Helen Thorington/Curriculum Vitae

Curriculum Vitae

NEW MEDIA NETWORKED PERFORMANCES NET ART WEB SITES CD ROM INSTALLATION/PERFORMANCE SOUND COMPOSITIONS FESTIVALS/EXHIBITIONS COMPOSITIONS FOR DANCE FOR FILM FOR RADIO WRITING LECTURES/PRESENTATIONS/PANELS AWARDS TEACHING EDUCATION


[CURRENT POSITION] Thorington is the founder (1981) and Co-Director of New Radio and Performing Arts, Inc. (aka Ether-Ore). From 1987-1998, NRPA commissioned and produced the New American Radio series for the public radio system, and since 1996 has commissioned and produced net art for its Turbulence website.

[NEW MEDIA]

[NETWORKED PERFORMANCES]

interaXis, an investigation into the possibilities of improvisation, form, and presentation in a multi-site, network-based performance that included Wadada Leo Smith, Mark Trayle and Jesse Gilbert at UCLA, Los Angeles and Nick Didkovsky, Leroy Jenkins, Dafna Naphtali, and Thorington at Harvestworks, New York City, December 2001.

Adrift	A streamed Internet performance, Adrift was a collaboration with Marek Walczak, Jesse Gilbert, Martin Wattenberg, Jonathan Feinberg and Hal Eager. Thorington wrote the texts and contributed photographs and ambient/musical selections to the sound score. She also provided live voice narrative. See Adrift in a Sea of Senses by Joel Johnson, PForm.org; Outlook for 1998: Better Online Art and More of it by Matthew Mirapaul, New York Times; Navigating the Narrative in Space: Gender and Spatiality in Virtual Worlds, Mary Flanagan, Art Journal, Fall 2000; Text Object, Rhizome.org. CD-ROM in Meta-Forms: New York Foundation for the Arts 2001 Computer Arts Fellows @ Colgate University, March 25—April 19, 2002. Performance/Installation in Cin-o-matic: Memory and Cinematic Perception @ The New Museum of Contemporary Art, New York, October 2001—January 2002. Streamed Internet performance at the New Museum of Contemporary Art with originating locations in NYC and Los Angeles. The performance archive was then installed as a triptych/ spectacle, using three VRML cameras, three screens and surround sound. With funding from the Creative Capital Foundation and the New Museum. Web site @ The Boston Cyberarts Festival, 2001. Performances in multiple physical locations and on the Internet, monthly from September 1997— May 1998. Performance @ at the 10th Anniversary celebration of Kunstradio at ORF, Vienna, Austria, 1997. Performance @ the Ars Electronica Festival, Linz, Austria, September 8—13, 1997.

Spaces 4.18.99 Feedback 12.6.98 Loose Ends/ Connections 9.19.98	50-minute improvisational, networked performance events originating from three locations: @ Mills College, Oakland, CA; @ Harvestworks, Inc., NYC; and the @ Morton Street Studio, NYC. Made available to local audiences in the three locations and to Internet users. With Maggi Payne, Brenda Hutchinson, Les Stuck, Beth Coleman, Shelley Hirsch, Pauline Oliveros, Jim Pugeleise, Jesse Gilbert, and others.

Turbulence – with Joseph Celli and Nick Didkovsky: a 35 minute sound/music composition created for artnetweb's project, PORT – a simultaneous presentation of digital art on the Internet and @ the List Center for Visual Arts at MIT. Performances from el.net studios in NYC by RealAudio every Friday, January 31 through March 28, 1997. (TOP) [NET\|WEB ART] 9_11_01 Scapes (in process) with Jo-Anne Green. A series of Photoshop images with text and sound by Thorington. Exhibited in Violence Online Festival 6.0, April 2003. Solitaire (1998) with Marianne Petit and John Neilson. Selected for presentation at numerous festivals including the Exchange 2000 Online Exhibition, Bristol, UK; the Maid in Cyberspace Festival, Quebec, Canada 2000; the REDesign Festival, 2000, Barcelona, Spain; and the 1999 Montreal International Festival of New Cinema and New Media. Reviewed in the 6th edition of CIAC's Electronic Art Magazine. Finalist in the Trace and Alt-X first International Hypertext Competition, 1998-1999. Used in numerous syllabi/courses including Creativity, Collaboration, Collective Learning @ Kids on the Net; Hypertext Fiction and Theory, Department of English, University of California at Santa Barbara; and Tale, Text, and Hypertext, beyondwriting.com. North Country, Part 2 (1997) and North Country, Part 1 (1996). Selected for the University Art Gallery, Central Michigan University’s Subverting the Market exhibition, 2001 and other exhibitions and festivals 1997-1999. Also @ the Women's New Media Gallery, Trace Online Writing Center. (TOP) [WEB SITES] http://somewhere.org, February 1996—present: a web site that includes: an archive of the New American Radio series from 1987 to 1998, including excerpts from artists' works, artists' writings, scripts and scores, a catalogue, reviews and writing on the radio medium. http://turbulence.org, April 1996—present: Turbulence commissions work made for the net/web. Reviewed by numerous on-line magazines including Netscape's iguide; RealAudio; Hot Wired, Cybertimes, Art in America, the New York Times, the Wall Street Journal, Forbes Magazine, and TemaCeleste online. (TOP) [CD-ROM] North Country (1995) – a short interactive narrative with an interactive soundscore. Funded by a New York State Council on the Arts (NYSCA) Individual Artist Award and a Meet the Composer Commissioning Award. Presented at ORF (Austria); SFB (Berlin); ISEA, Montreal; and in art festivals and shows in NYC from 1995—1997. (TOP) [INSTALLATION AND PERFORMANCE] Going Between (1993) – with performing artist Jackie Apple. A performance fiction on traveling between universes, commissioned by ORF (Austrian radio) and TRANSIT on the occasion of their On the Air Symposium in Innsbruck in 1993. Performed in concert at the Subtropics New Music Festival, Miami, Florida, 1995. Partial Perceptions – a 30-minute composition premiered at DiverseWorks in Houston, Texas in February 2, 1992; presented at the Whitney Museum of American Art; and at Philip Morris on March 13, 1992 as a performance/installation. Funded by a NYSCA Music Commission and a grant from the Electronic Arts Grants Program of The Experimental Television Center. A 20-minute version can be found on Radius#1 (What Next? Recordings). Angels Have Been Sent To Me (1991) – sound score, in collaboration with Jerri Allyn, presented at various locations in NYC and the Tyler Gallery, Philadelphia. Loco-motive (1991) – exhibited at the 2nd International Festival of Radio Art in Wroclaw, Poland. Endangered (1990) – sound score, in collaboration with Jerri Allyn for the Anchorage show in Brooklyn, NY. Terra dell Imaginazione (1990) – performance/installation commissioned by RAI (Italy) for their Audio Box Festival and presented in the caves of Matera, Italy. (TOP)

[SOUND]

[FESTIVALS/EXHIBITIONS] Calling to Mind, Workspace Projects: Surround Sound, Galerie Rachel Haferkamp, 01.26 -02.04.06, Cologne, Germany; Pixilerations v.2, FirstWorksProv, Pixilerations Gallery, Providence, RI, 09.29-10.15.05; Deep Wireless Radio Art Festival, Toronto, Canada, 06.01.05 (Commissioned by Deep Wireless) 9_11_01_scapes, Honorable Recognition, Prix Bohemia Radio Festival, Czechoslovakia, 2003; Winner, Aether Festival, KUNM-FM, Albuquerque, New Mexico, 2003; Essay: September 11th, Magnum Photos, 2006; The Sonic Memorial Project. FILE-2003, the Electronic Language International Festival, Cultural Institution and Museum (Paço das Artes), São Paulo City. 5 audio works included in their Hipersonica sound productions festival. [COMPOSITIONS] Compositions for New Music America: 1984, 1986, AND 1988. Compositions for Roulette, the Experimental InterMedia Foundation, The Alternative Museum and other New York music venues (1984—1989). (TOP) [FOR DANCE] Blauvelt Mountain, Bill T. Jones/Arnie Zane Dance Company. Performed live at The Kitchen, New York City, September 5-20, 2003. Also performed live at Jacob’s Pillow, July 24, 26, 27, 2002. Monkey Run Road [played with Continuous Replay], Bill T. Jones/Arnie Zane Dance Company, The Kitchen, New York City, September 5-20, 2003. Presentations at Dance Theater Workshop, PS1 and other dance venues, 1981—1987. Includes three compositions for postmodern dancers Bill T. Jones and Arnie Zane, Susan Salinger, Vicki Marks, Peter Anastos and Lois Welk. (TOP) [FOR FILM] Endangered (1989) by Barbara Hammer - presented at the Whitney Museum's 1989 Biennial and exhibited throughout the US. Optic Nerve (1987) by Barbara Hammer - premiered at the Berlin Film Festival and the Whitney Museum of American Art's Biennial exhibition, 1987; First Prize, Ann Arbor Film Festival; Third Prize, Experimental Film Coalition Film Festival; Creteil Int'l Festival of Films by Women, France. (TOP) [FOR RADIO] Liberty and Ellis-Fresh Perspectives (2000) – with Regine Beyer; a documentary on the Statue of Liberty and Ellis Island, with full sound score. With funds from the National Endowment for the Arts and the New York State Council on the Arts. Distributed by National Public Radio. Fleeting Encounters (1999) – eight minute version commissioned for the series A Patchwork Planet by BBC Radio 3. Parker's MUD Journal (1997) – a two-part documentary fiction on the Internet's on-line community, Lambda Moo, with full sound score. Funded by the National Endowment for the Arts and the Paul Robeson Fund. North Country (1996) – a 35-minute hypertext narrative work with full sound score by the author with accordionist Guy Klucsevek. Commissioned by Meet the Composer with additional funding from NYSCA. Distributed to US public radio as part of the New American Radio series. Also distributed by The Listening Room, ABC, Australia and Kunstradio, ORF, Austria. Story Space (1995) – An audio essay on Thorington’s work for radio, a creative audio compilation with commentary that includes: (1) an excerpt from Loco-motive (5:20); (2) Dracula's Wives (8:30); and, (3) an excerpt from Terra Dell'Imaginazione (Landscape of the Imagination) (3:10). Distributed nationally by New American Radio. The Hunt Is On: Reflections on the Human Genome Project (1994) – A documentary work on the federally supported Human Genome Project. Interview participants include: Dr. Ruth Hubbard of Harvard University, co-author of Exploding the Gene Myth; Dr. Daniel Callahan, President of the Hastings Center, Briarcliff Manor, New York; Dr. Barbara Katz Rothman of Baruch University, author of The Tentative Pregnancy; and Dr. Steven Hilgartner of the Center for the Study of Society and Medicine at Columbia University. Distributed nationally by New American Radio. Going Between (1993) – A hypertext fiction created as a performance and adapted for radio about consciousness and the imagination. Composed of a series of discrete yet linked stories, music, geographies, word plays, and quotes that take place both in a real (fictional) world and a (fictional) virtual world. Distributed nationally by New American Radio. In the Devil's Footsteps (1993) – with writer Sarah Montague. A two part series on bats and vampires with a full sound score by Thorington; created as a Halloween Special for public radio. Funded by the National Endowment for the Arts. Distributed nationally by National Public Radio and New American Radio. Dracula's Wives (1992) – a commission of RNE (Spanish Radio) for its Madrid festival, Ciudades Invisibles. Subsequently aired by RNE and internationally as part of the 1993 Ars Acustica Listening Project and by New American Radio. Loco-motive (1992) – an electronic environment impervious to the hurried, energetic movements of the many little engines that scuttle back and forth across it. Based on the artist's sound score to a work of the same name by Suzan-Lori Parks. Distributed nationally by New American Radio. Recipe for a Lark (1992) – with vocalist Shelley Hirsch. Distributed nationally by New American Radio. Creative Tracks: Native American Artists in the '90s (1992) – with Regine Beyer. Interviews with Native American women poets and fiction writers, including Joy Harjo, Paula Gunn Allen and Linda Hogan, with an original sound score by Thorington. Distributed by National Public Radio. Partial Perceptions (1991—92) – funded by Meet the Composer and the New York State Council on the Arts. Cinematic audio that works on different levels of perception. Its underlying concerns are closely linked to the reshaping of traditional concepts of nature, woman, and machine. Distributed by New American Radio. Subsequently released on Radius #1: Transmissions from Broadcast Artists, ¿What Next Recordings?, Albuquerque, New Mexico, 1993. Terra dell'Immaginazione (1990) – commissioned by RAI (Italian radio) for its Audio Box Festival as an installation for a riverside cave, Matera, Italy. Distributed by RAI; ORF, Vienna; and New American Radio. Aphids and Others (1990) – written in response to Gregory Whitehead's Male Digger Bees, this short work is a humorously poignant appeal for diversity and choice. It features a laughing aphid, three bumping snails, and an octopus arm that swims. Distributed by New American Radio. In the Dark (1990) – audio images that evoke an unpeopled, cinematic geography; landscape of loneliness and loss. Distributed by New American Radio. Congruent Appeal (1989) – an experimental drama composed entirely of musical, electrical, and environmental sound, processed and organized into events that are not necessarily related, although their placement may suggest some sort of narrative. Distributed by New American Radio. One to Win (1989) – a short, humorous work that recreates a single event in a horseracing day, presented from many perspectives, including that of the horse. Commissioned by New Music America, Miami, Florida. Distributed by Public Radio, Florida, National Public Radio, and New American Radio. Straight Ahead (1989) – originally created for the award-winning experimental film Optic Nerve by Barbara Hammer. Distributed by New American Radio. Fiddling Around (1987) – a tiny monkey escapes his cage and is pursued by other monkeys and his keepers. A true story out of Monkey Jungle, Miami, told with monkey screeches and fiddle music. Distributed by New American Radio. Hard City Rock: New York City in Sound (1987) – with Regine Beyer. A flow of sounding images interrupted by short informative and anecdotal comments from Robert Bennon of the Environmental Protection Agency. Distributed by WNYC, New York. Natural Classic (1987) – Drop-in cock-a-doodle-doo. Music for cello and rooster. Distributed by New American Radio, 1994. Parrot Talk (1986) – a work about repetition and entropy. Told with live recordings from Parrot Jungle, Miami, feedback, carnival music, static and other anathema of the broadcast world. Winner of First Prize, Macrophon 1991, the First International Festival of Radio Art, Wroclaw, Poland. Distributed by New American Radio, 1991. Building a Universe, Part 2: Rifts, Absences and Omissions (1987) – satiric and experimental drama that focused on the new reproductive technologies and the scientists responsible for their development. Distributed by New American Radio, 1991. Building a Universe, Part 1 (1985) – an experimental new drama that focused on contemporary technologies such as cloning, crossbreeding, and the ability to exchange body parts. Commissioned by New Music America, Houston Texas. Distributed by New American Radio, 1990. The American Buffalo (1980) – why the American buffalo is not a true buffalo but a bison. Distributed by New American Radio, 1990. The Dream Sequence, Part 1 & 2 (1979) – one of the first compositions for radio to make use of electronic processing, and one of the first radio art works broadcast on National Public Radio, The Dream Sequence unfolds associatively, its lyrical text reflecting humorously on the author's rural experience and her concern for personal disappearance. List of additional radio works available on request. (TOP)

[WRITING]

Radio, Art, Life: New Contexts, feature article on the evolving context for sound and radio practice, exploring networked media, participatory platforms and the sonification of every-day objects. An introduction to a series of Radio Art including recent work by Christof Migone and Sarah Washington, Intermedia: New Media, Sound and Performance, Tate Modern, May 2008. On Solitaire, Second Person, Pat Harrigan and Noha Wardrip-Fruin, editors, MIT Press, January 2007, pp 125-127. The Networked_Performance Blog, Bodily Instruments and Instrumental Bodies, Showcase Article, Contemporary Music Review, Volume 25, No.1/2, Routledge, February/April 2006, pp. 193-197. Breaking Out: The Trip Back, Internet Music, Contemporary Music Review, Volume 24 Part 6, 2005, Routledge. Loose Ends/Connections: A Story, Style (editor: Craig Saper), Volume 33, No.2, January 2000. It Puts the WOW in WOW, on Erik Belgum's soundscore for Phon-e-me, an online work commissioned by the Walker Arts Center (http://phoneme.walkerarts.org), June 1999. Telemantic Manifesto (1999) included in the ZKM (Center for Art and Media) Net_Condition and the Telematic Connections exhibitions. http://www.zakros.com/manifesto/transformation/transformation_thorington3.html Experiments with Online Text for next 5minutes, n5m3, a festival on tactical media, March 1999. North Country, Black Ice, January 1998. Harris Skibell's Exchange: Barter and Bow, EAR Magazine, 1989. The Noise of the Needle, EAR Magazine, October 1988. Arsenije Jovanovic, EAR Magazine, October 1987. Radio Editor, EAR Magazine,1987—1989. Co-editor with Regine Beyer and Gregory Whitehead, 1987 Festival for a New Radio, EAR Supplement. Short fiction published in magazines and journals 1975—1980, including: The Story, Chelsea 38, 1979. The Story Hasn't Started Yet, Chelsea 36, 1977. (TOP)

[LECTURES/PRESENTATIONS/PANELS]

2008 Presentation:Programmable Media II: Networked Music, Pace University, NY, 04.12.08 2007 Presentation: Networked_Performance, Digital Art Weeks, Switzerland, 07.13.07 Presentation, Programmable Media, Media in Transition 5: Creativity, Ownership and Collaboration in the Digital Age, Massachusetts Institute for Technology, MA, 04.27.07 Presentation, the networked_performance blog, Programmable Media: Open Platforms for Creativity and Collaboration, Pace University, NY, 03.02.07 2006 Presentation, networked_performance: participatory art, Upgrade! International, Oklahoma City, 12.02.06 Presentation, Personal Artistic Work, 1977 - 2006, Upgrade! Boston, 05.02.06 Presentation, Turbulence.org: A Selected Presentation of Commissioned Work for Upgrade! Johannesburg, University of the Witwatersrand, Johannesburg, South Africa 04.07.06 Presentation, Turbulence.org: A Selected Presentation of Commissioned Work at Museum of Art, University of Oklahoma 02.17.06 Presentation, Personal Artistic Work, 1977 - 2006, Upgrade! Oklahoma, [ArtSpace], Oklahoma City, 02.16.06 Panelist, From Database and Place to Bio-Tech and Bots: Relationality vs Autonomy in Media Art, College Art Association, Boston, MA 02.23.06 2005 Lecture, Play! Contemporary Composition, Technology, and Listening symposium, Clark University, MA, 11.04.05 Panelist, Net Art: What is it and Can it Survive?, AAF Contemporary Art Fair, New York City, NY, 10.30.05 Moderator, Networked Performance: How Does Art Affect Technology and Vice Versa?, SIGGRAPH 05, 08.01.05 Presenter, The Extended Instrument: An Investigation into Sound Art and Contemporary Music, New York State Council on the Arts, New York, 06.30.05 Lecture, Radio Art in America, Deep Wireless Radio Art Festival, Toronto, Canada, 06.01.05 Speaker, Becoming Performative, Teledramatic Arts, California State University at Monterey Bay, 05.04.05 Juror, Computer Art, Constance Saltonstall Foundation, New York, 04-05.05 Panelist, Becoming Uncomfortable, Performance Studies International's 11th annual conference, Brown University, Providence, RI, 04.02.05 Panelist, Necessary Excellence, International Society for the Performing Arts Conference, Brooklyn Academy of Music, New York, 01.06.05 2004 Speaker, Hear Now: Helen Thorington and Hildegard Westerkamp in Dialogue, Simon Fraser University, Vancouver, Canada, 12.17.04 Lecture, Tisch School, New York University, New York, 11.04.04 Roundtable, Society for Art and Technology (SAT), Montreal, Canada, 10.02.04 Lecture, Digi-Presenter Primer, New York, 04.25.04 Lecture, Real Art Ways, Hartford, Connecticut, 03.20.04 2003 Juror, 2004 Harvestworks Artist In Residence panel 12.04-05.03 Panelist, "net.art: problems and promise" in conjunction with the Boston Cyberarts Festival, April 9, 2003. Panelist, International Contemporary Art Experts Forum: New Frontiers of Digital Art, ARCO¹03 22nd Edition of the International Contemporary Art Fair, February 11-18, 2003, Madrid, Spain. www.arco.ifema.es 2001 Panelist, Cin-o-matic: Memory and Cinematic Perception, The New Museum of Contemporary Art, New York. Guest Lecturer, Music Department, Dartmouth College, Hanover, New Hampshire. Presenter and Mentor, The Arts and Streaming Media, California Digital Arts Workshop (CDAW), Los Angeles, California. Presenter and Moderator, Turbulence@Newhouse Galleries, a series of four presentations on net art, Snug Harbor Cultural Center, Staten Island, New York. Presenter, New Possibilities, Snug Harbor Cultural Center, Staten Island, New York. Lecture, Arts Technology Center, University of New Mexico, Albuquerque, New Mexico. Presenter, panel on Dystopia and Identitiy: On the Presentation of On-Line Art in Physical Spaces, Tribes Gallery, New York City. 2000 Presenter, Net Art in Physical Space, MovingImage Gallery, New York City. Presenter, Warwick Valley CyberArts Festival, a two-day festival in Warwick, New York, curated by the Whitney’s Performance at 42nd Street curator, Jeanette Vuocolo. 1999 Presenter and participant, Art in MultiMedia Project, Brooklyn Academy of Music/Lucent Technologies, New York. Presenter and Panelist, Art Science Collaborations, Inc. (ASCI) CyberArt99: Seeking Solutions , Cooper Union, New York. Presenter and Panelist, Crossing Boundaries: A Historical Perspective on Hybridization, Cultural Differentiation, Alienation, and Otherness in Interdisciplinary Performance, Installation and Media Arts, College Art Association, Los Angeles. Guest Lecturer, Broadcast and Internet Arts, University of California, San Diego. 1998 Presenter, Women In Media, AIR Gallery, New York. Presenter, Arts & Science Collaborations, Inc. (ASCI) Public Symposium, Cooper Union, New York. Lecturer/presenter, Robots, Avatars, and Sound Sculptures: Artists Redefining Technology Through Words, Sound, Sculpture and Performance, The Center for Arts and Technology, Connecticut College, New London, Connecticut. Lecturer/presenter, Rensselaer Polytechnic University, Troy, New York. 1997 Presenter, Adrift, ORF, Vienna, Austria. Presenter, Creative Careers in the Digital Realm. (http://www.earthpledge.org/news/epfstory12a.html) 1996 Presenter, From Radio Art to Web Art–Changing Technologies, Changing Aesthetics, International Literary Colloquium, Berlin, Germany. Presenter, The State of Creative Radio in America, Ars Acustica Meeting, Copenhagen, Denmark. 1988—1995 1995: Presenter, Creating for CD-ROM, with a presentation of the newly completed North Country, Ars Acustica Meeting, Vienna, Austria. 1993: Presenter/Performer, On the Air: Art in the Public Data Space, symposium, Innsbruck, Austria. 1991: Presenter, Macrophon '91: On American Radio Art and the Edit, The Second International Festival of Radio Art, Wroclaw, Poland. 1991: Presenter, Radio Contortions, McGill University, Montreal, Canada. 1989: Presenter, In the Dark, symposium, San Francisco State University, California. 1988: Presenter, With the Eyes Closed, symposium On the Theory and Practice of Radio Art, presented as part of the Steirischer Herbst Festival, Graz, Austria. (TOP)

[TEACHING]

2007: Networked Performance: Off the Desktop and Into the Street, Emerson College, Boston, Massachusetts 2004—06: Mentor, Art Insititute of Boston at Lesley University, Boston, Massachusetts 2003: School of Visual Arts, New York University, New York City: New Media Art History: Radio Art 2002: Graduate Seminar, School of the Museum of Fine Arts, Boston, Massachusetts. 2001: Workshop, Arts Technology Center, University of New Mexico, Albuquerque, New Mexico. 1997: Radio Production, College of Staten Island, Staten Island, New York. 1981—1990: Radio Workshops. (TOP)

[AWARDS]

2004 Deep Wireless Commission 2003 Honourable Recognition, PRIX BOHEMIA RADIO FESTIVAL, Czechoslovakia 2003 Winner, AETHER FESTIVAL, KUNM-FM, Albuquerque, New Mexico 2001 New York Foundation on the Arts Creative Fellowship Award: Emerging Forms for Digital Art 2000 Creative Capital Grant for Adrift 1999 Creative Capital Grant for Adrift 1998 New York State Council on the Arts (NYSCA), Music Commission 1997 Meet the Composer Commissioning Program Award 1996 Artist in Residence, Harvestworks, Studio Pass, New York City 1995 Meet the Composer Commissioning Program Award 1995 New York State Council on the Arts, Individual Artists Award, Media 1995 Paul Robeson Fund, Radio Grant 1994 Paul Robeson Fund, Radio Grant 1993 National Endowment for the Arts (NEA), Media Arts Award 1992 NYSCA, Music Commission 1992 Electronic Arts Grants Program of the Experimental Television Center 1991 First Prize, MACROPHON, the First International Festival of Radio Art, Poland 1991 NEA, Media Arts Award 1990 NYSCA Individual Artists Award, Media (with Jerri Allyn) 1990 NEA, Media Arts Award (TOP)

[EDUCATION]

Graduate Studies Course work completed for Ph.D. in English Literature, Rutgers University, 1965—1967. Special Studies in the English Comic Novel with John Bayley, New College, Oxford University, England, 1959—1961. English Literature, University of Minnesota, 1956—1958. Union Theological Seminary, New York, 1951. Bachelor of Arts, Biblical History, Wellesley College, Massachusetts, 1950. (TOP)