Malted/Media

Papers, essays, stories by Dennis Báthory-Kitsz

• Imagination and Exploitation: Some History of Digital Technology in My Music-Making (2004), essay about the composer's transition to digital tools.
  
• Thoughts on the Small Form (2004), sidebar about short forms for Vox Novus New Music Box article.
  
• Everybody's Gotta Trust ... But Verify? (2003), polemic about copy protection and corporate delusion.
  
• Preserving the Future's Past: EA Artists Must Take Care of Their Own Archives (2002), conversation and recommendations about archiving audio artworks.
  
• Riding the Cheap Electron (2002), paper presented at Dartmouth College about a composer's history with synthesis.
  
• The Pros and Woes of Being a Self-Taught Composer (2002), article on the topic for New Music Box.
  
• No Denial of the Bête Familiale (2001), paper presented at Dartmouth College about the role of the computer musician.
  
• Xenakis: The Continuing Composer -- A Personal Reflection on Iannis Xenakis (2001), article on the influence of Iannis Xenakis.
  
• The Curse of Love (2000), paper presented at Dartmouth College about eclecticism, copyright, and interactivity.
  
• How to Get Here from There (Stomach Music to Sourian Slide) or Is There a Reason You've Canceled My Premiere Yet Again? (2000), paper presented at Goddard College about the composer's life and work.
  
• Road Ahead, Road Behind (2000), original article for Slashdot revealing the creation of No Money (Lullaby for Bill) from Bill Gates's voice.
  
• Destined for Obscurity Again -- How Partch Influenced Me (2000), article reflecting on Harry Partch..
  
• The Patron Saint of Mediocrities (1999), paper presented at Bregman Studios of Dartmouth College about the composer's life and work.
  
• Turning Sausage Back Into The Pig: The Year 2000 Problem in Northfield, Vermont (1999), a look at Year 2000 problems and how they are affecting my local community.
  
• 'Our Demented Therapeutic Culture' (1998), essay written for Kalvos & Damian on the erosion of cultural daring.
  
• A Challege for Richard Branson (1998), a letter suggesting Branson transform the landscape of contemporary music.
  
• The Churchill Society Debate: A Futile Correspondence (1998), an exchange with the Churchill Society on the state of new music.
  
• Your Music on the Web: Ways, Means, Rights, and the Old West: New Concepts, Paradigms and Fears (1997), article outlining techniques for presentation and protection on the Web.
  
• I Don't Know How -- or Why: Night Thoughts on the Process of Composition (1995), including a link to an audio version.
  
• A Cloak for the Lord of Cats (1995), a short-short story about vampiress Báthory Erzsébet, a true historical figure. This story forms the basis of a scene in a proposed opera.
  
• You Still Make Me Bleed: Letter to a Casual Critic (1994), fierce letter defining the position on the composer in mid-1990s Vermont.
  
• It's Time to Bury the Dead (1992), intense article calling for the end of performances of older concert music and a revision in thinking and sensibility.
  
• Composing a New Language (1992), proposal presented at MedArt International by Barbara S.J. Balch and Dennis Báthory-Kitsz to replace lost language skills with musical language developed through interaction and virtual reality.
  
• Construal of Music Process Architecture (1992), paper presenting personal views and reports on musical composition in Europe.
  
• Why Do It?: Replies to the Vermont Composers Consortium Questionnaire (1989), answers to strange questions posed by a strange organization.
  
• The Clinic: A Dream Writ Down (1988), an actual, cold-sweat-inducing dream recorded the next morning as a short story.
  
• Variations on the Notion of Variation: Questioning the Whys of Composing (1987), internal conversations about the art of composing.
  
• The Image Behind the Glass (1986), talk to ID Expo in Boston on light pens and touch screens that presages modern palmtops, handwriting recognition, and artificial intelligence features.
  
• The Impact of the Microprocessor (1982), prophetic and political talk about microprocessor technology and philosophy, presented to the ACM at Rensselaer in Troy, New York.
  
• The Microprocessor as a Modern Odysseus (1982), similar talk with a personal sidelight about music and the arts, presented to the IEEE in Burlington, Vermont.
  

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