

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2000: Integrated Roland G2-K1 on a Traveler guitar Midi played a Emu Proteus 2000 and using boomerang and DJ style sample delay created versatile interactive, analog signal from guitar was mixed and all were put through zvex fuzz factory and vintage Vox wah wah pedal. This combination was the instrument I played with fuzzybunny

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1999: As part of STEIM residency Tensegrity Harp using the PIC 16C77
embedded processor and Conductive Silicon Elastomers read the stretching
of the structure and in that way create a dynamic vector model that can
be remapped to abstract parameters associated with one or many DSP
algorithms that are generating, delaying, filtering or in some other
way modifying sonic material. Used in the execution of
" in the unlikely event of a water landing"
for cello quartet and electronics.


Developed interactive algorithms for mia Masaoka's Bee Show, that
included a Pro Tools based 5.1 surround mix of bee sounds and modified
koto sample.

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1998: Refined the ongoing ( since 1994 ) set of pieces
"5 tones for Slonimsky"
using Yamaha Disclavier, Mac powerbook running max, the
software interacted with the players keyboard gestures to augment the
playing.

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1997: Last Hub performances at Mills College, Cal Arts in Valencia, and
Arizona State University. Developed abstract Level Control
Systems "space maps" for Naut Humon's Sound Traffic Control Project.
Used the geometric configuration of Tantric yantra as means of
organizing the configuration of the panning in a sixteen channel
surround mix environment.
"Giest Incidental Music"  for string quartet and percussion

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1996:Worked researcher at Interval research in Palo Alto developing
product prototypes for potential production. Most interesting
project "Smart Music Blox" with Tim Perkis. Musical vocabulary based on
the interconnection of various block that created a syntax for the
musical structure. The blox were interactive to squeezing as well as
light and external audio.

PAULINE OLIVEROS (http://www.deeplistening.org/ ) PERFORMED MOON DAZZLE on Sept. 26, the night of the lunar eclipse, at California State University, Hayward. "The lunar eclipse from the Hayward Amphitheater was gorgeous," she writes by email. "The night was clear and she rose above the trees an orange mistiness. As she climbed the sky the bright sliver emerged slowly from the black shadow - crystal clear."
Oliveros says that "The set up for Echoes From the Moon involved Mark Gummer - a ham radio operator in Syracuse NY. Mark was standing by with a 48 foot dish in his back yard. I sent sounds from my microphone via telephone line in Hayward to Mark and he keyed them to the moon with his Ham Radio rig and dish and returned the echo from the moon. The return was 2 & 1/2 seconds."
Scott Gresham-Lancaster was the engineer and organizer. Gresham-Lancaster also arranged the contact with Ham Radio operator Dave Olean in 1987 when Pauline did the first version of ECHOES FROM THE MOON in Maine.

Using Mike Berry's Grainwave to realize older
Hub pieces for unified user interface. Chris Brown and I used Matt
Wright's otudp object in MAX to use tcp/ip to interact over the
internet between remote sites. Worked with Mark Holler on David Tudor's
neural synthesis electronically trainable analog neural net (ETANN) ,
obsolete technology thrown out by nation semiconductor.
"The heart that wandered" for string quartet

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1995: integrated the use of analog video feedback as a means of
heuristically controlling controlling the mix of 6 CD-Rom players
using opcode max and and photo detectors. Used to mix "Times Remembered"
for New American Radio.
Finished String orchestra version of "machine"
based on neural net selection of pitch classes derived from drum
machine rhythms and allocated to pitch space by remapping drum map to
pitch map. Procedure for editing based on always using machine to make
even the smallest changes, no human intervention. Djerassi artist
residency.

1994: CSUHayward... Exploratorium installation of
"Terrain Reader" for computer music instruments, slides, and whackers
fully integrated X Windows version in development WWW Hypertext markup
version in development
http://www.cs.mcs.csuhayward.edu/~tebo/Web/terrain.html Audience
participation with Home Infrared remote control multiple infrared
transistors summed from locations in audience vocabulary established
from controllers brought by participants flexible and user (i.e.
artist) extensible development to be finished this June at STEIM
"Whirlpool of Blood" for voice long tube and electronics

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1993: CSUHayward Internet "radio" feedback experiments with Bill
Thibault used 8-bit uLaw .au format TCPlay utility provided use of
satellite Macs used between "distance learning" sites at remote Contra
Costa campus and CSUH
Disclavier "Chaos" pieces written in Max use mechanism to dampen MIDI
feedback "VEX" with Alvin Curran performed in Berlin 6-93 see Wreckin'
Ball 2nd HUB CD
"A wind blows through my soul"
an elegy for Catherine Lancaster
for String Orchestra

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1992: CSUHayward Interface for multiple Uforce to MIDI controller 8
discrete channels of proximity detection New Micros 2x4 SBD converts 8
synchronous serial to MIDI developed at STEIM in Amsterdam
Songlines.DEM installation at ICMC San Jose Integrated Uforce
instrument with earlier software added real time projection of SGI
Indigo graphics investigation of trance states with 4 day continuous
performance
String Quartets in Baroque Forms

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1991: CSUHayward Developed "HUB 2" MIDI interactive computer music
network hardware based around Op Code Studio 5, 68000 based 16 port
MIDI interface allows discrete remapping of MIDI information to
individual ports port 2 ch 7 in arrives at port 7 as ch 2 developed as
part of an Artist residency at Mills College

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1990: CSUHayward Multi-dimensional parameter controller using
tensegrity objects based on Buckminster Fuller tetrahedral tensegrity
strain gauges at all 12 vectors scaled into 12 ch ADC New Micros 2x4
SBD converts force scaling to MIDI based on ideas present in the WEB
instrument at STEIM.
http://isis.csuhayward.edu/ALSS/music/tensegrity.html
computer assisted composition using forth and max
"Human/Nature"
4 movements for piano

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1989: CSUHayward McCall.DEM (terrain reader) with William Thibault
based on notions put forth by Rich Gold see "Foundations of Computer
Music" MIT press USGS digital elevation models used as compositional
determinate pitched particles bounce on terrain (NeXT objective C)
travelers define just intoned paths that sing the elevations (Amiga and
NeXT) MIDI travelers reflect path in parameter changes whackers
represent texture as changing rhythmic structure see detailed technical
description in ICMC proceedings 1992 Premiere performance at
Experimental Intermedia Foundation NY, NY as part of New Music
America '89.

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1988: CSUHayward Designed and built "whackers" 64 channel percussion
robot 1 Amp per solenoid channel with Robert Marsanyi HMSL based
instruments remaps midi note events to solenoid note num. = whacker #
vel=period and intensity of hit The HUB CD on artifact cut 5 "whackers"
Consulted on the development of Uforce controller for Broderbund Infrared based
8 channel proximity detector 8051 micro controller with synchronous
serial interface failed as Nintendo game controller

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1987: CSUHayward FORTH based interactive music instrument with Chris
Brown real time capture of parameters multiple controllers used to
control loop starts and endpoints for each parameter remapping and
scaling of control parameters Developed 4 year planned curriculum in
Music Technology Digital and Analog recording techniques MIDI concepts
including sequencing and algorithmic design Music Notation Software
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1986: Mills College Helped  Phil Stone and Tim Perkis in the development
of the 1st "HUB" 2 SYM single board computers linkable by modem allowed
linked performance between two concert sites created a new genre of
"Interactive live computer network music"
Technical Liaison for Pauline Oliveros' "Echoes from the Moon" project
developed technical requirements to bounce radio
signals off the moon with the cooperation of SRI in Menlo Park, CA
worked up detailed plan for using Mars mapping telescope on the
Stanford campus .Coordinated contact with Ham radio operator David Ole an
in Maine that was eventually used via telephone for performance in New York

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1985: Mills College Designed and built custom microphone system for
George Coates Performance Group design optimized the use of low cost
electrolytic mica computer controlled gating sought feedback squeal
Developed "Food Chain" with Richard Zvonar premiere use of commercial
MIDI software in interactive network environment early use of real time
sampling in a live performance environment
"Food Chain" with Richard Zvonar
for 4 Macintosh, commercial synthesizers and sequencers

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1984: Mills College Designed and built Apple II based "Listener"
circuit Hardware band pass filter bank Hardware envelope followers Forth
based software statistical analysis of instantaneous spectrum Forth
based software control of 4 ch. DAC to control analog synthesizer used
to control guitar feedback in:
"Interlok" for 4 guitarists and electronics
"Sexus" with Kathryn Gresham-Lancaster
for tape, percussion, electronics,actor, and slides.
Macintosh based software development for just intoned guide tones
included with Lou Harrison's "At the tomb of Charles Ives" (Schirmer)
Used by Rosenboom in the recording of "In the Beginning" on the "Music
at Mills" lp set detailed technical notes published in the proceedings
of the ICMC in Vancouver Macintosh based software development
for "Morphological Filter" detailed technical notes published in the
proceedings of the ICMC in Vancouver see "Macintosh as Interactive
Composer's Tool"

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1983: Mills College Collaborated in the development of BIRD the first
prototype of what became HMSL integrated ideas of Hierarchy and user
extensibility specifically for real time interactive performance Main
Technical Advisor for David Cope's "Pleides Project" prospectus Budget for
building the 2nd largest radio telescope in the world facility planned
to be full scale music research facility Integrated design of both
scientific and artistic computing see Pleides Project prospectus, Cope,
University of Calif. Press

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1982: " Allegory of the Beached Whale"
for Eb bass clarinet, tenor sax, and electronics.
Mills College helped Phil Stone and Jim McKee with  the design and
development of Hang Glider based musical instrument NASA created
instrumentation to detect ionization above wing tips and nose Tim Perkis's
Casio hack (pre-MIDI) on keyboard switch array Hercules wireless mic
transmitter (weak point of instrument) performed three times twice at Fort
Funston (San Francisco) once at Torey Pines (CME 1983) Rebuilt the Center
for Contemporary Music Studios rebuilt failed 12 ch Sculley 1 inch based
recording studio poorly maintained facility upgraded Designed and built
Gesture mapping glove based on the work of Dean Sandine and associates
at Univ. Illinois uses light pipe technology still used in VPL data
glove

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1981: Mills College built interface for Buchla Multiple Arbitrary Random Function Generator MARF designed custom board to control MARF from standard Centronics Port specified and constructed of ERG box 68000 based S100 system with FORTH in ROM
Michelangelo monochrome display 640X480 Data Acquisitions Inc. 32 ch
DAC/ADC

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 1980: Marin County Audio Images Apple II based computer synthesis
system used 6522 and General Instruments synthesizer chip programmed in
Forth Professional Audio Equipment repair and studio design on call to
area studios to repair problems with consoles and tape recorders worked
daily on the repair of electronic music instruments maintained and
calibrated analog tape machines
"Fluoride" for Serge Modular Synthesizer

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1979: Los Angeles Oberheim Electronics Production technician reworked
Dave Rossum's polyphonic keyboard electronics designed automated
testing system for analog electronics on z80 based S-bus system worked
with Jim Cooper on the original Xpander project 6809 based S-bus system
encoder knob circuitry reworked failed units from production line Los
Angeles Institute for Contemporary Improvised Music first live
interactive performances with electronics and musicians the Eye Gallery
on Wilshire Blvd. Sym/Serge controlled guitar feedback in "Interlock"
interactive installation at the Otis Art Institute patron's triggered
changes in ambient mix in gallery Ice House Dseq controlled rhythmic
structure of live music used early prototype of OBXa Serge signal
processing of other players
"Interlok" for 4 guitarists and electronics.

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1978: Los Angeles Serge Modular Music systems developed z80 based cv
sequencer worked with Darryl Johansen on Synertek Sym SBD Dseq trigger
programming language construction of large modular music systems Rho
Sigma Solar Energy Control system Programming in Forth on AIM 65
computer system Federally funded heat pump and pyrometer project design
of analog/digital hybrid system for measuring BTU's repair of analog
thermal switch array

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1977: University of California at Santa Cruz worked with David Cope
exchanged composition for computer lessons He used my 12 tone Basic
program in "New Directions in Music" Wm Brown pub. Used Basic on pdp 11
to generate stochastic pitch classes for
"Styx" for percussion quartet and electronics

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1976: Virginia Commonwealth University built IMSAI 8080 s100 bus system
with Cromemco 8 ch dac/adc built 10 panel Tcherepnin (later Serge
system) first phone contact with Serge wrote op code based assembly
language program for interface switch based input used analog cv mixers
to route dac outputs experimented with video delay systems
"Be Normal" and "Bozo's face makes a waltz"
for mixed instrumentalists, tape and actors

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1975: Computers in the Arts and Humanities at SF state FORTRAN
Programming with overnight batch processing Music 5 Graphic design on
Cal Comp plotters Basic Programming for stochastic pitch classes

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1974: Stanford Summer program in Computer studied with
John Chowning early FM on Samson Box
SAIL system first versions of SCORE

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1972: Ravenswood Experimental High School in East Palo Alto attended
Mills College graduate program studied with Bob Ashley, Terry Riley,
Bob Sheff AKA "Blue Gene" Tyranny, and  William Miraldo
Supervised the installation of modest Moog based studio

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1969: Lenkurt Scholarship in Electronics
Built Theremin from 1965 article by Robert Moog in "Popular Electronics" for Tierra Linda Junior High School Science Fair Project, San Carlos, CA

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