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R. Luke DuBois

Roger Luke DuBois is an American composer, conceptual new media artist, record producer and pedagogue based in New York City. DuBois was born in New Jersey, moving at age 11 to London, where he attended the American School in London, before moving to New York City in 1993 to attend Columbia University. DuBois holds a master's and a doctorate in music composition from Columbia, worked as a staff researcher at Columbia's Computer Music Center until 2008. DuBois has taught interactive music and video performance at a number of institutions, including Columbia, Princeton University, the School of Visual Arts, the Music Technology and interactive telecommunications programs at New York University. In 2008 he began teaching as a full-time professor at the NYU Tandon School of Engineering, where he serves as co-director of the Integrated Digital Media program and director of the Brooklyn Experimental Media Center; as a graduate student at Columbia he was a contributor to Real-Time Cmix. Since 2000 he has worked for Cycling'74 on Max/MSP/Jitter.

DuBois has collaborated with a wide range of artists and musicians, including Elliott Sharp, Paul D. Miller, Todd Reynolds, Toni Dove, Chris Mann, Michael Joaquin Grey, Matthew Ritchie, Eric Singer, Bora Yoon, Leroy Jenkins, he was a founding member of the Freight Elevator Quartet, has produced records for Bang on a Can composer Michael Gordon on the Nonesuch label. His music integrates real-time performer-computer interaction with algorithmic methodologies repurposed from other fields, most notably formal grammars such as L-systems, his research into issues of musical time revolves around a technique called time-lapse phonography, as used in his piece Billboard. His instrumental writing, like his artwork, is based on techniques derived from stochastic music and data mining, using metaphors and information from cultural topics as source material in a postmodern style, as in the string quartet Hard Data, a six-movement sonification that, while its musical structure is based on the casualty stream of the Iraq War, borrows from the instrumental writing of Stravinsky, Messiaen and Crumb.

As a conceptual artist, DuBois takes on various topics in American culture and places them under a computational microscope to raise issues relevant to information theory, perception of time and gaze. For example, his trio of pieces on gestalt media, Academy and Play, look at three iconic cultural "canons" in American popular culture, his piece Hindsight is Always 20/20, based on a statistical analysis of presidential State of the Union addresses, uses computational means as a lens into the politics of political rhetoric. Fashionably Late for the Relationship, his feature-length collaboration with performance artist Lián Amaris, uses the radical time-compression of a 72-hour film of a performance to deconstruct romantic obsession. For his large-scale artwork A More Perfect Union, DuBois joined 21 different online dating sites and constructed a census of the United States based on an analysis of the profiles of 19 million single Americans, his work is represented by bitforms gallery in New York City, has been exhibited worldwide, including at the 2007 Sundance Film Festival and the 2008 Democratic National Convention.

In January 2014 R. Luke DuBois—Now opened at the Ringling Museum of Art; this first solo museum exhibition, organized by curator Matthew McLendon, surveyed DuBois's output over the previous decade, included performance, public installation, generative works. The exhibition went on to the Orange County Museum of Art the following year and the Bowdoin College Museum of Art in 2016. In December 2016 Hyperallergic named R. Luke DuBois—Now one of the top 15 exhibitions in the United States. Before becoming a well-known Laptop musician, DuBois did most of his improvisation and performance on Buchla and Serge modular synthesizers. In 2013 DuBois was awarded an honorary Doctor of Humane Letters by Goucher College, he was named the inaugural artist for the Times Square Residency at the CrossRoads Program in 2015 and a speaker for TED 2016. DuBois is the younger brother of photographer Doug DuBois. Billboard Play Academy Fashionably Late for the Relationship Hindsight is Always 20/20 SSB Hard Data A Year in Mp3s Moments of Inertia A More Perfect Union The Marigny Parade Vertical Music Sergey Brin and Larry Page Circus Sarasota Take a Bullet For This City Learning Machine #1: Values Learning Machine #2: Image Learning Machine #3: Sound Learning Machine #4: Language Learning Machine #5: Symbols The Choice Is Yours: Exit Poll The Freight Elevator Quartet The Freight Elevator Quartet's Jungle Album DJ Spooky vs. the Freight Elevator Quartet: File Under Futurism This Is Jungle Sky, Vol 6: Funk File Under Futurism EP Open Ends The Freight Elevator Quartet Becoming Transparent Exasperation EP (Caip

Opisthodomos

An opisthodomos can refer to either the rear room of an ancient Greek temple or to the inner shrine called the adyton. In modern scholarship, it refers to the rear porch of a temple. On the Athenian Acropolis the opisthodomos came to be a treasury, where the revenues and precious dedications of the temple were kept, its use in antiquity was not standardised. In part because of the ritual secrecy of such inner spaces, it is not known what took place within opisthodomoi: it can safely be assumed that practice varied by place and particular temple. Architecturally, the opisthodomos balances the pronaos or porch of a temple, creating a plan with diaxial symmetry; the upper portion of its outer wall could be decorated with a frieze, as on the Hephaisteion and the Parthenon. Opisthodomoi are present in the layout of: Temples ER, A and O at Selinus Temple of Aphaea at Aegina Temple of Zeus at Olympia Hephaisteion in the Agora of Athens Parthenon on the Acropolis in Athens Temple of Poseidon on Cape Sounion Temple of Apollo Epikourios at Bassae Temple of Athena Lindia at Lindos Temple of Dionysus at Teos