Small format Vol. 9 Summer 2017 by Oolite Arts

small format ArtCenter/South Florida

Global Attention

Focal Attention

This volume of small format is dedicated to the 24th edition of SUBTROPICS, Miami’s experimental biennial of music and sound art. Each contribution in this volume—by Gustavo Matamoros, Alba Triana, Jennie Gottschalk, Christoph Cox and Pauline Oliveros — serves as an additional resource to the different facets of the festival.

Vol. O9

Summer 2O17

SOUND ART INSIDE OUT

Christoph Cox

“Sound Art”? The term “sound art” has become increasingly prominent in the art world since the mid-1990s. There’s no established definition of the term, which has been embraced by some artists, critics, and curators, and roundly rejected by others. Nonetheless, the term “sound art” hasn’t gone away – and for good reason. While no more adequate to its content than the terms “video art” or “performance” are to describe the wild variety of work that falls under those labels, “sound art” helpfully marks the fact that, in the past several decades, sound has indeed become more prominent in venues of contemporary art around the world, and that this sonic art work tends to be markedly different from musical performance and from other art forms (video and film, for example) in which sound most often plays a merely supportive role. “Sound art” is as good a term as any to describe works in any artistic medium or modality (installation, sculpture, drawing, film, video, recorded sound, etc.) that center on the sonic and consider it aesthetically. Surely this category overlaps with “music,” and no firm division need be made between them. Nonetheless, “sound art” registers the fact that “music” is no longer coextensive with the field of sonic art, that there exist artistic practices in which sound is paramount – field recording, sound installation, and soundwalks, for example – that stretch or fall outside the conventions of music, musical performance, and musical recording.

definition, sound art has multiple origins. Prior to the contributions of composers and artists, the deaf polymath Thomas Edison laid the groundwork for sound art with his invention of the phonograph, which severed sound from its present performance and allowed it to be installed, played back independently of the live event, repeated in the absence of the performer and even the listener. Moreover, the phonograph expanded the aesthetic appreciation of sound beyond music and speech, for it registered audible vibrations indiscriminately, heedless of whether they were emitted by a musical instrument, a human voice, wind through the trees, or a passing locomotive. Music was thus subsumed within the broader field of sound or noise, and was no longer the only sonic art. Luigi Russolo, Edgard Varèse, and Pierre Schaeffer explored this newly discovered domain of noise. But all three were content to make music with noise, to capture the sounds of the world and use them to musical effect. A more profound contribution was made by John Cage. It’s customary to think of Cage as the composer of silence. This is true, of course, but misleading. Instead of exploring musical silence or making silence musical, Cage’s most famous piece, the so-called “silent piece” 4’33” (1952), serves as a window or door through which music opens out to what Cage called “the entire field of sound.” Indeed Cage is not so much the thinker and composer of silence as the thinker and composer of noise, considered as the entire sonic field of which music is but a tiny Exiting the Concert Hall part. Cage repeatedly reminded us that On this (and just about any other) “there’s no such thing as silence” and that

Max Neuhaus, Times Square, 1977, unofficial photo courtesy the author

“wherever we are, what we hear is mostly noise.” In short, for Cage, silence = noise, and not just any noise, but the hubbub of the whole audible world, the impersonal and anonymous sonic flux that precedes and exceeds us: “Until I die there will be sounds,” he remarked. “And they will continue following my death.” Reflecting on 4’33” in 1974, Cage told an interviewer: “I have felt and hoped to have led other people to feel that the sounds of their environment constitute a music which is more interesting than the music which they would hear if they went into a concert hall.” Cage invited us to leave the concert hall and attend to the sounds of the environment. Yet he didn’t relinquish “music,” hoping that others would accept his expansion of the term to encompass everything that can be heard. It was another artist, Max Neuhaus, who took the decisive step outside of music toward what we know as “sound art.” A musical prodigy specializing in avant-garde percussion, Neuhaus had performed pieces by Russolo, Varèse, Cage, and other composers eager to incorporate everyday sounds into their work. Yet, by the mid-1960s, Neuhaus began to worry

that this strategy was insufficient. “Few [concert goers] were able to carry the experience over into an appreciation of these sounds in their daily lives,” he remarked. “I became interested in going a step further. Why limit listening to the concert hall? Instead of bringing these sounds into the hall, why not simply take the audience outside – a demonstration in situ?” Neuhaus intended this exit from the concert hall to be quite literal. In 1966, he initiated a project called LISTEN, in which he invited audience members to meet at a concert venue, stamped their hands with those six letters, and then silently led them outside on a walk through power plants, highway underpasses, and city neighborhoods. Neuhaus’ own final exit from the concert hall came two years later. After recording an LP of his percussion repertoire, he left the world of music and performance for good, turning instead to what he called “sound installations,” continuous fields of sound – generally complex drones – that shaped and colored their chosen sites. “In music the sound is the work,” he noted, while “in what I do the sound is the means of making the work, the means of

SOUND ART INSIDE OUT

Christina Kubisch, Electrical Walks (Bangkok), 2016. Photo by Ecki Güther. Courtesy the artist.

transforming space into place.” This shift of interest from temporally-bounded works toward site-specific works that define a place, he thought, connected his work more fully with sculpture and the visual arts than music. Neuhaus began installing unmarked sound pieces in stairwells, subway stations, swimming pools, and elevators, filling them with lush drones, phased clicks, or other sounds that were at once unobtrusive and subtly transformative. In 1973, he happened upon a subway vent on a pedestrian island in New York’s Times Square and was struck by a desire to use the cavernous space as the resonant chamber for a sound work. Four years of arduous negotiation with the Metropolitan Transit Authority and Con Edison ensued until Neuhaus finally received permission to climb down into the vent shaft and install a loudspeaker and some homemade electronic sound generators that he jerry-rigged to the city’s lighting grid. Neuhaus built the sound by ear, listening carefully to the sonic environment, layering frequencies and timbres the way a painter layers color, and shaping mass like a sculptor working with invisible material. As in all

of Neuhaus’ installations, the sound was to be, he liked to say, “almost plausible” in the context and yet also a bit out of place, a slight dislocation of the aural topography. The result was a dense drone that, as Neuhaus described it, resembled “the after ring of large bells,” a sound that summoned the restless clamor of its environs and bathed it in a consistent aural hue. Launched in September of 1977, the piece defined an aural field that remained in place twenty-four hours a day for fifteen years before Neuhaus dismantled it. In 2002, the Dia Art Foundation relaunched Times Square as a permanent installation that is now one of New York City’s great works of public art. Inside Out, Outside In Not every work of sound art exists in public space; but a great many explore the boundaries between interior and exterior, private and public. In Achim Wollscheid’s Inlet/Outlet (2006), for example, the movements of visitors in a gallery space triggered motors to open and close casement windows that looked out onto a busy boulevard. A simple idea, the project elegantly reconceived

SOUND ART INSIDE OUT

the window from a visual opening to an of swarming mosquitos. Jaap Blonk and auditory boundary, allowing for a playful Chris Mann contributed sound poems orchestration of ambient sounds. By that accelerated and exaggerated the contrast, Christina Kubisch’s Electrical vocal chatter of the urban thoroughWalks (2003– ) project sends partici- fare, while another project transplanted pants out into the city wearing special Hildegard von Bingen’s medieval chant headphones that convert electromag- O Jerusalem from the cathedral to the netic signals (from ATM machines, street sidewalk. All these projects highlight the signs, etc.) into sound. Conspicuous with peculiar properties of recorded sound, their clunky headphones, the partici- for example, its ability to sever sound pants have a private experience in public from source and any visual reference; space, which they scour for interesting to insert one space inside another; and sounds inaudible to the general public. to amplify subtle details. For the 2017 Between 2011 and 2015, artist and Subtropics Biennial, Matamoros is bringcurator Gustavo Matamoros’ “Listening ing these artworks inside ArtCenter, inGallery” project broadcast a steady viting listeners to hear them no longer as stream of sound works onto the sidewalk chance encounters but as focused listenoutside ArtCenter/South Florida. Wade ing. As Cage did with 4’33”, Matamoros’ Matthews’ darkly comic Street Appeal LISTEN exhibition folds the outside in, barked catcalls (“hey you, nice sunglass- while maintaining the porous boundaries es”) at passersby, while Matamoros’ Wet between inside and outside that have Season produced the aural hallucination marked sound art from its beginnings. 

SUBTROPICS PREVIEW

JENNIE GOTTSCHALK

If in Miami this July, you will have a room facing what would be a screen, but series of opportunities to engage with there’s nothing on the screen. And then one-time, unrepeatable sound works there are multiple speakers all around, that are custom fit to the performance and so it’s a very immersive experience space—usually the Audiotheque at in the dark.”1 the ArtCenter/South Florida. Some of Barbara Held’s Pausa (2017–) is these works have names and have been similarly immersive. It is a sort of sonic performed before. But in every case, sculpture that she controls with her they will be reformulated or significantly flute. “Every time I play something new, impacted by the immediate situation of it freezes the sound and shimmering the performance. high partials are awakened. And then Dissolution (2015–16) is a piece by when you change something, then it Olivia Block that she rearranges for each feels like the room has changed.” Her new performance situation and mixes live. own experience of it is quite visceral and “I think a lot about the tradition of cinema,” compelling: “It feels like if you breathe she explains, “and focus on creating in, you’re breathing the sound back into a cinematic experience. So it’s about the microphone.” having the audience sit in a very dark Richard Garet has been developing

Sonic Construction for 4 channels: The Other Side (2017) in recent months as he had the Audiotheque in mind, and will tune it to the speakers and the room. He calls it a “listening piece,” as distinguished from more physical pieces or installations. It is “more directed to the ear than to the body.” He is focused on the “nuances and subtleties of sound, and how things will integrate with the environment as people listen to the work.” Garet will also do a 20-minute piece on the last day of the festival. His live performances are open to intervention and environment. As he describes it, “I start from something simple, and then it goes from there. The process activates what I’m doing, and then it modifies an idea, and then a different idea might as well change the process as well.” He describes himself as an observer of that process. John Driscoll works extensively with electronics, but he primarily uses them as “a way to tickle the space.” He is fascinated with the dynamic that is possible between “architectural acoustics and microscopic acoustics.” In Speaking in Tongues (2011–), he has made very small instruments that use ultrasonic feedback. The smallest motions, even a quarter of an inch, make a vast difference in the sounds produced. All of his projects, including the three he will perform at Subtropics, depend almost entirely on the space and are unrepeatable. All of these sound works will play the Audiotheque in a different way, finding resonances and patterns and motions through that intimate space. But there are other surprising and wonderful resonances between the works as well, including the use of old media. Barbara Held will be playing Carles Santos’ Flauta Sola (1977) against a backdrop

of an expired, grainy black and white film. Richard Garet’s earliest sound work was with cassettes, and he has circled back to working with cassettes and magnetic tape. “I’ve found a richness in combining the past and the present, and creating a space.” Imagining two walls, old media and new media, he says, “the more I expand within these parameters, the bigger the spectrum gets, and the more interesting and rich it becomes.” Block’s Dissolution includes found recordings from old microcassettes (bought as used blank tapes on eBay) and shortwave radio transmissions. The epiphonographic sounds that identify a cassette or a record or a radio transmission or a phone call are valuable information and material in her practice, rather than noise to be minimized or tuned out. In some cases, those sounds even take over, making the words and phrases that people are speaking unintelligible. Block compounds that unintelligibility by layering texts on top of each other and sometimes playing up the distortion. Driscoll’s Listening Out Loud: American version for 2016 uses a found text as source material, pairing it with a duet for two bowed saws and electronics. In Yasunao Tone’s Trio for Flute Player (1988), Barbara Held will read an 8th century Japanese poem into the mouthpiece of the flute while translating the patterns of the calligraphy into finger placements on the instrument. (Two parts of the “trio” are performed by Held: the voice and the fingers, and the third is electronics.) Several of these projects bring one space into another space. In Block’s and Held’s pieces, the material from one performance gets wrapped into the next. Driscoll’s Ebers & Mole (1979) includes feedback from an empty swimming

SUBTROPICS PREVIEW

pool in Buffalo, recorded decades ago. Garet’s interest is not in bringing one space to another, but rather in drawing background noise into the foreground. Another significant thread that draws these artists together is an ongoing visual practice. Barbara Held’s Pausa includes a projection of a video painting by her collaborator, Benton C. Bainbridge. She will also perform Alvin Lucier’s Self-Portrait for Flute and Wind Anemometer (1990), which calls for an interplay of light, breath, and fan blades that project onto her face. Richard Garet has an active multimedia practice that also includes photography, video, and installation. Driscoll relates his work to puppetry, and says, “What the audience sees is completely different from what is going on behind the scenes…. I almost always manipulate the material so that the audience sees or hears something else.”2 There are other currents of activity in the festival, too. Jack Wright’s and Abbey Rader’s improvisations are sure to be as vivid and exciting as they are impossible to predict. Jack Wright will also present his fascinating new book about free jazz and free improvisation, called The Free Musics (2017). Christoph Cox and I will do a panel discussion about the fields of sound art and experimental music. His background is in philosophy and mine is in composition, but we have both done a great deal of listening, thinking, and writing in these overlapping territories. I doubt that we’ll fully disentangle them, and that makes me even more curious to know where the conversation will lead. In another session, Cox will speak about a number of sound art practices as they relate to philosophical issues. He has two relevant books forthcoming. A revised

and expanded edition of Audio Culture: Readings in Modern Music (2004) will be released a few days after these events, and another book, Sonic Flux: Sound, Art, and Metaphysics is set to be published in 2018. In the opening days of the festival, I’ll run a two-day workshop centered on one section of my book, Experimental Music since 1970 (2016), called “The Position of the Listener.” It’s all about the variety of ways that sound can travel to the ear, and even to the mind’s ear. It will anticipate much of the work that is being performed at the festival, and offer a hands-on, creative approach that is more dependent on open-mindedness than musical training. An exhibit of scores for the imagination will complement this workshop, and will be on display at the ArtCenter for the duration of the festival. Each of the musicians in the festival meets the performance situation in a very open way, and each practice is quite distinct from the others. In attending any or all of these events, you can do the same thing, and further develop your listening practice. Subtropics is a point of convergence of sound and space, old and new technologies, and you: your thoughts, your reactions, your body—including your ears.  Notes 1 All quotes but one in this article are drawn from interviews I conducted with the artists between April and May, 2017. 2 http://www.sennheiser-geschaeftsbericht. de/#/en/article/kapellmeister/

SUBTROPICS PREVIEW

LISTEN AND THE LISTENING GALLERY

Gustavo Matamoros

LISTEN is an exhibition of sound experiments, adaptations and collaborations originally presented in the context of a community design project I called, The Listening Gallery. The Listening Gallery consisted of a state-of-the-art, multisource sound system hidden from view under the awnings that wrapped around the exterior of ArtCenter/South Florida’s iconic building at the corner of Meridian and Lincoln Road in Miami Beach. It was designed as a social intervention intended to expose millions of unsuspecting Miami Beach visitors, both residents and tourists alike, to round-the-clock, nonstop experiments that explored the role of sound art in public space. The Listening Gallery exceeded its expectations as a social intervention. It amplified the quality of people’s experiences at one of the most popular destinations in Miami — Lincoln Road — by offering thoughtful sound alternatives to the chaotic reality of the mall’s businesses attempting to lure customers by way of sound. As an artist, I wanted a venue to test ideas related to sound, architecture and social interaction. Lincoln Road was the perfect location for The Listening Gallery in the sense that the project could be unassuming while in a heavily transited area. I also wanted the chance to collaborate with other colleagues willing to entertain the premise of my experiments. Together we produced over 30 installations in the span of four and a half years. All were well received in spite of the often unfamiliar content and unlike anything else on Lincoln Road. Furthermore, a visionar y and

symbiotic partnership between the organization I run, SFCA [isaw+subtropics], and ArtCenter/South Florida flourished around The Listening Gallery project as a byproduct of our Knight Arts Challenge grant. The Listening Gallery ran uninterrupted until mid 2015 when ArtCenter sold its 800-810 building. Happily, the relationship between our organizations continues now even stronger and manifested in Audiotheque—our intimate sound studio space located at 924 Lincoln Road—where we currently run all of our public programs, including the Subtropics Biennial, and where all of The Listening Gallery installations in this exhibition were created. The pieces chosen for LISTEN are those that work best within the acoustics of the Project 924 space. 

LISTEN PROJECT 924 GALLERY LISTEN features 9 original and collaborative sound works produced during residencies at Audiotheque inside a visual art installation by Freddy Jouwayed. FREDDY JOUWAYED LISTEN, A Visual Installation (2017) The visual component of this exhibition was conceived in response to parameters like light filtering, ideal loudspeaker placement and ideal separation of the audience from the sound sources. The

translucent structure outlines a room within a room and creates conditions that aim to promote listening by taming and minimizing visual stimulus.

①

CHRIS MANN The Use, Listening Gallery version (2015) | dur: 10m 10s

A feature of Chris Mann’s The Use is the manner in which he performs speech, packing enormous amounts of information in ever-shorter amounts of time. Eight segments were selected for this version of the piece—which Chris invited Matamoros to create from the material available on his website—, each performed online in real-time. Played together, these segments result in a dense texture, similar to boiling water, where the bubbles are heard as clear speech utterances emerging up from an unintelligible brew.

the concept of Scattered Unison— a mind-reading game resulting from the effort by musicians to use the same notes a leading musician improvises. In the context of this installation, the instruments also chase each other from one loudspeaker to another.

④

DAVID DUNN Thresholds And Fragile States At The Sea Of Cortez (2012) dur: 18m 05s

This piece features Dunn’s own instrument—a network of oscillators that disrupt and redirect each other and generate autonomous sound. Dunn compares it to living ecological networks he has explored in the past among bark beetles and underwater insects. A second layer is a field recording at an estuary of the Sea of Cortez in Mexico. Here, the sounds of this natural environment meet the sounds of the oscillators network, ② ARMANDO RODRIGUEZ not unlike the interaction of freshwater Radiance (2012) | dur: 7m 10s and saltwater that takes place at the estuary. For LISTEN, these two layers are Radiance is a piece that invites contem- distributed to the odd and even speakers plation by way of its abstract minimalist of the multichannel system. structure. It consists of single pure tones that gradually stack upon each other ⑤ RUSSELL FREHLING into tone clusters, first ascending to a Art Is Not A Commodity (2011) single high tone, then descending to the dur: 10m 10s original starting tone. The form of the piece responds to a symmetric visual Art Is Not A Commodity by Russell structure and the is akin to the visual Frehling was the first piece commisOptic Art of the 1960s. sioned for The Listening Gallery. It consists of frozen waveforms—extremely ③ PUNTO short loops of audio resembling the Flow (2013) | dur: 10m 25s way a photograph freezes a subject in motion—extracted from ambient noises Flow is a multichannel piece using a recorded on site. Frehling distilled only variety of instruments performed by the uppermost spectral components PUNTO members Gustavo Matamoros from these waveforms, resulting in and Armando Rodriguez. It follows delicate ethereal timbres, which in the

LISTEN

outdoor setting of The Listening Gallery interacted with the real-time ambient noise in curious and unpredictable ways.

⑧

JAAP BLONK ¿Oiste? (2013) dur: 20m 20s

⑥

GUSTAVO MATAMOROS Sin Ninguna Imperfección (2013) dur: 31m 10s

The vocalizations in Jaap Blonk’s ¿Oiste? are informed by sound poetry and improvisation. This piece also incorporates bilingual dramatizations of horoscope This soundscape combines musical in- predictions, as well as the call: “Pssst! struments, the voice, and electronically Have you heard?” which in the context produced sweeps and pure tones as of the original Listening Gallery helped a single experience. Much like Cubist stop people literally in their tracks, askand Surreal paintings, each element’s ing them to pay attention point blank. proportions are perceivably off-scale. In addition, typically static sounds, ⑨ GUSTAVO MATAMOROS like those of pianos and percussion Sounding Through Empty Words instruments, move around from speak(2012 | dur: 34m 40s er to speaker like birds do from tree to tree. The stuttering voice is that of The original version of this piece was Argentinean composer Ricardo Dal created to celebrate the centennial Farra. The instrumental sounds were of John Cage’s birth. To make it, I performed by percussionist Jan Williams used SFCA [isaw+subtropics]’s own and Matamoros and were recorded at recording of Cage’s 1991 Subtropics SUNY Buffalo in 1991. Festival performance of Empty Words to give shape and activate the resonant ⑦ RENE BARGE frequencies of The Listening Gallery’s Prism Break (2012) | dur: 18m 05s open architecture. This time only the resonances belonging to the Project 924 This soundscape incorporates sounds space— and not Cage’s voice, which performed by Rene Barge inside of a activates them— are heard. Flux Piano Suite piano. A tritone relationship between two different hammered piano strings, along with added high and low pitched drones and slowed down vocalizations, lend Prism Break a mysterious cinematic quality that slowly transforms over time. The quietude and surround configuration of the LISTEN exhibit amplifies the moody nature of this piece, which is in contrast to the softened dramatic impact that the convex qualities of the original Listening Gallery elicited in this piece.

LISTEN

MICROCOSMOS

Alba Triana

Vibrational sculpture | installation dur: 8 minute loop Studio 209

Based on the fundamental notion that all physical bodies vibrate, Microcosmos was conceived as a vibrational sculpture in which energy is used to excite an object, in this case a cymbal, in order to poetically explore it’s vibrational modes, the natural and characteristic patterns in which an object vibrates, its fundamental physical properties. A cymbal is excited to amplify, sonically and visually, its intrinsic resonance modes, making them perceivable, revealing a hidden Microcosmos of vibration which becomes the material of an eight-minute loop composition. At the beginning of the piece, the cymbal vibrates in a quiet resonance

mode, displaying a four-node pure wave around it’s contour. As the piece unfolds, it evolves through different levels of excitation, allowing the cymbal’s harmonic richness to be heard and seen, evoking a choreography. Behind the sculpture, the shade of the vibrating cymbal is seen on a two dimensional luminous circle. This bidimensional plane completes and reinforces the multidimensional nature of the work: A musical piece, taking form of a sculpture, is reflected in a bi-dimensional plane, encompassing the temporal, the visual and the spatial. 

SONIC IMAGES*

Pauline Oliveros

Sonic Images was presented in September 1972 at California State University, Los Angeles, at the invitation of Madeleine Hamblein, Director of the Los Angeles Chapter of Experiments in Art and Technology, during a conference for Architects and Designers called Shelter for Mankind. "Our normal waking consciousness, rational consciousness as we call it, is but one special type of consciousness, whilst all about it, parted from it by the filmiest of screens, there lie potential forms of consciousness entirely different.” — William James in Varieties of Religious Experience “How can I stop talking to myself?” “First of all you must use your ears to take some of the burden from your eyes. We have been using our eyes to judge the world since the time we were born. We talk to others and to ourselves mainly about what we see. A warrior is aware of that and listens to the world; he listens to the sounds of the world.” — Don Juan to Carlos Castanedas in Journey to Ixtlan

Can you find the quiet place in your mind where there are no thoughts, no words, and no images?

Can you remain in this quiet mindplace by listening to all the sounds you can possibly hear, including the most distant sounds beyond the space you now occupy?

5. What is your favorite sound? Can you reproduce it in your mind? Would you communicate to someone else what your favorite sound is?

3. Do you ever notice how your ears adjust inside when you move from one size space to another? Or from indoors to out of doors or vice versa?

Who is very familiar to you? Could you recognize this person only by the sound of her or his footsteps?

6. Have you heard a sound lately which you could not identify? What were the circumstances? How did you feel?

What do you sound like when when you walk?

8. What sound is most familiar to you? Can you describe it without referring to the source? What is its effect upon you? 9.

Imagine the sound of a bird call. What kind of bird is it? When did you last hear it? What does it sound like? Can you imitate it?

10. What is the most silent period you have ever experienced? Was it only a moment or very long? What was its effect on you? 11. Can you imagine an animal sound? What kind of animal is it? What are its habits? What is it doing? Could you imitate the sound of the animal? 12. What is the most peculiar auditory sensation you have ever experienced?

13. Can you imagine a plant or tree? What kind of plant or tree is it? Where is it located? What sound comes to mind? 14. What is the most complex sound you ever experienced? What were the circumstances and how did you feel? 15. Can you imagine or remember some emotional experience? What non-verbal sound is associated with this experience? 16. Can you imagine the distance between any two sounds you are now hearing? 17. Can you imagine that you are in a very quiet, comfortable place, with plenty of time, with nothing bothering you? Can you imagine that you are in tune with your surroundings, and in the distance, beautiful sound is moving closer to you? What is that sound? What happens to you? î&#x20AC;&#x160;

Originally published in Pauline Oliveros, "Sonic Images." Software for People: Collected Writings 1963-80. Baltimore, MD: Smith Publications, 1984. 52-54.

SONIC IMAGES

COLOPHON

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Cover Image originally published in Pauline Oliveros, "Software for People." Software for People: Collected Writings 1963-80. Baltimore, MD: Smith Publications, 1984. 185.