Array, the journal of the International Computer Music Association

Banerji, Ritwik

4
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Feeling Like an Agent
by Ritwik Banerji
“Much better. Seemed responsive.”
These are the brief, written com-
ments of an improviser — let’s cal l him
"Charl ie" — after the third of ten takes
during an experiment conducted at
the Center for New Music and Audio
Technologies in the fal l of 201 0. His re-
marks refer to his experience of play-
ing with Maxine, a virtual performer of
free improvisation I designed several
years ago to l isten and respond to
improvisers as if it were just another
human player [Banerji 201 6] . As he
makes clear, he finds, for whatever
reason, that this particular take, in
which he played a custom-built digital
instrument with a highly sensitive tac-
ti le control interface and Maxine play-
ed a combination of percussion and
l ive sampling, to be a superior experi-
ence to the two that preceded it.
So then what was the difference
that led him to give a more positive
appraisal of this piece? While Charl ie’s
sense was that the system was audibly
demonstrating that it was l istening to
his playing, nothing could be further
from the truth. Like any other partici-
pant of this pilot study, Charl ie was
wholly unaware of the real conditions
under which he was playing with
Maxine. Whereas in the first two takes,
the system was in fact receiving l ive
audio signal from Charl ie, the system
was set to l isten to a dummy track
during this third take. Nevertheless,
Charl ie finds that Maxine is demon-
strably more sensitive in this third
case.
Of the takes where Maxine was
del iberately set to not l isten to any-
thing Charl ie was playing, he found
that the system was more responsive
(and that this was a positive attribute
of the experience) in only two of four.
Likewise, he certainly found that the
system was l istening in a handful of
the other six takes, when Maxine was,
in fact, l istening. Al l the same, Char-
l ie’s comments reflect a very curious
state of affairs, in which an individual
has been led to bel ieve that his effect
on his social environment far exceeds
what any reasonable rational,
scientific perspective would conclude.
More formal ly, Charl ie’s experience
in this experiment exemplifies a
rather unsettl ing phenomenon,
increasingly observed across a broad
range of studies of human agency
[Wegner 2002, Bayne 2008, Desantis/
Roussel/Waszak 201 1 ] , wherein one’s
first-person understanding of the de-
gree and form of one’s effect on the
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situation is drastical ly different from
the amount of agency which one
actual ly has. In such situations, the
nature of agency itself— as a scien-
tific fact of how events or changes are
caused — does not change; from a
technical standpoint, perceptions or
il lusions of agency are wholly irrele-
vant. Rather, it is that a combination of
elements in the situation brings the
human subject to understand that
they were the cause of events when
nothing of this sort is true.
As strange or convoluted as such
problems may seem — and indeed,
no one should fail to register them as
such — they are of relevance for a
broad swath of artists using technolo-
gy, and particularly computation, as
a means of achieving their creative
goals. More importantly, the differen-
tial between agency one bel ieves they
have and agency the same subject
actual ly has further il lustrates the
tremendous importance of a rigorous
approach to the evaluation of new
systems and tools at the intersection
of computation, sound, and music.
While a designer can do a great deal
to attempt to offer the human musi-
cal participant a feel ing of agency,
that feel ing of agency cannot be
directly produced. I t cannot be guar-
anteed even if the system itself is
constructed such that the human
col laborator’s actions are continual ly
analyzed and used to drive the sys-
tem’s behavior.
Charl ie’s encounter with Maxine al-
lows for an analytical distinction be-
tween two layers of agency:
1 ) the factual, scientific l ines of
causal ity by which an entity causes
changes of states of affairs in the real
world and
2) evidence that such causal ity is in
effect.
This distinction becomes quite
helpful in analyzing how many other
improvisers have made sense of what
was happening in the course of their
interactions with Maxine. Strictly
speaking, the system always receives
l ive audio signal from the human per-
former. This signal is constantly being
analyzed and is in no way filtered
before it passes through the system’s
feature extraction layer. From a purely
technical standpoint, this means that
the human participant always has a
significant degree of agency with
regard to how the system wil l behave.
Al l the same, many improvisers
who have encountered this system
have had experiences with it which
are radical ly different from Charl ie’s.
For the most part, performers have
felt that they had l ittle agency in the
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system’s performance. However, the
meaning and desirabil ity of this feel-
ing of agency is by no means universal
across al l improvisers. For example,
one Berl in-based American cel l ist,
“Francis,” found his experience of play-
ing with Maxine to be positive, to the
point that he felt it was preferable to
some improvisatory encounters he
had with human musicians. At the
same time, he flatly declared that he
felt that the system “didn’t l isten.” On
a purely technical level, what Francis
says is not real ly true. Though there
are inevitable differences between
what the complex of the human audi-
tory system does and the remarkably
reduced version of this sensory, cogni-
tive process which forms Maxine’s per-
ceptual layer, it remains that Maxine is
“l istening,”whether Francis feels this is
the case or not.
The “facts” aside, it obviously didn’t
make enough of a difference to Fran-
cis that the system was l istening to
what he was playing. I f he had agency
in the system’s behavior, then there
was insufficient evidence for him to
come to an understanding that he had
much of an effect on its choices at al l .
While Francis found it favorable that
the system lacked an abil ity to
demonstrate that he had agency in
its behavior (or “l isten,” as he put it) ,
another improviser found the same
trait undesirable. Like Francis, “Laurie,”
an American trumpeter also based in
Berl in, found that there wasn’t much
evidence that the system actual ly l is-
tened to what she was playing, an
element of the system’s behavior she
found so irritating that she stopped in
the middle of a piece to tel l me that
this was what she felt.
In both of these cases, the human
participant’s understanding of the
matter is “wrong,” in the sense that the
conclusions they make about the situ-
ation would not stand up to scientific
reasoning. The system is always tak-
ing information from the human
player; it is always l istening. Be that as
it may, it would be quite fool ish of me
to tel l them that. Aside from the obvi-
ously confrontational nature of such a
declaration, it ultimately matters
quite l ittle whether the system re-
ceives information from the environ-
ment. What’s important is that the
performer actual ly feels that they had
an influence on what Maxine actual ly
does since this is the primary sensory
basis for any claim they may subse-
quently make that they felt a degree
of agency.
Returning to Francis’ understanding
of his agency in playing with Maxine,
as wel l as his preferences regarding
7
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how such agency should be marked
(or not) in improvisatory interaction, a
further complication arises in the in-
herent ambiguity of this kind of“inter-
actional” framework. Broadly speak-
ing, there are two ways that an actor
could lead another to bel ieve that the
first was not l istening or that the
second had no agency in the actions
of the first:
1 ) the first actor could simply not
l isten, not taking any information or
auditory input of any kind, or
2) the first actor l istens intently,
keenly analyzing the actions of the
second, but never doing anything that
un-equivocal ly indicates that informa-
tion has been received from the first
agent.
In the first case, the second actor
has no agency; it is also quite l ikely
that they experience no agency
(unless we are talking about Charl ie).
But what do we say of the issue of
agency — whether experiential or
factual — in the second case? How
does one distinguish between a de-
l iberate choice not to respond (after
having actual ly received information
or registered sensation) and the nearly
identical case in which a lack of a
response is because no information or
sensation has at al l been received?
Under what conditions would a hu-
man participant sti l l find that this kind
of exchange offers some evidence or
indication that one actor had agency
in influencing or shifting the course of
action of the other participant? In the
end, it may be practical ly impossible
to real ly tel l the difference between
an improviser (whether human or ma-
chine) that actively avoids displays of
attentiveness and one that behaves
as if it simply has a complete inabil ity
to hear what others are doing in its
presence.
References
Banerji , R. (201 6). “Balancing Defiance
and Cooperation: The Design and
Human Critique of a Virtual Free
Improviser”, in: Proceedings ofthe
International ComputerMusic Confer-
ence, pp. 49-54.
Bayne, T. (2008). "The phenomenol-
ogy of agency," PhilosophyCompass
3(1 ), pp. 1 82-202.
Desantis, A., C. Roussel and F. Waszak
(201 1 ). "On the influence of causal
bel iefs on the feel ing of agency", in:
Consciousness andCognition 20(4),
pp. 1 21 1 -1 220.
Wegner, D. M. (2002). The illusion of
conscious will. Cambridge, MA: MIT
Press.


English

Feeling Like an Agent

Frasch, Heather

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Intimacy with Objects
by Heather Frasch
“Technology is not something that is
simply added to the body from the out-
side. Technology is a supplement, an as-
pect ofthe body that adds to itwhile it
qualitatively alters that very body. . .”
[Manning 2007, p. xxii]
Blurred Categories:
Techno-l imbs: contact lenses,
glasses, ....
Techno-tools: pencils, paper, flute,
computer, ....
.... nuanced extensions of my
physical body.
Sonic creations:
kinetic sound sculptures,
digital instruments, haptic interfaces,
manipulated objects ....
.....intentional ly focusing on micro-
motion for heightened intimacy.
Blurred Categories :
composition, instrument, object,
form, performance, instal lation
“We find it familiar to consider objects
as useful or aesthetic, as necessities or
vain indulgences. We are on less familiar
groundwhen we consider objects as
companions to our emotional lives or as
provocations to thought. The notion of
evocative objects brings together these
two less familiar ideas, underscoring the
inseparability ofthought and feeling in
our relationship to things“ [Turkle 2007,
p. 5]
My instrument, Digital Boxes (image
1 , p. 9), intentional ly hides performa-
tive activity behind an assembly of
cigar boxes. Referencing acousmatic
l istening, the electronics, sensors,
objects, and performer’s actions are
not revealed to the audience.
The boxes themselves hint at a sym-
bol ism of something secret, saved or
unknown. They do not depict, but
al lude.
“A symbol is only a true symbolwhen
it is inexhaustible and unlimited in its
meaning, when it utters in its arcane
language ofhint and intimation some-
thing that cannot be set forth, that does
not correspond to words. It has many
faces andmany thoughts, and in its
remotest depths it remains inscrutable”
[Tarkovsky 1 989, p. 47]
My composition “I touch what I can-
not quite reach. . .” uses shadows pro-
jected onto rice paper in the place of
9
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Heather Frasch, Digital Boxes, www.heatherfrasch.net/digitalboxes (Oct, 1 5. 201 9).
Photographer: Karin Weissenbrunner.
l ids of modified boxes to amplify the
motion of smal l kinetic sound sculp-
tures. Quivering materials are unveiled
while sti l l obscured.
In this project and that of the cigar
boxes, the presence of the ‘seen’ and
lack of presence of the ‘unseen’ evoke
poetical meaning.
Their focus is on the vibrancy of the
material — physical and sonic.
“Sensation is a state in which action,
perception, and thought are so intensely
performativelymixed that their in-
mixing falls out ofitself. Sensation is
fallout from perception” [Massumi 2002
in: Manning p. 97-98]
Influenced by the writings of Gas-
ton Bachelard, who uses the memory
of“houses as a tool for analysis of the
human soul” [Bachelard, p. xxxvi] , my
composition “weaving broken threads”7
uses objects that remind me of past
places I ’ve l ived: acorns and pine
cones from the trees on the front lawn
ofmy childhood home; pencils from
my anti-modern technology phase in
Phil ly; wooden slates l ike the ceil ing
beams in my beloved apartment in
Lyon, France. In the compositional
process, I build connections among
1 0
array2019 agency
Heather Frasch, sonic creations for performer-composer, www.heather-frasch.squarespace.
com/digital-instruments (201 8-201 9)(Oct, 1 5. 201 9). Photographer: Zunaira Muzaffar.
these places: places I wasn’t ready to
leave, others I stayed longer than I
should have, places where I felt alone,
places with big windows, others with
quirky curves... As a modular compo-
sition, it al lows me to examine a range
of connections between self, memory
and objects.
“Sensation is an event. It creates
spaces for experience as well as gaps,
holes, emptiness and losses. ‘Meaning’ is
not guaranteed.” [Manning 2007, p. 45]
References
Bachelard, G. The Poetics ofSpace.
Presses Universitaires de France 1 958,
Translation: Orion Press, Inc, 1 964.
Frasch, H., www.heatherfrasch.net/
sti l lstretched (Oct. 1 5, 201 9).
Manning, E. The Politics ofTouch:
Sense, Movement, Sovereignty,
University of Minnesota Press. 2007.
Tarkovsky, A. Sculpting in Time, Trans-
lation by Kitty Hunter-Blair, University
of Texas Press 1 989.
1 1
array2019 agency
Initial Remarks on Analyzing
Acousmatic Music from the
Perspective of Multi-agents
by Kıvanç Tatar
Agency and Agents
The notion of agency can be traced
back to the age of Enl ightenment
within the philosophical discussions
of whether instrumental rational ity or
moral norm-based action is the truest
expression of human freedom [Emir-
bayer & Mische 1 998] . The terminol-
ogy of agency and agents appeared
later across discipl ines such as Social
Sciences, Cognitive Sciences, Applied
Sciences, Computer Science. Although
there is no consensus on the defini-
tion of agency in Social Sciences and
Philosophy, an agent is a wel l-defined
term in Computer Sciences, specifical-
ly in the fields of Artificial Intel l igence
and Multi-agent Systems. In their
book on Artificial Intel l igence (AI),
Russel l and Norvig [201 0] define an
agent as “anything that can be viewed
as perceiving its environment through
sensors and acting upon that environ-
ment through actuators.”
An agent perceives its environment
using sensors while a percept is the
sensory data input at any given time.
A percept sequence is a histogram of
Turkle, S. Evocative Objects: Things we
ThinkWith , MIT Press 2007.


Intimacy with Objects

Di Scipio, Agostino

Sanfilippo, Dario

Defining Ecosystemic Agency in Live Performance: The Machine Milieu Project as Practice-Based Research

Kristian Twombly: Mary Simoni’s Analytical Methods of Electroacoustic MusicJennifer Bernard Merkowitz: Elizabeth Hinkle-Turner’s Women Composers and&nbsp;Technology in the United StatesBrendan Aanes: Gareth Loy’s Musimathics Volumes I and IIMargaret Schedel: Simon Emmerson’s Living Electronic Musi

--, -

Book Reviews

Wishart, Trevor

ICMC 2008 Keynote Address

Park, Tae Hong

2
Contents
Letter from the President .........................................................................................3
Tae Hong Park
Letter from the Editor ..............................................................................................4
Jennifer Merkowitz
Letter to the Editor ..................................................................................................5
Nathan Wolek
ICMC 2010 Keynote Address .................................................................................8
Pauline Oliveros
A Summary and Transcript of  the ICMC 2010 UnConference UnSession on 
Computer Music Performance ..............................................................................16
Jeremy C. Baguyos, David B. Wetzel, McGregor Boyle, Bonnie Lander, Scott 
McLaughlin, Scott Hewitt, Krista Martynes, Dale Parson, Andrew Cole
Founding a New Field for the Study of  Sonic Arts: The Inauguration of  the 
Japanese Society for Sonic Arts ..............................................................................42
Naotoshi Osaka
ICMC 2011 Reviews ..............................................................................................50
August 1st: Concert 4: Patricia Alessandrini; Audiovisual Pieces: Andrew Connor
August 2nd: Audiovisual Pieces: Andrew Connor
August 3rd: Concert 8: John ffitch; Audiovisual Pieces: Andrew Connor
August 4th: Concert 9: Howard Kenty; Concert 10: Miriam Akkermann;
Audiovisual Pieces: Andrew Connor
August 5th: Concert 12: Diego Garro
2010/2011
3
Letter from the President
by Tae Hong Park
September 1, 2011
Dear ICMA Members,
It was wonderful seeing many of  you at 
the 2011 ICMC hosted by Huddersfield 
University. For those members who 
were not at the conference this 
year, I am happy to report that the 
conference chair, Michael Clarke, 
and his team did a fantastic job in 
organizing and running the conference, 
thus providing the delegates with an 
intense yet relaxing and very enjoyable 
conference experience. It was indeed 
a very successful conference, and I am 
certain that it will be a memorable 
one for many years to come. Looking 
towards next year, the 2012 ICMC will 
be chaired by Miha Ciglar and will 
be held in Ljubljana, the capital and 
largest city in Slovenia. It is the first 
time in the long history of  ICMA that 
the conference’s annually changing 
“home” will be in this region. I hope 
to see many of  our current and new 
members, as Miha Ciglar is planning 
numerous exciting events within the 
basic framework of  the structure of  
ICMC conferences.
We are also happy to announce that 
the 2013 ICMC will be hosted in Perth, 
Australia. The conference, which will 
be co-chaired by Cat Hope and Lindsay 
Vickery, is yet another first for the ICMC 
record books, as it will mark the first 
time that our conference will be held in 
Australia.
To help our conference organizers, we 
are currently in the midst of  creating a 
permanent conference submission site for 
future ICMCs and are planning to have it 
on-line in time for 2012 and subsequent 
ICMCs.  This service will be provided 
free to our future ICMC hosts. We are, 
however, also investigating possibilities of  
offering it to other organizers as a service 
to our computer music community. In lieu 
of  the submission site, we are also set on 
building a computer music archive that 
will be based on “music” submissions to 
the ICMC conferences. This will entail 
storing of  audio files, program notes, 
technical details, various metadata, and 
other important information fields to 
preserve, archive, and provide a hub for 
research, study, and exploration of  our 
music to the general public.
Other ICMA updates for this year include 
an increase in the number of  $100 ICMC 
student scholarships form 40 to 50; the 
addition of  a new policy whereby senior 
ICMA members can now receive senior 
discounts towards ICMC registration 
Letter from the Presidentarray


Letter from the President

Hulen, Peter

Review Concert 12

Naphtali, Dafna

Schedel, Margaret

45
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composition grants from the New York
State Arts Council and the National
Endowment for the Arts. Morril l
worked on a special jazz project for
Wynton Marsal is, and authored A
Guide to the Big Band Recordings of
Woody Herman and The American
String Quartet – A Guide to the
Recordings. In 1 984, he received a NEA
grant to compose his most prominent
work, Getz Variations. I t was written
for, and premiered by saxophonist Stan
Getz, and incorporated jazz improvisa-
tion and computer-generated sounds.
During the 1 980s, Morril l developed a
MIDI trumpet instrument with Perry
Cook, and performed in many concerts
around the world. His compositions
received performances in the United
States, Canada, Austral ia, Argentina,
Brazil , Great Britain, Poland, Czechoslo-
vakia, and most West European coun-
tries, and for ensembles including the
Northern I l l inois Philharmonic and the
Syracuse and Baltimore Symphonies.
Throughout his career, he was active in
composing for ensembles and conven-
tional instruments and recording
works with solo artists. Dexter passed
away July 2, 201 9, of complications
from Progressive Supra Nuclear Palsy
(PSP).
In Memoriam: Mark Ballora
(1 962-201 9)
by Dafna Naphtal i and Margaret
Schedel
Bal lora was an influential com-
puter musician, data sonification
expert, researcher, author, compos-
er, a tireless and ingenious comic/
prankster, devoted father and hus-
band, and a very beloved Professor
at Penn State. An alum ofTheater
Arts program at UCLA, Bal lora com-
pleted two masters degrees at NYU
(Music Technology, Music Composi-
tion) before moving on to McGil l
University to complete his PhD. He
joined the faculty at Penn State Uni-
versity in 2000, since then teaching
courses to a generation of students
in music technology, history of elec-
troacoustic music, musical acous-
tics, and software programming for
musicians, and authoring several
books.
Even in our community of kind
weirdos who love sound, Mark
stood out as one of the kindest and
most wonderful ly weird composers
of electroacoustic music. Schedel
always pictured a nimbus of ideas
swirl ing around his head, so it was
not so surprising when older pic-
46
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tures of him showed a ful l head of
curls, sti l l with that same grin that let
you know you too could have fun and
rigor in a field you loved.
Mark constantly col lapsed contradic-
tions, born in the Bay Area, he was a
deadhead who fol lowed the band
around and got into electronic music
because of the culture of bootleg re-
cordings and the amazing Meyer
sound speakers the band designed in
col laboration with John Meyer. I t was
the achievement of his l ifetime to be
able to create sonifications for Mickey
Hart and the Mickey Hart Band, on
their albums Mysterium Tremendum
(201 2) and Superorganism (201 3), the
film Rhythms of the Universe (201 3),
which Hart conceived with cosmol-
ogist George Smoot, and Hart's perfor-
mance Musica Universal is: The Greatest
Story Ever Told, presented at the
American Museum of Natural History
(201 8). One of his sonifications of a
pulsar was played as a memorial at
Virginia Tech Cubefest this year. Mark
was so humble about this work, but
couldn’t contain his glee at scoring
backstage passes to the Dead reunion
tour. At a NAMM a couple of years ago,
I saw how much Hart respected Mark
as a musician and a scholar, and how
Mark years into the project sti l l
couldn't quite bel ieve that he was
working with one of his early idols.
Mark had a special power ofmak-
ing you bel ieve you could do any-
thing you set your mind to. Schedel
had the privilege of watching him
teach in March of this year. He was
immaculately prepared but left so
much room for the students to talk
and bring their own perspective
into the lecture. He was clearly
loved by most of his students, and
Penn State wil l not be the same
without his whirl ing kinetic energy.
Through his work with sonification
he was embedded into multiple
facets of the university. Schedel is
working on a book about interdisci-
pl inary in the academy and through
Mark was able to meet at least
twelve people who generously gave
of their time. I t was clear he was
well-respected at the university, and
beyond respect, his col leagues were
somewhat in awe of his abil ity to
move between science and music.
In his sonifications, Bal lora had a
commitment to both to data and
aesthetics — he truly wanted to
create musical compositions from
the data and he spent hours tweak-
ing every single parameter of his
47
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code to create compell ing sound-
scapes that also elucidated the data.
His significations of tropical storms
and hurricanes were some of his most
funded, and popular work. In June
201 7, he was co-recipient of two pres-
tigous interdiscipl inary seed grants
awarded by The National Academies
Keck Futures Initiative (NAKFI) and the
Gulf Research Program that wil l involve
working with marine biologists to
create sonifications of ocean-related
data. When Schedel was visiting him,
he was in the process of putting this
work onl ine and they discussed how to
make his work accessible, and posted
in such a way that it wouldn’t break
when web audio inevitably changed
its backend. He wanted people to not
only understand the relationship of the
sound and the data, but also the pro-
gramming behind it and was in the
process of creating Jupyter notebooks
to al low the public to manipulate his
code and mappings. He was justifiably
proud of his work, but was also very
open to others building upon his initial
IP.
Schedel was Mark’s paper chair for
the International Conference on Audi-
tory Display (ICAD) that he chaired.
Mark ful ly supported her idea to have a
cal l specifical ly about aesthetics and
they spoke a length about how to
make the conference as inclusive to
sound study scholars in addition to
musicians/coders. At the time,
Schedel ’s father was very sick, and
she stayed an extra day at home
before coming out to the confer-
ence. Mark not only took over her
duties for the first day, he took (and
made her take) time on the second
day to truly talk to me about her
feel ings in the midst of running an
international conference. When she
posted on Facebook that her father
passed, Mark cal led her as soon as
he saw and was incredibly comfort-
ing in a difficult time. Many people
have expressed that their stomachs
dropped the when they found out
about Mark’s untimely passing via
Facebook. The outpouring of
support for him and his family and
al l the anecdotes about his l ife
made Naphtal i and Schedel real ize
that this guy who they thought was
so special was also truly special to so
many people around the world.
Schedel wil l never forget the ICAD
concert where he put the audience
backstage in a huge theater at Penn
State. He created intimacy in a cav-
ernous space through l ighting, and
the concert had the impact and re-
48
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care and investment he made in al l
he came in contact with personal ly
and professional ly.
Bal lora wil l be missed by al l of his
former col leagues. No doubt this
is especial ly true for those (l ike
Naphtal i) who were in the trenches
with Bal lora in grad school at NYU
in the 90’s, and who count Bal lora
as part of their extended family. A
large number of NYU col leagues
made the trip for his memorial at
Penn State because our outsized
few years together sharing a
cramped office influenced every-
thing we have done since.
He was intel lectual ly curious, a
great educator, thorough and re-
lentless researcher, and brough
humor to it al l . Bal lora is survived
by his wife flutist Agatha Wang and
son Ian.
Bal lora’s family has requested
that memorial gifts be made to the
Penn State School of Music
https://raise.psu.edu/Remembering
MarkBal lora.
Al l gifts wil l be directed by the
School of Music in consultation with
the family to best celebrate Bal lora’s
academic legacy.
sonance of a huge hal l with the close-
ness of a l iving room concert, once
again col lapsing contradictions. That
was Mark in his element as the master
of ceremonies, introducing the concert
in such a way that we cared for the
works before even hearing them, and
putting everyone at ease while ex-
plaining complex ideas. He wil l be
sorely missed, Schedel wil l be looking
for that bald head bobbing atop that
loose-l imbed gait, hoping for one
more conspiratorial grin for years to
come.
Mark wrote a myriad of articles de-
scribing uses of sonification (rendering
scientific datasets with sound) in the
areas of cardiology and computer net-
work security. His work wil l l ive on. A
celebration of Bal lora’s l ife was held at
Penn State on September 29th, draw-
ing family and friends, students and
PSU col leagues, and a legion of former
col leagues and students from around
the world, including a large contingent
from his days at NYU. Many more who
could not attend sent messages to be
read at the event. I t was abundantly
clear to those in attendance that
Bal lora had a profound influence on
his col leagues and students, not just in
the information conveyed and ideas
researched, but also in the genuine


In Memorium: Mark Ballora

Board, ICMA

Diversity Statement by ICMA

Concert No 10.&nbsp;Wednesday, July 19, 2019, 1.30 p.m.,&nbsp;Sheen Center, Loreto TheaterReviewed by Juan Parra Cancin

Parra Cancino, Juan

Review Concert 10