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The Temporal Character of Catherine Schieve’s Slide Opera

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Part of the Analecta Husserliana book series (ANHU, volume 63)

Abstract

Experimental notation languages, experience in performance theater and use of the video camera, and explorations in electronic processing come together in the creation and performance of Slide Opera by experimental composer and multimedia artist Catherine Schieve. Slide Opera is an openly structured work that continually adapts to new circumstances and experiences. Its present form consists of 136 slides. These may be increased to 200 or 2,000. Different performance sites may suggest or require alterations in equipment and manner of projection. That is part of the intended character of the work.

Keywords

Vernal Pool Computer Capture Temporal Character Digital Time Burial Mound 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    D. J. Chalmers, The Conscious Mind (Oxford, 1996 ).Google Scholar
  2. 2.
    J. R. Searle, “Consciousness & the Philosophers,” New York Review of Books XLIV, no. 4 (March 6, 1997 ), pp. 43–50.Google Scholar
  3. 3.
    A. Gell, The Anthropology of Time (Berg, 1992 ).Google Scholar
  4. 4.
    H. E. Ellenberger, The Discovery of the Unconscious (Basic Books, 1970 ).Google Scholar
  5. 5.
    Gell, pp. 284–5.Google Scholar

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© Springer Science+Business Media Dordrecht 2000

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