BCTC Funding outline

1. What will you need for the project in the following

categories? List:

" Personnel: paid, volunteer, job titles, amount of time on job, administrative,

artistic, technical, salary and benefits

" Services: printing, telephone, janitorial, construction, consultants, other

contract services

" Materials and supplies: office, artistic, construction

" Space: rental, purchase, storage, performance, office, utilities

" Equipment: rental, lease, purchase

" Travel: lodging, food, parking, transportation

" Marketing: publicity, PR, posters, video, TV, design, production

" Evaluation: testing, consultants, compiling statistics, printing

" Dissemination: reports, mailing

" Other: insurance, postage, shipping, freight

I'm working on getting prices for everything in red, to see what a basic budget would look like to produce this show with the Thunderbird Dancers...

JML

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MUSIC APPS

Here are some songs that I made using the following apps, ENJOY!


- MUSIC BALL
- SOUND DROP
- BEATWAVE
- THICKET
- PATTERN MUSIC
- GARAGE BAND




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BCTC GRANT WRITING: who, what, when, where, why, how

Here are some more answers to the BCTC basics on grant writing:

! How to Write Your Answers (use no more than four

paragraphs for each):

" Paragraph One: Answer who, what, where, when, why, how

" Paragraph Two: Provide clarifying detail

" Paragraph Three: Provide more clarifying detail or omit

" Paragraph Four: Provide an example—an incident, a specific—that

illustrates the information in paragraph one.

WHO: Stony Brook music, theatre, and art students will collaborate with Louis Mofsie and the Thunderbird Dancers. This collaboration will be facilitated by Prof. Phillip Baldwin and music student Jay Loomis.


WHAT: The mixed media production will have an interactive aspect that uses the Kinect motion detector and Max MSP patches to create musical and visual displays that change according to dance and movement throughout the performance. A personal story of "westward expansion" will be narrated which tells the story of a New Yorker who traveled to Minnesota after the Civil War, and participated in the removal of the ancient inhabitants of the Midwest.


WHEN: The performance will be rehearsed for 6 months, throughout the fall semester of 2012, and it will be performed in Stony Brook and in NYC in the spring and summer of 2013.


WHERE: Stony Brook Staller Center Recital Hall and the Museum of the American Indian in NYC.


WHY: The rehearsal of this production will give artists from different backgrounds the opportunity to learn about each other's histories and interests - the endeavor of co-creating music, art, and dance will create deep appreciation and respect for different types of artistic expression amongst the participating artists, actors, and musicians.
The audience will learn more about the history of the original inhabitants of this continent and will also learn about "westward expansion" and have a clearer understanding of its long term affects on the Native American community.


HOW: All of this will take place through weekly rehearsals in New York and in Stony Brook which will include team building exercises, brain storming sessions, improvisation, and other activities to help the participants get to know each other and trust each other.


JML
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BCTC GRANT WRITING: 6 basic questions

Here are a few responses to some of the basic grant writing guidelines spelled out in the BCTC Grant Writing .pdf in the class notes:

! Before you even begin thinking about a specific grant,

answer each of the following six questions in writing:

" What is special or unique about your organization?

" Who is your community/constituency and what are its characteristics?

" How does your organization serve this community?

" Why is it important that your organization serve the community in this way?

" Why should your organization be supported?

" Who should support your organization?

- Our mixed media production is unique because it includes the use of interactive devices like the Kinect, that add to the audio and visual experience of the performance.

- The community that we want to reach includes students from Stony Brook, and members of the Native American community in and around New York City.

- The process of producing and performing this production serves the Native American community of New York by creating an atmosphere of openness and respect for a variety of dance and musical styles that can be enjoyed by people from different backgrounds.

- It is important to develop fine arts activities that generate interaction of people from different backgrounds and inspires an easy appreciation of different styles of music and art.

- This production should be supported because it's exceptional art.

- This production should be supported by students, faculty, artists, musicians, patrons of the arts, and philanthropists.

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Final Project COS grant options

These are a few of the grant options that I'm looking at to fund the production of the performance that I want to do at Stony Brook and The Museum of the American Indian:

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Final Project Proposal / e-mail

This is the e-mail that I'm sending to my contact, Louis, who is the head of the Thunderbird Dancers, a Native American dance company based in NJ. I'm hoping that Louis will help us develop and produce a mixed media performance that will take place at Stony Brook and at the Museum of American Indian in Lower Manhattan.

Hello Louis,

My name is Jay Loomis. I live in Stony Brook, NY. I was born in St. Paul, Minnesota, and I grew up in Waukesha, Wisconsin.

I've spoken to you a couple times at dance events at the Museum of the American Indian in lower Manhattan, and at an auction just up the street from the museum about 2 years ago (where my wife got a beautiful pair of silver eagle feather earrings).

I'm studying music composition at Stony Brook University - I want to continue in my studies to get a Phd in Ethnomusicology. I've done Native American style flute making workshops with students and adults in schools and libraries in New York, Wisconsin, Spain, and China. My next workshop is at the end of July for the Ward Melville Heritage Association summer program at the West Meadow Wetlands Preserve in Stony Brook. 

Here's a link with pictures of some of my music & teaching experience, etc.

Right now I'm working on a project with Prof. Phillip Baldwin, a theatre arts professor at Stony Brook. (He is also from Minnesota.) 

I was hoping you and the Thunderbird Dancers would participate in a multi-media production about "westward expansion" to the Midwest. 

In the mid 1800's Limon Foster Loomis (my great great grandfather) moved westward from New York and settled in Wells, Minnesota, where he married Mary Jane Hines (my great great grandmother), who we think was at least half Ojibwe.

(We've found both "Mary Hines" and "Loomis" in the Ojibwe surname database).

In this production we want to tell a personal story about "westward expansion" and we want to make sure that the perspective of the Native Americans who lived in Wisconsin, Minnesota, Nebraska, (Midwest) is communicated effectively.

This interactive, mixed media production will include live music and dance, video, photo, and audio. We want this performance to take place at Stony Brook University and at the Museum of the American Indian in Lower Manhattan.

At your convenience, I was hoping to talk to you more about the details of the production.

Is there a time that I could call you, or meet you to talk more about this?

Thank you for your time and consideration,

Kind Regards,

Jay Loomis

PS - I've attached pictures of my ancestors Mary Jane Hines, and Limon Foster Loomis.

JML

22

Another Thought on Lanier Chap. 9: MUSICAL STASIS

I understand that Lanier is perplexed by the lack of experimentation in popular music - from what I've read throughout his book (You Are Not a Gadget), I get a clear sense that he is disappointed with how people in our culture interact in our rapidly evolving digital world. 


Popular music is one example of this stagnant creativity that Lanier is talking about. He says he wants computers and the www and the digital atmosphere that is becoming more and more interwoven into most aspects of our daily life to inspire new ways of creating and interacting with music.


I do see some of this high degree of interaction going on with music thanks to Digital Audio Workstations and apps like Garage Band, Sound Drop, Music Ball, OscilloScoop, LittleMidi, GrooveMaker, Thicket, PatternMusic, and BeatWave. I have used all of these to create music and these "simple" apps have inspired me in a variety of ways, especially when it comes to creating ELECTRONIC MUSIC, sampling, and repeated patters to create trance-like tunes. These programs help me to understand and explore [HANDS ON] modern classical musical styles represented by Phillip Glass and Steve Reich.

JML
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Lanier, Chap. 9: MUSICAL STASIS

I understand what Lanier is saying about popular music constantly copying older forms, for the past 20 years or so. I was in middle school and high school in the late 80s and early 90s and I spent a lot of time listening to Bob Marley, Led Zeppelin, U2, Jimi Hendrix, Janis Joplin, Joan Baez, Jane's Addiction, The Doors, Simon and Garfunkle, Paul Simon, Billy Holiday, Ella Fitzgerald, Louis Armstrong, and whatever music the local Classic Rock radio station would play...
I would avoid listening to theTop 40 stations because all the songs sounded the same to me, and I would hear weak re-makes of older music.


Lanier makes a good point when he describes the early stages of popular music (1940's... 50s... 60s...) and the huge changes in musical textures and combinations of sound that occurred from Lead Belly... Chuck Berry... Elvis... The Beatles... Janis Joplin... Eric Clapton... Jimi Hendrix... etc. etc. etc. I understand his hope that music would continue to be an art form full of exploration and discovery, and searching for new possibilities, especially with the interconnections we have today through WWW and the opportunities to hear so many different types of music... so what's up?


Check out this music from HIDDEN CITY. It's a band I played with about 2 years ago, and I still play with them on occasion - all of the music is improvised, and sometimes I really like the sound of it. At other times I feel like we get stuck in a rut of repetition of familiar forms.


I'm playing in CAFE RACERS now. The singer-songwriter (Rick Cashman) and the musical director (Lynne Bowden) have pretty clear ideas about how they want the songs to sound, so I do my best to follow their directions, even when they seem a bit tame for my taste. The music is basic singer-songwriter folk, but I'd like to integrate electronic and other exotic sounds with a lot of different instruments... we'll see...


Here's some of my original music - JAY LOOMIS - if you listen through a few songs you will find a wide variety of different styles and experimentation.

JML
20

Telegigging, Stageit, & Cafe Racers

I was happy to read Lanier's chapter 8 where he talks about options for musicians to make music on-line by giving "live" virtual concerts that people will actually pay for. 
In fact, there is a platform that offers this very service, it's called Stageit.


I checked it out, and signed up about 6 months ago.
I signed up as an artist so that I could take advantage of this great service and start inviting family and friends to on-line live concerts...
BUT ALAS - Stageit never got back to me to let me know that my request was accepted - I get the feeling they only set up artists who already have a following - I'm not sure what their criteria are for signing up artists, I'll have to revisit this website now that I'm in a band and we have a set list and everything :) (Check out CAFE RACERS - we're recording new versions of these demos).


I'll keep you all posted and hopefully you'll be able to enjoy a live on-line concert sometime this fall - with the option to tip on-line if you like what you see and hear...

JML
19

WALK the TALK - Great books by women

A few weeks ago we talked about a list of approximately 100 MUST READ books that are almost all available through the Gutenberg Project. I checked out the list and was pleased to see that I have read a few of these books, and dismayed to realize that I have about 80 more to go, before I can really "WALK the TALK" in literary and intellectual contexts where people name drop like Dr. Dre drops beats.

As I read through the list I realized there were less than a handful of books by women (Jane Austen, The Bronte Sisters, and Emily Dickinson made the cut.) 

So I got to thinking: if I read the male dominated list of 100 MUST READS I'm going to get a very testosterone charged perspective on all kinds of topics.

I would prefer to read some great books by women too, to get a wider perspective on life. I spent about 30 minutes looking on-line for the MUST READ LIST that includes women, and I couldn't find much, so I decided to ask my wife to help me out...

So, Dr. Ana Simon Alegre PhD, contacted some of her erudite friends and they put together the following list - I told Ana that I was going to put this list on our class blog. 

THANK YOU: 

Dr. Ana Simon Alegre

Cristina Simon Alegre (PhD. soon to be)

Dr. Lou Charnon Deutch (Spanish Dept. Stony Brook University)

Andrea García González

Dr. Julia Pérez

Irene García Rubio


Ana Fernandez (PhD. soon to be)

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HERE'S the LIST:

Poems, Safo de Lesbos. 

Sei Shönagon, The Pillow Book, 990

Hildergart von Biden, Lingua ignota, s.XII.

The Mirror of the Simple Souls Who Are Annihilated and Remain Only in Will and Desire of Love Sells, Margarita Perote, 1300.

Christine de Pizan, The Book of the City of Ladies, 1405.

The way of perfection, Teresa de Jesús, 1988 (1º s. XVI).

Louise Labé, Poems, 1555

María de San José Salazar, Libro de recreaciones, 1580.

Amorous and Exemplary Novels, or, the Spanish Decameron, María de Zayas, 1632.

Madame de la Fayette, The princess of Cleves, 1678

The Three Secular Plays of Sor Juana Inés de la Cruz, Juana Inés de la Cruz, XVII.

A Vindication of the Rights of Woman with Strictures on Moral and Political Subjects, Mary Wollstonecraft, 1792.

Jane Austen, Sense and Sensibility, 1811.

Jane Austen, Pride and Prejudice, 1813.

Frankenstein, Mary Shelly, 1818.

George Sand, La Petite Fadette, 1840.

History of Peru, Juana Manuela Gorriti, XIX.

Getrudis Gómez de Avellaneda, Sab, 1841.

George Elliot, Middlemarch, 1840.

Bronte, Emily, Wuthering Heights, 1847.

Uncle Tom's Cabin; or, Life Among the Lowly, Harriet Beecher Stowe, 1850.

Rosalía de Castros, Poems, 1863 (1964).

EL Doctor Alemán, Concepción Gimeno de Flaquer, 1880.

Insolación, Emilia Pardo Bazán, 1888.

Poems, Emily Dickinson, 1890.

The Yellow Wall-paper, Charlotte Perkins Gilman, 1892. 

Susan B. Anthony, The Life and Work of Susan B. Anthony (Volume 1 of 2), by Ida Husted Harper (siglo XX).

Charlotte Brontë, Jane Eyre, 1984

Gertrude Stein, Three Lives, 1909

The Queens of Kungahälla and Other Sketches From a Swedish Homestead, Selma Lagerlöf, 1899 (1917).

Viaje de recreo: España, Francia, Inglaterra, Italia, Suiza, Alemana, Clorinda Matto de Turner, 1909.

Baroness Bertha von Suttner; Author of "Lay Down Your Arms" and Winner of the Nobel Peace Prize". New York Times Review of Books: pp. BR61. February 5, 1911.

Anna Ajmátova, Poems, 1912

Else Lasker-Schüler, Poems, 1912

Alfonsina Storni, Poems, 1916

The Vagabond, Collete, 1917.

Virginia Woolf, To the Lighthouse, 1927.

Virginia Woolf, Orlando, 1928.

Masa Halamová, Gift (Dar, 1928), 

Virginia Woolf, A Room of One's Own, 1929.

Living My Life, Emma Goldman, 1931.

Masa Halamová, Red Poppy (Červený mak, 1932)

Pamela Lyndon Travers, Mary Poppins, 1934.

Gone with the wind, Margaret Mitchell, 1937.

Isak Dinesen, Out of Africa, 1937

In a Place of Splendor, The Autobiography of a Spanish Woman, Constancia de la Mora, 1939.  

I must have liberty, Isabel Oyarzábal de Palencia, 1940.

Anais Nin, Delta of Venus, 1940.

Carson McCullers, The heart is a lonely hunter, 1940.

Marguerite Duras, Wartime Writings, 1943-49 (2010).

Betty Smith, A Tree Grows in Brooklyn, 1943.

Astrid Lindgren, Pippi Longstocking, 1944

Virginia Wolf, A Haunted House and Other Short Stories, 1944.

Carmen Laforet, Nada, 1945, (2007).

Simone de Beauvoir, Wartime diary, 1945? (2010)

The Diary of a Young Girl, Ana Frank, 1947.

Hanna Arent, The Origins of Totalitarianism, 1951.

Simone Weil, The Need for Roots, 1952.

María Zambrano, Delirium and Destiny: A Spaniard in Her Twenties, 1953 (1999).

Mary Gaskell, North and South, 1955.

Masa Halamová, Poems (Básne, 1955), 1978. 

The Golden Notebook, Doris Lessing, 1962.

Zapatos de fuego, sandalias de viento, Úrsula Wölfel, 1963.

Natalia Ginzburg, Family Sayings, 1963.

Jean Rys, Wide Sargasso Sea, 1966.

Masa Halamová, I Live Your Death (Smrť tvoju žijem, 1966)

Clarice Lispector, The Passion According to G.H. and The Foreign Legion, 1964-66.

Maya Angelou, I know Why the Caged Bird Sings, 1969.

Silvia Plath, Winter Trees, 1971

Adrienne Rich, Diving Into the Wreck, 1973.

Adrieanne Rich, On Lies, Secrets and Silence: Selected Prose, 1966–1978, 1979. 

Alice Walker, The Color Purple , 1982.

Isabel Allende, The House of Spirits, 1982.

Luisa Valenzuela, Cambio de armas, 1982.

Sylvia Plath, Collected Poems, 1982.

The Diary of a Good Neighbour, as Jane Somers-Doris Lessing, 1983.

Sandra Cisneros House on mango Street, 1984.

Cristina Peri Rossi, Ship of Fools, 1984.

Assia Djebar, Cuarteto Argelino, 1984.

Margaret Atwood, The Handmaid’s Tale, 1985.

Gloria Anzaldúa, Borderlands, 1987.

Eltit, Diamela, El cuarto mundo, 1988

S. Byatt, Possession, 1990.

Isabel Allende, The Stories of Eva Luna, 1990

Duras, Margarite, The North China Lover, 1991.

Toni Morrison, Jazz, 1992.

Joyce Carol Oates, Black Water, 1992.

Jung Chang, Wild Swans: Three Daughters of China, 1992.

Masa Halamová, Fragments (Čriepky, 1993). 

Under My Skin: Volume One of My Autobiography, to 1949, Doris Lessing, 1994.

Ursula Heigi, Stones from the River, 1994.

Julia Alvarez, Time of the Butterflies, 1994.

Dandicat, Edwidge, Breath, Eyes, Memories, 1994

Variable cloud, Carmen Martin Gaite, 1995. 

Phoolan Devi, Phoolan Devi: The Autobiography of India's Bandit Queen, 1996.

Walking in the Shade: Volume Two of My Autobiography, 1949 to 1962, Doris Lessing 1997.

Arundhati Roy, The God of Small Things, 1997

Lucía Etxebarria, Beatrice and the heavenly bodies, 1998

Barbara Kingslover, The Poisonwood Bible, 1998.

Marjane Satrapi, Persepolis, 2000-03.

Amélie Nothomb, Fear and Trembling, 2001

Julia Kristeva, Hannah Arendt, 2001, Melanie Klein 2002, Colette 2005

Garcia, Cristina, Monkey Hunting, 2003

Hélène Cixous, Reveries of the Wild Woman, 2006

Louise Erdrich, The Beet Queen, 2006.

Alison Bechdel, Fun home, 2006.

Marie NDiaye, Three Strong Women, 2009

Maria Dueñas, The Time in Between, 2009

Chimamanda Ngozi Adichie, The Thing Around Your Neck, 2009.

By Lou Charnon-Deutsch, Andrea García González, Julia Pérez, Irene García Rubio, Ana Fernández (candidate PhD), Ana y Cristina Simón Alegre

Father'sFatherAuntsUncles - "eye candy" #6

These are pictures of my Father's Father, and his Aunt and Uncles.
Original music composed by Jay Loomis using Beatwave and GarageBand.



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Old Ancestors - "eye candy" #5

These are pictures of my Grandfather's Grandmother, and his Great Aunt, who lived in Minnesota when my Grandfather's Grandfather arrived there in the mid / late 1800s - he was part of "Westward Expansion" (see Minnesota, Homestead Act, Manifest Destiny).  He left New York in the mid 1800's and settled in Minnesota after marrying Mary Jane Hines, who was probably half Ojibwe and half Irish. Limon Foster Loomis and Mary Jane Hines are my Great Great Grandparents.


Original music by Jay Loomis created by using Thicket and Garage Band.



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16

ANCESTOR KIDS, "eye candy" #4

These are photos of my Great Aunt and Great Uncle, et al...
with original music by Jay Loomis, recorded and edited by Bryan Downey in Bulldog Studios in Sag Harbor, NY.



JML
15

Minnesota Ancestor Park.skp

Here's an experiment... a ROUGH draft...
it's one piece of the puzzle for the NARRATIVE that I'm developing. I want to use SketchUp as the platform that will combine a variety of visual objects that I can navigate to create an "animation tour" that tells one perspective (in broad strokes) of the story of some of my ancestors.



JML
14

FamilyPhotos & the GoldenMEAN - eye candy 3

This mini-mash-up combines architectural drawings by Palladio with family fotos and original pattern music composed by Jay Loomis using the Soundrop app and Garage Band.



JML
13

CYBORG POLITICS

This AUDIO VISUAL COLLAGE combines images, voice-over, original music, text, and sampled sounds.
It's a commentary on war mongering politics & roboticized killing.



JML
12

Spinning Head - eye candy 2

FAMILY PHOTO & Original Music by JML



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11

EYES & WHEELS - eye candy 1

FAMILY PHOTOS & Original Music by JML 

JML
10

SIMULATION & cyborgs

SIMULATION astounds me as I look at screens
that re-create realities
reproducing via [zeros] & [ones]
walled worlds and open horizons

SUPERFICIAL simulation creates controlled realms in [Virtuality]
that serve humans 
(at worst these training games teach us to kill more effectively)
(at best we can participate in creative activities designed to heal)


CYBORG SIMULATION turns the tables and makes machines 
SIMULATE HUMANITY
for "better" (to alleviate our laziness, and indulge our impish egos.. 
they are relieved to relish in postures of apparent superiority)

or for longevity

Or for worse
that is, for better killing capacity

Why?
Because we can?

JML
9

Second Life Choices

I signed up for Second Life
Choosing the avatar made me think about so many different poses and 
how much BODY LANGUAGE speaks and
implies history and attitude and 
our perspective as we approach the contexts of everyday life
Choose choices choices choices
choose chews choose...

The drawings were copied from:

Quigley's Cabinet: Vitruvian People

Sunday March 21, 2010

JML

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