leif BRUSH
Since 2005
Works in DULUTH, Minnesota United States of America

leif BRUSH
b. 1932 southern Illinois US
>>Transforming minds are omnipresent and seek realtime open-nerve connections.
Recalling innate brain file culling during my youth, and later, when this contextually-laden trove emerged, I found it to be an intuitively self-revealing baseline: the 1960s-1980s, allowing economical million $ projects and accomplishing conceptual vocabulary aspects; having received international, national, state, University recognition and grants, which importantly allowed this analog radio baby to segue; re 'mind-melding' w/Nano technologies and reciprocal commerce streams/interactivities; however, I acknowledge shared "participation" among those of similar minds -from all pasts- as one 'investigative' catalytic conceptualist.<<
>>1969-1972 Schools of the Art Institute Chicago: Undergrad, Graduate and Teaching Assistant, Audible Constructs http://www.d.umn.edu/~lbrush/lbarchivesb1.html
>>Diploma, Schools of the Art Institute
>MFA, Academics, University of Chicago, 1972
>>Previous Rank: University of Iowa, Iowa City, Department of Art: Assistant Professor Date of Rank Sept. 1, 1972-1975
>>Present Rank, University of Minnesota Duluth, Department of Art and Design: Professor Sept 19 1975
>>Emeritus FA Professor, Retired May 2002

sound sculptures 1964-1975 - http://www.d.umn.edu/~lbrush/lbarchivesYONY.html
TERRAIN INSTRUMENTS - http://www.d.umn.edu/~lbrush/lbarchivesb.html
TREES,ICE FLOES and othe natural phenomena - http://continuo.wordpress.com/2009/07/06/musicworks-30-sound-constructions/
WINDRIBBON - http://vimeo.com/32734522
DRAFT MONITOR - http://www.d.umn.edu/~lbrush/lbarchivese.html
WINDSCUBE - http://www.d.umn.edu/~lbrush/lbarchivesd1.html#anchor213267
>>The Outer Years
Skype leif.brush
Discussions (20) Opportunities (0) Events (4) Jobs (0)

transmediale 2012: in/compatible

December 1, 2010 at 19:05

Hi John, I have been a regular to your pages, images and sound research, and I really appreciate your concepts and sustained leadership in advancing what I call the perpetual earyears. I’m approaching the final draft of a grant proposal that, when completed, I’ll send to the University of Minnesota, Minneapolis. My Project Title : TeleSuonoVision: realtime details of contextual terrestrial sound and images for eventual streaming as encoded A/V poems. With this in mind, would you suggest the best way I can go public; for instance, I’d like to go public with all FB image categories? Doing so would trigger access to my 31 scroll-down archival pages.
My official yasmin intro of self is among the URLs below

Thanks, Leif Brush
Professor Emeritus, Department of Art + Design
University of Minnesota Duluth
2909 Jefferson Street
Duluth, Minnesota 55812-2324

I will be submiting a LMJ #23 draft paper, Global's Wave Artifacts, Teleconstruct Spaceworks; Nanotechnologies: Ear/Eye at Par - TeleSuonoVision
http://www.amazon.com/EAR-Magazine-New-Music-Composer/dp/B002AXJB14 leif BRUSH


The Web That Can't Wait

re canned superficial Like, Love, Yea social nets pronouncements

Which is why open source should prevail; proprietary entities, gated playgrounds and controlled and/or precluding interactive feedback are no match for realtime intuitive, personal, substantive interactions with our friends and neighbors.
Among reasons having departed Linkedin, FB, etc
e.g. canned anything, political superficialness; sted, realitites, realtime

http://wiredlab.ning.com/profile/http://wiredlab.ning.com/profile/LawrenceHarvey http://resonancenetwork.wordpress.com/2012/04/27/sounding-city-public-sound/http://estia.media.uoa.gr/pipermail/yasmin_discussions/20120220/001598.htmlhttp://leonardo.info/isast/events/globalwarning2010.htmlhttp://malina.diatrope.com/2012/02/18/leonardo-education-and-art-forum-at-us-college-art-association/http://malina.diatrope.com/2012/03/22/new-leonardo-thinks-posting-art-and-the-brain-what-does-the-evidence-tell-us-by-amy-ione/http://weblackwhole.net http://www.davidddunn.com/~david/writings/wilder.pdf
>>.edu, leif BRUSH


Photoshopped Sherman



Photoshopped Sherman

visual arts analog talking pictures ((a/k/a radio (1920s- "images of the mind" vs natural radio))

Vis-à-vis (Cindy Sherman's analog photographs); I recall the attribution to some of my soundworks as being either electronically DSPd or computer manipulated. Having fleshed out my SAIChicago MFA 1972, wrapping up two University teachings 2002, on through 2012- I do know intuitive satisfaction for having evolved personal acoustic concepts which at base, writing retrospectively, were guided by long term memories.

My intuitive terrain vantage during 1970s-1980s assumed: sound was not to be derived from (dj) microphones but, initially, the mono accelerometer (analog sensor). On through the cassette-sharing years of these raw soundings, on one of the tracks, I inserted my name in Morse code, sometimes at x speed and at a very low level. Having done so for awhile, this ended abruptly; my thinking was that these unheard vibrational natural phenomena sources were potentially available to everyone on "spaceship earth" - they're ours to behold.

Parenthetically though, I was experimenting with complex sources and the unique aspects/nuances between sound and music. I pressed on. I'll stop here, as my middle name is suono.

Most of my soundworks (audio audio or video) are either public domain or in my archived, autobiographical external HD. Importantly though -to import sound- the preferred solar sensor/preamplifier I/O was the key to earphone listening from the multitude of terrestrial wave forms. My now defunct freetoears.net pages is a failed attempted to achieve the then desired net-outreach.

Into this head wind, 'my intercepted compositions' meandered DECK II, SoundDesigner I and II, with reliance upon synced layered tracks using multi year recordings, each w/time, day, date, WWV voice&signal. The 1990s challenged; tempting me into multiple tracks w/software inducements. Earlier, I had receive 100 Shadow sensors from the Erlangen Germany owner.
I was still on course to overhear (even speedup very low frequencies) from '200 + found sounds in nature.' This turned out not to be a problem after having attached 11 of these Shadows to a 50 year old Birch tree! (After all, there are more natural vibrations "in heaven and Earth that are thought of.") The purist in me was satisfied.

When will anyone ever mirror and comprehend, in realtime, this analog/digital supraterrestrial trove. Conceptually, I could lock onto a flow chart, RF transmissions, modulated laser, optic & fibre sensors' A/D I/O sampling/multiplexing/demultiplexing- in two-way realtime stream outs - as audio/video directly to and from your hand held. The temptation was Audiomedia I & II; eventually digi002- when I began borrowing from my 5, 7 & 12" raw analog Norelco, Sony, Nagra, Scotch 601 master and cassette tapes - this audio I/O was from direct contact to the various gauges of galvanized wires, including 1/2" brass windribbon, with using mono & triaxial accelerometers, strain gauges, Shadows and DiMarzio sensors.

I did have limited realtime events in which I simultaneously used a He-Ne modulated laser to transmit aspects of the whole from the then "Permanent Forest Terrain Instruments." Some public releases: "Musicworks," "MITEK," "Audio Arts," "Nonsequitur." "Earlabs," "Aerial," "Tiln," "¿What Next?," "KUNSTradio," "Zero Trace FACT" "Deadtech " and "ACOWO" were networkable samplings from this Lat46.812716 Long-092.059014, and provided in-progress-projects to obtain grants from the NEA, Jerome, NEA, Minnesota Arts Board, University of Minnesota Graduate School.

I did come close to lots more three times. An Intel 8080 microprocessor (200 inputs, keyboard-controlled 200+ outputs) at New Music America, Minneapolis 1980 and at the Hudson River Museum, NYC 1982. Both public performances used grant money to achieve Westar V satellite up/down links to relay analog-mixed realtime sounds via a telephone-delivered 2 channel pair from Duluth Minnesota- to these locations.

Shortly before retirement from UMD 2002 email traffic between the Microflown (sensor) founder and I documented a special UMD price for a single sensing element- used in a larger array -which was a "sonic particle camera." Third party paper work did not get synced, the deadline came and went and so did I.

At this moment. Analogs', Sounds', Musics' thoughts' from all of us - in evolving states- it's samo process who. what, where, when, why, how, NOW analog to nando/digital.
Unprecedented challenges for earfulls; and NASA's eyes/ears (w/Sagan Mars mic!) realtime, outputing to hand helds- via two-way on-call streams - are underway. Perhaps generations later, listening/seeing Global's imaging & sound tracks will have both at par.
leif BRUSH