Acknowledgements

For valuable support, feedback, and technical advice during the process of writing this article I am indebted to Catharine McTavish, Shahrokh Yadegari and Gayle Young.  For technical advice, inspiration and support for Powerlines I am indebted to Andrew Michrowski.

References and Notes

1.  Some of the pieces (Winter Trees, Of Radiant Streams, Circuits, and Rites of Decimation) I describe here are included on my compact disk Both Sides (1994), produced in Montreal by Société Nouvelle d’Enregistrement, 10175 Meunier, Montreal, Quebec H3L 2Z2 Canada

2.  Benjamin Lee Whorf, Language, Thought and Reality (Cambridge, MA:  MIT Press, 1956) pp.51-56

3.  The other side of the canvas, called The Pure Gold Baby that Melts into a Shriek (a quote from Sylvia Plath’s poem “Lady Lazarus”) is a disturbing, visceral image made with deep lacerations that scar the canvas, acupuncture needles that pierce through the surface of the canvas and large splashes of McTavish’s own blood.  It is evidence of what McTavish endured to create the “other “ side—the “art” side of the installation.

4.  Albert Bregman and Stephen McAdams, “Hearing Musical Streams”, Computer Music Journal 3, No.4, pp.26-43

5.  Ilya Prigogine and Isabelle Stengers, Order Out of Chaos:  Man’s New Dialogue with Nature  (New York:  Bantam Books, 1984)

6.  Ian Waugh, “Harmony From Chaos”, Atari ST User Magazine (August 1992) pp.16-18.

7.  Antonin Artaud, The Theatre and Its Double (New York:  Grove Press, 1958).

8.  For more information, contact The Planetary Association for Clean Energy Inc., A. Michrowski, President.  100 Bronson Avenue Suite 1001, Ottawa, Ontario K1R 6G8 Canada.

9.  Fibonacci spiral reprinted from Matila Ghyka , The Geometry of Art and Life  (New York:  Dover, 1977).

10.  Reprinted from Handbook for Acoustic Ecology (Vancouver:  A.R.C., 1978).