Between 1967 and 1969 Bruce Nauman made a set of films and videos of himself performing monotonous actions in his studio. These works fall into two groups. The first is a set of 16mm films, typically each around ten minutes in length, made in San Francisco in a studio in Mill Valley that Nauman sublet from his former teacher William T.
Wiley in the winter of 1967–8. The second is a set of videotapes, each around sixty minutes in length, made with a Portapak video camera in a studio in Southampton, New York, over the following winter, 1968–9. In these films and tapes, all recorded in black and white, Nauman performs various mundane and repetitive actions: stamping, jumping, playing the violin, bouncing balls, but mostly walking. In some cases Nauman explores the rhythms of walking, stamping out a set of changing tempos; in some he explores gait, shifting his weight from leg to leg in an exaggerated manner; in some his walking is more mechanical, each step broken down into its constituent parts; and in every case his walking is enclosed within the confines of taped lines, a corridor, or the studio itself. When exhibited, these works are played on a loop, making it easy to imagine that Nauman has been pacing forever. Indeed, there is something sinister behind the apparent banality of the repetitive actions.
Fig.3Bruce NaumanDance or Exercise on the Perimeter of a Square (Square Dance) 1967–8 (still)16 mm film on video8 min 24 sec© Bruce NaumanIn the ten-minute film Dance or Exercise on the Perimeter of a Square (Square Dance) 1967–8 (fig.3) Bruce Nauman, barefoot and clad in a dark T-shirt and jeans, begins by standing, feet together, facing away from the camera. He is positioned in the middle of the far edge of a small square, whose outline is taped on the floor. The mid-point of each edge of the square is also marked with tape. As the tick of a metronome begins, marking the half seconds, Nauman touches each toe to a corner of the square and back to the centre again: left, centre, right, centre, left, centre, and so on until he has completed sixty steps (taking a minute). He quickly swaps to the left-hand edge of the square, facing outwards, and repeats the process. He then does the same for the front and right-hand edges of the square, and then goes round again, this time in the opposite direction – front, left, back, right edges – and facing inwards, always with a fixed expression of concentration.
When each permutation of the exercise has been completed, the film ends. Fig.4Bruce NaumanWalking in an Exaggerated Manner Around the Perimeter of a Square 1967–8 (film still)16mm film with sound© Bruce NaumanThe title of this work makes clear the strange dichotomy at the heart of the action, which can be seen as half dance, half exercise. To dance is an aesthetic act, whereas to exercise is more functional, and contains the implication of training towards an outcome. The word ‘exercise’ connotes practice at school (the exercise book), the gym, the military parade ground, or, indeed, the prison yard. The display of another of the studio films, Walking in an Exaggerated Manner Around the Perimeter of a Square 1967–8 (fig.4), in a Nottingham police cell as part of the 2008 exhibition The Impossible Prison, placed Nauman’s walking directly within a space of law enforcement.
In this exhibition the artist’s walking became coloured by its context, drawing attention to the very condition of incarceration that characterises all the studio-based films and videos. Taking this context into consideration, I want to explore the relationship between enforced exercise and productivity that the studio works negotiate.The philosopher Michel Foucault has written that exercise is ‘that technique by which one imposes on the body tasks that are both repetitive and different, but always graduated’. Nauman’s side-to-side stepping in Dance or Exercise has just such a repetitive tenor, his footsteps measured by the tick of the metronome that rules the soundtrack. Occasionally he misses his mark on the square, or loses track of the timing, getting out of sync or miscounting the sixty steps as he gets tired.
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He pushes to get his steps back on track, forcing his body into the regimen he has prescribed for himself. Exercise is discipline.Tracking the changes in approaches to the body within the penal system, Foucault marked an historical shift that took place during the Enlightenment, away from explicit punishment of the body through practices of torture, to punishment through control of the body within the prison system. Where torture was predicated upon spectacle and representation, that is, making a public example of the criminal using techniques that displayed the nature of his crime as ‘signs’ (a thief would have his hand cut off, for example), the prison hid the criminal from view, operating a system of correction and reform. Foucault writes:Exercises, not signs: time-tables, compulsory movements, regular activities, solitary meditation, work in common, silence, application, respect, good habits. And, ultimately, what one is trying to restore in this technique of correction is not so much the juridical subject but the obedient subject, the individual subjected to habits, rules, orders, an authority that is exercised continually around him and upon him, and which he must allow to function automatically in him.The prison system, then, unlike punishment by torture, aimed (and aims) to produce economically useful individuals through the regulation of their bodies, so that ex-convicts could operate productively within industrial society. Physical exercise and labour formed a central part of the organisational structure of the prison, used as a means to control the body of the inmate, and so, as it was understood in the early days of the prison system, to inculcate obedience in his soul. Fig.5‘Prisoners Working at the Tread-Wheel, and Others Exercising, in the 3rd Yard of the Vagrants’ Prison, Coldbath Fields’ engraved from a photograph by Herbert WatkinsReproduced in Henry Mayhew and John Binney, The Criminal Prisons of London and Scenes of Prison Life (1862)Museum of LondonIn practice exercise could frequently mean walking, in chain gangs, in circles around the exercise yard, or on a treadmill (fig.5).
The treadmill, or tread-wheel, used in many English and some American prisons in the nineteenth century, looked something like a water wheel, with steps around its circumference that allowed the prisoner to turn it by walking. Each prisoner was segregated into a narrow compartment (about two feet wide) to prevent interaction with his fellow inmates.
Last week we featured, perhaps most notably the Rosetta Stone. There the organization, 'comprised of a vast community of 3D scanning and 3D printing enthusiasts,' has amassed a collection of 7,834 3D models and counting, all toward their mission ' to archive the world’s sculptures, statues, artworks and any other objects of cultural significance using 3D scanning technologies to produce content suitable for 3D printing.'
But back in 2015, before that mighty cultural institution put online in 3D the most important linguistic artifact of them all, a project called created during an unofficial community 'scanathon,' and it remains freely available to all who would, for example, like to 3D print a Rosetta Stone of their very own.Or perhaps you'd prefer to run off your own copy of a world-famous sculpture like ancient Egyptian court sculptor Thutmose's or Auguste Rodin's, both of whose 3D models you can find on. Hasn't limited its mandate to just artifacts and artworks kept in museums: among its models you'll also find large scale pieces of public sculpture like and even beloved buildings like.
AcknowledgementsThis paper is an adapted version of a chapter of my PhD thesis, ‘Pace, Rhythm, Repetition: Walking in Art Since the 1960s’, submitted to the University of Edinburgh in June 2016. I am very grateful to Dr Tamara Trodd and Dr Glyn Davis for their dedicated and methodical supervision of this project. Thanks also go to Dr Catherine Spencer for her contributions to discussions at a screening of Bruce Nauman’s studio films and videos that I organised for the ARTIST ROOMS Research Partnership at the University of Edinburgh in 2014.Ruth Burgon is Research and Interpretation Curator at the Fruitmarket Gallery, Edinburgh.Tate Papers, Autumn 2016 © Ruth Burgon.
873 3.1Crack size 500KBDownloads total9634SystemsWin XP, Win XP 64 bit, Win Vista, Win Vista 64 bit, Win 7, Win 7 64 bit, Win 8, Win 8 64 bitThe program offers information about the origins of Indian music, Raga, Tala, Swaras, and other concepts. Plus, you are allowed to go to the previous or next page, and view animations, sound clips, and presentations.The Practice sections enables you to play at various instruments (e.g.
By Larry the OPicture 1: Dropping a Musicloop file from the Browser into a Song. Most of the time, a Musicloop will be dragged in to create an Instrument track playing the instrument and performance data in the Musicloop file. Dropping it on an existing audio track, as shown here, results in the audio file contained in the Musicloop file being used instead of the performance data.Explore and learn to use Studio One 2's Audioloop and Musicloop formats.One of the tools in Studio One's kit is the Audioloop file format, and its variant, the Musicloop format.
PreSonus introduced the Audioloop format with the release of Studio One 2, raising the question of whether the world really needed more loop file formats. Well, it's not quite drowning in them: REX2, Apple Loops, WAV and Acidised WAV are really the only formats in wide use.
So it would seem there is room, if there was something worthwhile a new format could offer.The Audioloop and Musicloop formats offer several intriguing features. Like REX files, Audioloop files contain tempo-tagged, sliced audio, but Audioloop audio does not have to be sliced, so the loop can follow tempo changes with or without time-stretching. Interestingly, the Audioloop and Musicloop formats are built on parts of the ZIP file specification, so Audioloops and Musicloops are valid ZIP files.The Musicloop file format is an Audioloop file with a few extras added. Musicloop files also store performance (MIDI) data, the virtual instrument preset used, and any effects presets used on the instrument channels. All this is in addition to an audio file.If we take a closer look, some of the interesting possibilities become clearer.
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For a start, the audio is in an uncompressed format (WAV or FLAC). It is clear enough what is in this file with an Audioloop, but what kind of audio is stored with a Musicloop? It's a bounce of the instrument track to an audio file through any and all effects on the instrument channels. Dragging a Musicloop out of the Browser creates an instrument track (unless you drag it to an existing track), puts the MIDI/performance data on it, instantiates the instrument, loads the preset, instantiates the instrument channel's effects, and loads their presets, all from a single drag-and-drop.In picture 1, a Musicloop file is being dropped onto an existing audio track, instead of an instrument track.
In this case, the audio file contained in the Musicloop file is used on the track, but it could be transformed into an instrument part because the Musicloop contains both instrument and performance data.The performance data is stored as a Standard MIDI File (SMF), and also as a '.music' file, which is a PreSonus proprietary performance data format with much higher resolution than MIDI. The instrument and effects presets are stored in their native formats, and this is where things start getting interesting.There are three versions of Studio One: Artist, Producer, and Professional. All of them come bundled with content, including Audioloops and Musicloops. Click the Sounds tab at the bottom of the Browser, then open the Studio One Musicloops folder and the Drums subfolder. You'll see files with.musicloop extensions, but to see what's inside them, right-click (Ctrl-click on Mac) on one of the Musicloop files and choose 'Show Package Contents' from the contextual menu that drops down.
Picture 2: Choosing the Show Package Contents command from the Musicloop contextual menu makes the components of the Musicloop file available individually.A disclosure triangle should have appeared next to the file (and will remain there from this point on), and clicking that drops down all of those wonderful components I was talking about: an audio file, an SMF (with.mid extension), the PreSonus.music file of the same performance data, and an instrument preset. It looks as though you could drag any one of those components out of the Browser and into a track as easily as dragging the whole Musicloop file, and, of course, that is exactly the case, so the audio and MIDI loops contained in the file can be used separately from each other.For instance, in picture 3, I have dragged the audio file in as the basic loop. The MIDI file has been dragged in separately to create an instrument track with the loop, which doubles the original loop with a different instrument than what is stored in the Musicloop. Note that the track is named 'Part' because that is the name of the component. Changing the name to a more informative one is suggested.Picture 3: Components of a Musicloop can be used individually. Here, the.mid file has been used to double the loop with a different sound played by another instrument.If I double-click on the.musicloop file in the Browser, the Preview Player plays the audio file stored in the loop file, which is, of course, the original version. (Double-clicking the FLAC or WAV file in the loop file will play the same thing.) But maybe I want to hear that same loop on another synth.
All I do is make sure that synth is in the Song and that the instrument track playing it is selected. Then I double-click the.mid file and the loop plays on the selected track. With looped playback in the Preview Player, I can click on various instrument tracks running different instruments to quickly audition the same loop on each of them. You can do the same thing with.music files. I like this a lot; anything that lets me try ideas very fast enhances my music making.Now let's look at an Audioloop file. Studio One Artist does not include any Audioloop files, but Producer and Professional do. If you have Artist, never fear; it's not hard to make your own Audioloop files, as we will discover shortly.
Open the Electronic Audioloops collection in the Sounds tab of the Browser, and then open Drum & Bass Jungle/Drum & Bass Pack 150bpm. All of the Audioloops have disclosure triangles, and clicking them reveals the individual slices in the file.
As is the case with Musicloop files, double-clicking on the main file plays the entire audio file, but double-clicking on an individual slice plays only that slice. You can also — again, like Musicloop files — drag any individual slice out of the Browser to use on its own. Picture 4: A.mid or.music file can be auditioned by any instrument in the Song, simply by selecting the track for that instrument before clicking the Play button in the Preview Player.
You can change presets on the instrument or select a different instrument track while the Preview Player is playing, to try different sounds and sources.Musicloop files are created in Studio One from instrument parts. Here's how:.
If your loop encompasses multiple parts on a track, select them all and press the G key to merge them into a single part. Make sure the settings for the instrument sound and any effects you have on the channel in the mixer are all saved as presets, so they can be stored in the Musicloop file. This is an important step. Once the loop is in a single part and presets have been saved, simply drag the part to the Sounds or Files tabs of the Browser.That's it! You'll see your shiny new Musicloop file wherever you dropped it, and you can look inside it to see its components. The intermediate step to a Musicloop is an instrument part, and the intermediate step to an Audioloop is an audio part.If your loop encompasses multiple audio events on a track, you'll need to select them all and choose the Audio/Merge to Audio Part command to merge them into an audio part. What used to be individual Events are now slices in the audio part.
Audioloops do not store presets, but, hey, it's always a good idea to store presets anyway, so you might as well.Drag the audio part to the Sounds or Files tab of the Browser and — voila! — you have a new Audioloop file. (Drag that audio part to the Mac Finder or Windows Explorer instead and you get a REX2 file.)You will probably want to check your loop as you build it. Trying different sounds with a loop was discussed earlier, but Studio One has a great shortcut for auditioning audio loops, which is simply to Shift-click on the Event you are about to make into an Audioloop or Musicloop and hold down the mouse button. The Event will now loop play until you release the mouse button.
Very nice!You can also audition loops in the Browser in time with the Song, as described below. Picture 5: The Preview Player makes it really easy to audition loops.PreSonus's new Audioloop and, especially, Musicloop file formats have some powerful capabilities.
The fact that the Musicloop file carries an audio file as well as all the data needed to recreate the original loop opens up many possibilities, and the drag-and-drop simplicity of making and using these files encourages you to explore those possibilities. Be sure the Play At Song Tempo metronome button in the Preview Player (see picture 5) is engaged (it will be coloured blue).
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You will usually also want the Loop Play button to its left engaged. Now, when you audition in the Browser while a Song is playing, the loop being auditioned plays at the Song's tempo, as long as the loop file contains a tempo value (which it certainly should). Select the loop you want to audition. Start the Song playing. While the tempo will be right, the trick is getting the loop to start playing at the right time.
Click the Play button in the Browser's Preview Player at the correct moment in the Song. All contents copyright © SOS Publications Group and/or its licensors, 1985-2019. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.Web site designed & maintained by PB Associates & SOS.
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