Autonomous and Dynamical Systems. _______. Perhaps I am myself guilty on elaborating on the metaphor for my own poetic or aesthetic ends. 10Personal conversation with David Dunn, January 30, 2018. The first account begins creation in a wet, chaotic environment (hovering above the waters) while the second account begins in a dry, barren, desert-like environment. In regards to science and nature, the metaphor of the complex adaptive system works both ways. Request Permissions. Found inside – Page 21For such a complex working environment people needamore profound ... metaphors based on thermodynamics principles or complex systems and chaos theories. At their best they can be used to inspire and create positive change; at their worst, they can be instrumentalized to justify certain interventions and, in the case of chronic disease or crime prevention, shape individual subjectivities. Perhaps the trick is to treat metaphors as such poetic realities rather than (or at least, not only as) social facts – ones which unfurl outwards rather than pointing inwards. In Gareth Morgan's famous work 'Images of Organization', introduces the concept of the metaphor itself as a most useful and logical tool to describe, understand and work through change in organizations. Found inside – Page 12969 Other metaphors in the EMC, however, also denote movement and change. ... In such an environment, “change is the only constant, chaos is everywhere,”71 ... Liner Notes. The Sound of Light in Trees is a recording of the interior of an infested tree, made using custom transducers fashioned from cheap meat thermometers that Dunn placed between the outer bark and inner xylem of the tree. They do that by getting past intellectual filters and establishing emotional bonds that come from tapping shared human experiences. The middle section highlights a transition period in the mid-1980s when Dunn shifts from creating environmental interactive pieces to modelling complex systems, and the metaphors he used to define his practice at this time, in particular “natural magic.” Ultimately, the focus is on what Dunn calls mind, a concept borrowed from anthropologist Gregory Bateson, which became the primary metaphor Dunn used to explain his work. 7David Dunn, “Nature, Sound Art, and the Sacred,” in The Book of Music and Nature, edited by David Rothenberg and Martha Ulvaeus, (Middletown: Wesleyan University Press, 2001), 101. But when we apply a more cooperative, communal approach, perhaps new, innovative solutions present themselves that point to a broader cosmology for understanding. This is evident in the 1999–2000 score Pleroma SERIES in which he states: “These [chaotic] sounds excite me because they are so physically reminiscent of the global sound behaviors that emerge from natural habitats such as swamps, forests and oceans.”45 The 2010–11 score for Thresholds and Fragile States offers an interpretation of the night sounds of the Atchafalaya swamp using terms borrowed from chaos theory. Of course, a single act like the butterfly flapping its wings cannot cause a typhoon. Her metaphors, as with the indirect discourse, flow through others, baring them, clarifying them, and creating sympathy. hostile groups" (Pagetti, 1988: 64) and generates a chaotic environment of abundant swearing, shouts, and quarrels. They can suggest alternate courses of action or simply say, "Try that move again.". As many historians like to point out, 19th century Prussian military theorist and army officer Carl von Clausewitz's (1780-1831) seminal work, On War, was not written to be a "how-to" manual about waging warfare, but instead as a timeless treatise on the nature of war. If you’ve ever met David Dunn (b. 1132 Words5 Pages. The score consists of graphically notated “sound gestures,” played by three trumpeters, who were instructed to sonically interact with the physical properties of the gorge. 56David Dunn, “Thresholds and Fragile States,” (2012), 2. Concerning the relevance of metaphors to business organization's policy, the green movement, the Japanese superiority in quality, and primary candidates, at this time, for . Around this time, Dunn also started composing. The score includes wire wrap diagrams and hexadecimal code routines, reflecting Dunn’s desire in and search for an adequate means of documentation. Dunn describes the principles that undergird this piece, geomancy and feng shui, as “archaic philosophical traditions.” He was particularly interested in the aspects of symmetry and balance present in both traditions. These sculptures talk about organization and the chaotic nature within natural and man-made forms. 'You must have chaos within you to give birth to a dancing star' – Nietzsche, Against the Therapeutic Self: the politics of Self-craft, Emotional Governance and the Engineering of Affect in alternative and holistic therapies and discourse, Between over-consumption and self-regulation: narrative tensions in The Biggest Loser, Dissidents, lovers and the “liberal eugenics of lifestyle”: On the biopolitics of scent profiling, Confounding bodies, nervous bodies: “voice poverty” and the continuing cultural resonance of “railway spine”, Bodies on fire, bodies at sea: on the “fear of small numbers” and the limits of empathy, Self-tracking and body hacking: the biopolitics of the Quantified Self in the age of neoliberalism, Inner and Outer Climates: Metaphors of Chaos and Complexity in Climate Change and Chronic Disease, Pain Managment, biopolitics and technologies of the self, Articulations: Movement, mobility and the politics of the body, Moments of inhabitation: attention, intention and attending to. Humans may or may not come out at the end of the readjustment. Mind is distributed and emergent, residing not in one location, but rather in and between many—the pathways within and beyond the body. We need metaphors to explain and make sense of complex… Entrainments 1, subtitled “Enfolded Traces of Environment’s Memory Revealed in Holonomic Space,” is to be performed in Azalea Glen, in the Cuyamaca mountain range where Dunn camped with his family as a child. Cynefin Framework: A Quick and Different Look. In recent writings, Dunn frames his body of work as emanating from two fundamental questions. Anthropologists in the 19th century also ran with this idea and used the assumptions of phrenology to argue that the ‘darker nations’ were less evolved and more primitive than the Colonies. The leader might 'run a tight ship' as they 'plot a course' to success, navigating some 'stormy waters' along the way. Jukes is confronted by the force of the hurricane "which made the very thought of action utterly vain" (51). Found inside – Page 112For many individuals with borderline patterns of meaning - making activity , however , the environment is experienced as chaotic even if it seems quite ... Figuratively speaking then, emergence is a metaphor for all the things which arise unannounced, unplanned-for and unexplained. For instance, Listening to What I Cannot Hear (2008) is composed entirely of ultrasonic recordings transposed into the human hearing range. Madrigal: The Language of the Environment is Encoded in the Patterns of its Living Systems. For about as long, metaphor, along with our narrative imperative through storytelling has been a way to make sense of and communicate such understandings. In 1970, at the age of 17, Dunn attended San Diego State University with the intention of working with Partch, who was not actually teaching classes there at the time. Opening and closing the gates changed the coupling between circuits, producing different kinds of emergent behaviors. The subtitle of Entrainments 2 unequivocally points to natural magic in the use of the term “geomancy,” a Renaissance divination method. For example, David Tudor’s (1926–1996) massive systems of electronics, Bebe and Louis Barron’s (1925–2008; 1920–1989) circuits based on cybernetic principles, or Gordon Mumma’s (b. Found inside – Page 178Metaphors are important because they shape the nature of our physical interventions in our environment. As city planner Spiro Kostos writes in reference to ... [2] Nancy Forbes, Imitation of life: how biology is inspiring computing  (Cambridge, Mass. They set up a whole set of relationships, associations and possibilities which can open new and innovative ways of thinking; but they can also become self-limiting in the way that any paradigm can be. can be planned and well organized or it. As he explained, “The resulting soundscape is a combination of self-organizing autonomous machine-based structures and processed samples from the external world that interact and influence each other.”52 Other works in the series establish interaction between networked computer systems. Teamwork and process. Found inside – Page 219This suggests that learning at work can be obtained 'unconsciously, existentially; through the mere experience of living in a particular “environment” or ... He observed patterns and indications of deep structure that emerged out of these systems, and at this point, used the term “magic” to describe them. (1) What does music contribute to our understanding of the question of mind? Emerging Strategies for a Chaotic Environment Ralph Stacey IN THE LATE 1970S I was the Corporate Planning Man- ager for a major company. In Imitation of Life: how biology is inspiring computing, Nancy Forbes puts forth an argument that as computers become more and more complex and powerful, computing is looking to nature as “both model and metaphor” for inspiration[2]. For Dunn, the purpose of music lies at this nexus of mind and aural senses. Found inside – Page 23How People Create Meaning in a Chaotic World Gay Becker ... the health-care system, about the role of women, and about the place of work in everyday life. He explained: “What I propose is the creation of actions which reinforce the inclusiveness of that larger systemic mentality resident in the interactions of environment and consciousness. Dunn recalled a conference organized by McKenna and biologist Rupert Sheldrake at the Esalen Institute in Big Sur to Gaburo in a letter dated June 26, 1986. 15David Dunn and Michael R. Lampert, “Environment, Consciousness, and Magic,” 101; and David Dunn, Madrigal: The Language of the Environment is Encoded in the Patterns of its Living Systems, 1980. Gottschalk, Jennie. Found insideBut in its beginnings metaphor is not likely to have been linguistic, but to have originated ... and in so doing they were giving metaphor its noblest work, ... I explain that complexity researcher Dave Snowden says in his keynotes that stories/narratives work better than values or vision statements. As a writer, I love to use metaphors to explain what I see. Along with the actual performance, which included electronically generated sound, voices, and instruments in response to the environment, as well as the environmental reverberations that resulted in the performers actions, a whole composition emerges out of these fragmented elements. Entrainments 2, subtitled “Geomantic Mappings of Eco-Systemic Resonance” was also composed for performance in Azalea Glen. Emergence in complexity confounds causal relationships:  A doesn’t necessarily lead to B; and cannot be predicted (in other words, they are non-linear). In the face of global climate change and ecological disaster, Dunn now recognizes that “one of the best uses of my time, as a composer, is to simply listen to some of nature’s changing messages and pass them along to others.”61 For Dunn, environmental sounds provide access to a larger system of mind, and that it is crucial for humans to recognize their place in these interconnected systems. The Cynefin framework is a sense-making device created by Dave Snowden to assist with decision-making. Usually only one of the two metaphors is applicable to certain organizations depending on the industry or . _______. These new sounds are not exhibited by any single circuit in isolation, but form as the result of the constant push and pull between circuits. I recall that colleagues and I wrote papers drawing attention to increased auto- mation and the rapid development of information technology. As a result, Dunn’s work shifted away from interacting directly with environments and towards modeling them by building nonlinear systems using electronics. It is suggested that the identification of individual mental models about work practices is beneficial for knowing how a person's actions are influenced, and in this case, why work practices failed. This is in sharp contrast to Dunn’s earlier environmental interactive pieces in which the individual experience of the performer was central. Unpublished. “Music, Language, and Environment.” 1984. 19David Dunn, Entrainments 1: Enfolded Traces of Environment’s Memory Revealed in Holonomic Space, (1984), 1. To Dunn, language in its various forms indicates consciousness, and he became interested in exploring how seemingly different forms of consciousness that use different linguistic systems can communicate with one another or, at the very least, interact. 18David Dunn, “Mappings and Entrainments,” (1984), 1. Four Electroacoustic Compositions. Almost from the beginning of recorded time, leaders contemplating battle have devised offensive and counter-offensive moves for the purpose of defeating an enemy. For a deeper understanding of the framework . Dooley introduced Dunn to novel spatial recording techniques, such as mid-side and binaural, which Dunn uses in his field recording work to record and reproduce acoustic spaces and environments. Davis, D. Edward. In one instance, Dunn coupled together three computers that ran independent copies of the same sound processing software in a feedback network such that each computer modified and was being modified by all of the others. To Dunn, linguistics and communication explain the substance of human interactions with each other and their surroundings. Read your article online and download the PDF from your email or your account. According to Dunn, it was the most difficult to play. Until the 1940s, strategy was seen as primarily a matter for the military. Throughout this article many quotes are taken from stories and statements made by Dunn while the authors worked as his students at the University of California, Santa Cruz from 2014–2018. Miandad's six (1) is a metaphor that takes us beyond a boundary to a. new thinking. By this we mean that a large-scale chaotic event (s) is near. Dunn created complex interactive systems that consisted of electronically generated sound, acoustic/human-made sound, and recording and playback devices. The question now is:  what could that something be? Generally, in virtually all aspects of life, people define their reality using metaphors, and then take act ion based on such metaphors (Visser, 2010). _______. The product metaphor provides a focus and an object for our work. Found inside – Page 17You probably live in a busy, chaotic world, filled with children and parents, deadlines, and responsibilities. This is the environment where you want ... _______. He also performed in the Harry Partch Ensemble from 1971 to 1981.2 From 1973 to 1979, Dunn worked as the Director of Electronic Music Studios at San Diego State University; in this position he developed specialized audio recording skills, which became central to his compositional practice. it's interesting, that in poetry, language is the only form we have to work with. relation to the rather chaotic concept of scale is long overdue. For Dunn, systems are not characterized just by the sounds they make at any given moment, but by their capacity to respond to changes from their external environments. "7 It took Dunn and Cupples months of experimentation, observing and sonically interacting with mockingbirds in Dunn’s neighborhood near Balboa Park in San Diego to settle on the appropriate stimulus—according to Dunn, they used a square wave oscillator because square waves are notoriously difficult for the human vocal apparatus to reproduce. In the score, Dunn stressed the importance of alignment of mountain peaks in the Cuyamacas where performers recorded their stream-of-consciousness observations, as well as the placement of the systems that played back these sounds, and a balanced relationship between the performers at Azalea Glen. University of Illinois Libraries. Initially, he wrote pieces specifically for sites with as little evidence of humans as possible. Chaotic Nodes. Natural magic or Renaissance magic became Dunn’s default metaphor to describe the complex systems he created and their emergent properties. At the center of it all is an individual deeply curious about the very function and meaning of music in human culture. STRATEGIC MANAGEMENT- History and Development. Go to Table According to Dunn, he was a child prodigy; throughout his teens he played violin and viola semi-professionally in orchestras and ensembles. IV. Principles of Biological Autonomy. Nonlinear science is used to study systems that cannot be broken down into smaller parts, but rather must be studied whole, because the constituent parts interact and behave differently in conjunction than in isolation. Dunn allowed the system to run on its own in performance without his control. Dunn’s interest in listening practices is also related to his work as a field recordist and recording engineer. Climate change and chronic disease have been positioned increasingly as emergent properties within such a system, where emergent properties “‘arise’ out of more fundamental entities and yet are ‘novel’ or ‘irreducible’ with respect to them” [1]. Found inside – Page 171... Table 6.5 Nine metaphors and their attributes whether goal or alternative; the nature of the internal working environment, whether chaotic or ordered; ... In other words, these stories are both materially significant and at the same time operate on the level of shape or form, becoming meta-stories for how we respond to and make sense of the things which confound us; metaphors which are infused with culture and cultural meaning. The chaotic physician work world. Critical essay on "The Second Coming". The vocalists stood in a circle while the instrumentalist slowly walked outward in a larger circle—responding to both “information from the environment” and a graphic score—until they reached what Dunn called the “perimeter of audibility from the center of the space.”9 All of the performers were amplified, and the electronic sounds consisted of sine wave generators that were meant to “resonate the space.”10 The full score includes not only the graphic notation used by performers and a description of the performance, it also contains interviews with each of the performers, which make up the bulk of the 85-page score. In summarizing this stage of his practice, Dunn stated: My idea of environmental language is an experiential, dynamic process that explores whatever tools and metaphors are available toward a greater understanding of the profound interconnectedness between sound, language, and the environment...these linkages suggest an essential role for the evolution of sound art and music: the creation of human actions that reinforce the inclusiveness of the larger systemic mentality resident in the interactions of environment and consciousness.24, This quote also indicates Dunn’s belief that music can be a tool for human integration with their environment. Experimental Music Since 1970. Found inside – Page 67The term 'chaord' is a name for a system that is both chaotic and orderly at the same time (The Chaordic Alliance l 999). Mind, e.g. intentions and culture, ... Military history is filled with stories about strategy. From anthropology to science, humans have been trying to find ways of understanding, mapping and making meaning of the complexity of “nature” and “culture”. Each element in the compositional system reinforces the essence of place and the patterns present in Azalea Glen. Dunn hoped the piece would be an “autonomous system structurally coupled to its surrounding environment in a manner that might allow for learning between components.”43 Here learning refers to the emergent properties that occur when two systems interact and how they adapt to one another, and in later writings, the term “emergence of mind” is used instead. 59David Dunn to Kenneth Gaburo, 26 June 1986. which they find themselves that. “Cybernetics, Sound Art, and the Sacred.” 2004. These recordings serve a function that parallels that of the performer interviews included in the Skydrift. A rtistic engagement with the natural world —from naturalism to abstraction to surrealist meditations—reveals how nature serves as a rich source of metaphor in the arts. This impulse is in many ways the same impulse experienced by earlier generations of composers, but filtered through a different cultural zeitgeist. New World Records. _______. His career as a composer has taken many forms—from staging multiple day-long outdoor desert performances to designing chaotic electronic circuits to recording the sound of millions of bark beetles chewing trees to death. Found inside – Page 101Drawing on the work of Henderson, Parsons further elaborated this conceptual ... actively engaged in exchanges with their environment, and thus they needed ... The Sousa Archives and Center for American Music. “A Philosophical Report from Work-in-Progress.” In Environmental Sound Artists: In Their Own Words. "Metaphors and analogies must be selected with some sensitivity to how those being described would feel and how intended audiences will respond" (Patton, 2002, p. 504). Dunn’s early works engaged the spirit of place, composed for specific outdoor locations. The mid-1980s were a self-identified transition period in which Dunn reflected on his previous work and began to move forward with a new set of tools and concepts, exploring Bateson’s concept of mind through the tools of nonlinear science and the concept of autonomy. *FREE* shipping on qualifying offers. He described the structure of the composition as improvisatory: rather than force the sounds to follow a precomposed path, he gives the system room to assert its own agency. and transition morgan sees. The excitement of fair week is a glorious thing, but there is also something to be said for the days where a misplaced mailing label is the biggest of my worries. Each piece is an experiment that tests how humans can connect to an environment using sound. Dunn’s recognition of this distinction is evident in Pleroma’s dedication: “To the memory of David Tudor.”51, Dunn continued to develop his ideas about autonomy with the series Autonomous Systems (2003, ongoing). Like Nexus 1, Skydrift is a sonic exploration of place, yet it also stems from an interest in how humans employ language and Dunn’s “desire to learn to communicate with the external world.”11 The goal of the piece was “to communicate something of the non-human world through showing how a part of humanity confronts that world; and to demonstrate that we converse with the earth not only through the behavior which we manifest by our physical actions, but the language which we use to express how the earth controls that behavior.”12 With Skydrift, he explored how human language, which is culturally determined, defines a particular relationship to the earth. Entrainments 1: Enfolded Traces of Environment’s Memory Revealed in Holonomic Space. Why did Dunn compose pieces to be performed out-of-doors in the first place? Entrainments 2:Geomantic Mappings of Eco-Systemic Resonance, 1985. Found inside – Page 176Through metaphors associated with chaos and complexity theories , new visions ... Working with bounded infinity and reciprocity with respect to knowledge ... 8David Dunn, liner notes, Music, Language and Environment. The 8 Organizational Metaphors: Machine: an organization is a series of connected parts arranged in a logical order in order to produce a repeatable output; Organism: an organization is a collective response to its environment and, to survive, must adapt as the environment changes; Brain: an organization is a set of functions designed to process information and learn over time The performance took place in Little Bear Valley in the Anza-Borrego Desert State Park, California. Works such as Purposeful Listening in Complex States of Time (1998), Why Do Whales and Children Sing (1999), and Listening to What I Cannot Hear (2008) address questions of why and how to listen, as well as the role technology can play. metaphor implies a way of thinking and a way of seeing that pervade how we understand our world generally. Found inside – Page 15In a biological metaphor, the workspace is conceived as a self-regulating, ... environment to dynamically react to changing needs and work processes rising ... The metaphor of natural environment You could also use a metaphor such as the natural environment. Dunn constructed complex systems in which each node had a feedback mechanism that allowed participants to observe and experience how each element in the system (human, environmental, technological, or otherwise) could communicate in meaningful ways. RICK HERZOG. Metaphors provide one such framework. 1979. His earliest pieces were emulations of serial and 12-tone techniques as well as works made using a Magnavox tape machine. Found inside – Page 204Metaphor clearly has a role in unpredictable, complex environments. On paper, it sounds easy to categorize work as old or new economy. In the old economy, ... While there is always work to be done in the garden, there's nothing more important than taking the time to enjoy it without . Edward Lorenz, one of the first scientists to effectively employ chaos theory in the 1960s, dealt with the problem of weather prediction; Robert Shaw’s 1984 PhD thesis at the University of California, Santa Cruz identified predictable patterns of motion in the behavior of a dripping faucet. Sometimes, it is much easier to describe how something is like . Access supplemental materials and multimedia. 58David Dunn, “Thresholds and Fragile States,” (2012), 11. 6David Dunn, liner notes, Music, Language and Environment: Environmental Sound Works by David Dunn 1973–1985, (1996), CD. Innova Recordings. In this vivid metaphor, the CEO is the captain, the staff are the crew and the vessel needs to navigate around the hazards of the business environment. This is a great tradition that uses elementals as a ground of power. As Dunn later explained, “Beyond its descriptive properties [Entrainments 1] represents the interactive tracings of the mentality implicit to a specific geographic location in that every aspect of the work was either realized in or extracted from that location.”19 The piece is premised on an initial interaction: a square-wave oscillator was projected into the performance site to excite the acoustics and stimulate a response. Found insideHow is work getting done in this seemingly chaotic work environment? ... Robert's explanation of the concept was more of a metaphor in his mind than a ... “‘A Balance that you can Hear’: Deep Ecology, ‘Serious Listening’ and the Soundscape Recordings of David Dunn.” European Journal of American Culture 25:2 (2006): 123–138. New recruits who 'come on board' are 'shown the ropes'. As loath as I am to reducing complexity to its more manageable parts, I also realise that metaphoric thought is one of the most remarkable ways for processing and making sense of things which escape our grasp or exist, shimmering, on the edge of reason. Perhaps this exiting of the system actually not an exiting at all, but a further adaptation to a system on the verge of a nervous breakdown; where a growing number of individuals and communities globally reshape the system from within? environment is a place where people can draw upon resources to make sense out of things and solve problems.

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