Odetta, the folk singer with the powerful voice who moved audiences and influenced fellow musicians for a half-century, has died. She was 77. nbsp; nbsp; Odetta died Tuesday of heart disease at Lenox Hill Hospital, said her manager of 12 years, Doug Yeager. She was admitted to the hospital with kidney failure about three weeks ago, he said. nbsp; nbsp; In spite of failing health that caused her to use a wheelchair, Odetta performed 60 concerts in the last two years, singing for 90 minutes at a time. Her singing ability never diminished, Yeager said. nbsp; nbsp; The power would just come out of her like people wouldn't believe, he said. nbsp; nbsp; With her booming, classically trained voice and spare guitar, Odetta gave life to the songs by workingmen and slaves, farmers and miners, housewives and washerwomen, blacks and whites.

divimg alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.15.1/85035?ns=guardianpageName=Music%3A+The+iceman+blowethch=Musicc3=The+Guardianc4=Classical+music+and+opera%2CCulture+section%2CMusicc5=Classical+Music%2CNot+commercially+usefulc6=Pascal+Wysec7=2008_12_03c8=1127711c9=articlec10=GUc11=Musicc12=Classical+music+and+operac13=c14=h2=GU%2FMusic%2FClassical+music+and+opera" width="1" height="1" //divpTerje Isungset's instruments all have a tale to tell. The Norwegian composer's mouthharp is made of metal taken from a second world war German bomber. His double-bass was bought off a barfly for two beers. Then there's the instrument with the longest story of all, an instrument that has to be kept in a freezer. So what does a trumpet carved from a 2,500-year-old glacier sound like? "Very warm," says Isungset, rummaging in the deep freeze at the lockup near his house in Bergen. He keeps some ice shards in there, too; they're played like tubular bells. "They have deep, rich tones. When I first heard them, I was eager to experiment." /ppIsungset is in the UK this Christmas, for a rather unlikely gig: he's performing his music in an adaptation of Cinderella at the Lyric in London. To bring out the story's mystical ice element, his on-stage arsenal includes a glass drumkit, waterphone (an arrangement of brass rods and water that is drummed or bowed), ram's horn, the ice trumpet (which has been treated so as not to melt, or freeze to his lips) and bicycle wheel, as well as stones, wood, mouth harp and piano frame. "We try to create music, magic moments together. We try and tune in to each other," says Isungset of his relationship with the cast./ppHow Isungset came to play and record with ice is a long story that began two decades ago, when he was in his mid-20s. After working with 14 bands, he decided to completely "dismantle" his life as a drummer. /pp"I had this feeling I wasn't giving music something that wasn't already there," he says. "I started to search, working hard at the idea of balance with the body - making the instrument and myself a unit. Trying, for instance, to hit the drum with my hands, without hurting myself. I abandoned all musical rules. Just pure expression: trying to lose the ego and the thoughts."/ppIsungset realised that if he truly wanted to escape musical traditions, he would have to transform his instruments. He started tinkering with the "found" sounds of stone and glass, building them into what became totally improvised performances. Today, he works with bands as diverse as Enslaved (prog metal) and Groupa (traditional Swedish songs), but this time the deal is clear: "They don't ask me to play like any other drummer. They know my sound." It's a sound that seems to take you outdoors and into the elements, wherever you are. Stone and metal give off long, primal resonances, while ice adds warmth./ppSome years ago, Isungset was commissioned to write a work for the Frozen Water Fall festival in Lillehammer, a lakeside town ringed by mountains. Keen to use materials from the surrounding area, he tried ice - and got hooked. Since then, he has recorded five "ice" albums, including Iceman Is, which features a number of great Scandinavian jazz players: Arve Henriksen on ice trumpet, Iro Haarla on ice harp, trumpeter Palle Mikkelborg and vocalist Lena Willemark. In 2007, Isungset's album Igloo was nominated for a Norwegian Grammy./pp"We build igloos to record in," he explains. "The nice thing about them is the total silence inside. Some of the ice sounds are so delicate, I have problems with noises my stomach makes: you can hear it grumbling. At least you know when to stop for lunch."/ppThe normal logistics of performing music are tricky enough; Isungset's approach, requiring him to be a slave to nature, adds quite an extra burden - but it's one that he relishes: "We travel to a place, find ice, then carve the instruments there, play the concerts, and then give the instruments back to nature where they belong. You can have 100 pieces of ice; they will all sound different. Perhaps three will sound fantastic. Nature decides whether it's possible to play or not: if it's too mild or windy, we can't."/ppClimbing back up to his house, which backs on to the woods embracing Bergen, Isungset stops and says: "I come here and listen to the distant city. There's a big orchestra going on down there, with different soloists." A woodpecker gives a call. "Birds - great jazz musicians. I did a concert using birdsong once." /ppNext year, Isungset will be playing at an architectural conference, making music out of building materials, "wearing a hard hat, of course". In the meantime, if he comes across Cinderella's glass slipper, chances are he'll get a tune out of it./ppstrongCinderella/strong is at the Lyric Hammersmith, London W6, until January 3. Box office: 0871 221 1729./pdiv style="float: left; margin-right: 10px; margin-bottom: 10px;"ullia href="http://www.guardian.co.uk/music/classicalmusicandopera"Classical music and opera/a/li/ul/diva href="http://www.guardian.co.uk"guardian.co.uk/a copy; Guardian News Media Limited 2008 | Use of this content is subject to our a href="http://users.guardian.co.uk/help/article/0,,933909,00.html"Terms Conditions/a | a href="http://www.guardian.co.uk/webfeeds/1,,1309488,00.html"More Feeds/a pa href="http://feedads.googleadservices.com/~at/AXFF05n_-Ng5tv3gL-2RVATbDEA/a"img src="http://feedads.googleadservices.com/~at/AXFF05n_-Ng5tv3gL-2RVATbDEA/i" border="0" ismap="true"/img/a/p

a href="http://gramotunes.com/Teenage_Crimewave.mp3"target="_new"CPC Gangbangs - "Teenage Crimewave"/a My fucking fuck landlord slumlord fucker calls me downstairs for a meeting in his "office". It's an unfinished basement that looks like it has tar barf on all the stone walls, dark and runny and his big fat mug smoking cheap cigar after cheap cigar. "You haven't been paying your rent," he says, not looking at me. "I got your cheque right here," I say, and I throw a wet cheque at his combover. "This isn't enough!" he barks, "and you can't sign your cheques with a drawing of a gun!" Later, picked up by fucking slug crewcut goose-stepping civil slave cops, they asked me my name and I gave them my fucking business card just like I did my fucking landlord. "This isn't a name! This is a drawing of a gun!" I swear, said just like a sample in front of a song, like a, "how dare you rotten kids!" or something. BANG BANG bitches. [a href="http://merchlackey.com/swami/"Buy the seminal iMutilation Nation/i] a href="http://gramotunes.com/Headin_Inside.mp3"target="_new"Surf City - "Headin Inside"/a NOTICE TO RESIDENTS: The city has decided to implement the much-discussed program of enlivening facades. Houses will stay as they are, at their core, but individual facades will be created to reflect the spirit of that house, however the community organizer sees that spirit. Some will look like a haunted mansion from a cartoon, some like an Arabian palace, others like a cloud city, some houses will just look like a giant vegetable. You can contact your community organizer if you wish to volunteer your time, but be aware that these facades will be implemented with or without your help. Some houses will be harder to get into, some will be near impossible, but the benefits will be apparent once the program has been fully implemented. Oh my goodness, yes, there will be so many interesting ones. A western saloon, a microwave, an Arthurian castle, a ski hill, a beautiful woman, a Korean flag, a bendy straw. Yes, this will be fun. [a href="http://www.morrmusic.com/artist/Surf%20City/release/46"site/a] pa href="http://feeds.feedburner.com/~a/saidthegramophone/stg?a=KM5HKS"img src="http://feeds.feedburner.com/~a/saidthegramophone/stg?i=KM5HKS" border="0"/img/a/pimg src="http://feeds.feedburner.com/~r/saidthegramophone/stg/~4/473032748" height="1" width="1"/

Two U.S. lawmakers have urged U.S. Army Secretary Peter Geren to recognize 350 American soldiers held as slaves by Nazi Germany during World War II, saying "these heroes have not received the recognition and honor they deserve."div class="feedflare" a href="http://rss.cnn.com/~f/rss/cnn_topstories?a=e6LoUe6i"img src="http://feedproxy.google.com/~f/rss/cnn_topstories?d=41" border="0"/img/a a href="http://rss.cnn.com/~f/rss/cnn_topstories?a=6dmXSTmr"img src="http://feedproxy.google.com/~f/rss/cnn_topstories?d=50" border="0"/img/a a href="http://rss.cnn.com/~f/rss/cnn_topstories?a=p1LsGMuE"img src="http://feedproxy.google.com/~f/rss/cnn_topstories?i=p1LsGMuE" border="0"/img/a a href="http://rss.cnn.com/~f/rss/cnn_topstories?a=XIU3AExC"img src="http://feedproxy.google.com/~f/rss/cnn_topstories?d=52" border="0"/img/a a href="http://rss.cnn.com/~f/rss/cnn_topstories?a=q7oZ1fgX"img src="http://feedproxy.google.com/~f/rss/cnn_topstories?i=q7oZ1fgX" border="0"/img/a /divimg src="http://feedproxy.google.com/~r/rss/cnn_topstories/~4/5NsRaFz1tK4" height="1" width="1"/

Chris Dede is giving a Berkman lunchtime talk on using the new immersive environments. [Note: I'm live-blogging, which means IO'm not checking for errors, and that I'm missing stuff, getting things wrong, paraphrasing, etc.]

Why immersion? “Immersion is the subjective impression that one is participating in a comprehensive, realistic experience.” Immersion can help learning by providing multiple perspectives, situated learning, and shifts in identity. Chris is interested in how we can make meaning out of complexity, using immersive interfaces in middle schools.

He sketches three types of immersive interfaces:

1. Augmented reality. You’re in the real world — you’re not an avatar — with a device that lets you overlay the real with the virtual. Entertainment and education can be anywhere. He shows a bit of his middle school math curriculum called “Alien Contact,” which uses mobile phones. Aliens have landed outside the school. The students explore the area (the real physical area), interviewing virtual characters and using mathematical and literacy skills. Students see different pieces of evidence based on their roles (FBI agent, linguist, computer expert, chemist), and have to collaborate to see the entire picture.

2. Alice-in-Wonderland, like SecondLife. Chris’ project has its own MUVE (multi-user virtual environment). This is partial immersion because you’re sitting in front of a monitor. He shows a clip about RiverCity. It’s a 3D simulation of a 1880 town battling infectious diseases. The students have to figure out what’s going on, learning the scientific method.

Situated learning — e.g., a medical internship — i s another example. You learn by doing and by watching people who know what they’re doing. Chris is using a virtuated environment to created a distributed-learning community.

3. Full immersion. Head-mounted displays. E.g., NewtonWorld, where you can see how balls interact, varying mass, velocity, etc. Similarly for MaxwellWorld.

He opens up the discussion.

Q: Would this work with university students? More sophisticated students?
A: A virtual ecosystem can be easy enough for a middle school student, but you can also imagine one complex enough for a university or graduate student.
Q: Complex environments are hard to create.
A: The good news is that the tools are being created by the entertainment industry. We then re-fit them our purposes. E.g., the authoring shell for the game Oblivion is very powerful. Within 5 years we’ll probably be able to build mixtures of emergent behaviors and scripted behaviors that are really compelling.

Q: Why did you make RiverCity historically situated. Doesn’t that make less obviously relevant to the kids.
A: We needed our kids to be experts. Even the least sophisticated kid today knows more about medicine than the most sophisticated person in the 1800s. [I love this idea.] Also, I wanted to show you could teach multiple things at the same time: science, history, English…

Q: [jz] Harvard Libraries have an outpost in SecondLife but not in Wikipedia. There seems to be something about participating in virtual places. Do you think of Wikipedia as an immersive environment? What would it mean to make it so? And would it improve it?
A: Wikipedia doesn’t work for sensory immersion, actional immersion (being able to fly, e.g.), but it might for symbolic immersion (what you get late at night if you’re reading a horror novel), depending on what you’re reading about or co-creating. A better example might be a Harry Potter fan fiction site. You can imagine putting the Wikipedia for HP inside a virtual HP world — your HP avatar could write an entry in the inner Wikipedia. And would it be better? Lectures are generally better in the real world. But it’d take a lot of discussion to answer your question fully….

Q: Some manuscripts can only be experience in a group via a virtual environment.
A: Yes. You could set up a virtual museum exhibit that brings together works, and that might let you explore the artist’s world. Or, for Van Gogh, what the world looked like a schizophrenic.

Q: How can you keep up with the commercial environments so that the educational ones don’t look old fashioned?
A: It depends on what factors matter. In terms of fidelity, many studies show that you need high fidelity in the parts where the experience requires it — e.g., teaching how to read X-rays — but you can have low fidelity for the parts not directly related to what you’re teaching. If it’s engaging, users don’t care about the low fidelity. None of the 15,000 students who have used RiverCity have complained that it’s too cartoon like, even though it’s not even remotely as photo realistic as the games they play.

Q: Metrics?
A: All of these projects measure gains carefully. They’re research projects. Typically the research shows that if it’s well designed, you get gains in learning…which is what research shows for just about educational technique.

Q: [me] First, I love the idea that in RiverCity, students are treated as experts. How much of this would you do in a day? How much of this is the film strip break in the day?
A: It varies developmentally. For young children, I’d do very little. You learn over and under by crawling, not by having your avatar do it. As they get older, maybe 15-20% of the day? It depends on the topic, the age of the students, etc…For my courses, I’d use the virtual environment at the beginning to let them see the scope of the landscape. In the middle, they’d do a formative experience inside the virtual environment: Here’s what I understand so far. At the end, you’d do a summative experience.

Q: [ethanz] Have people done side by side studies of these environments and other creative interventions, including teachers putting in an enormous of creativity into changing a lesson plan. Your examples tell us about engaged teachers more than about virtual environments, perhaps.
A: It’s a question very relevant to policy. One of the considerations: RiverCity’s cost for 30 kids is about the same as for 3,000 kids. But even the most skilled teacher could give students the sense of going back in time. Where the world is not doing much more than lecturing, you’re right to be skeptical. How are we testing this claim? We have control conditions for RiverCity and Alien Contact. The control conditions are paper-based games. We found a strong difference in engagement. In RC, we found a big difference in learning; in AC we’re breaking even in learing, but it’s a first gen project.

Q: I teach law. You are expected to immerse students into being just, fair and convincing. That’s entirely inter-human. To what extent could this virtual, artificial interface enable the inter-human relation, or perhaps hinder it.
A: Immersive interfaces aren’t equally powerful for all subjects. I don’t know the answer to your question, but one of the thigns we can do in RC is have two people can be in the same room and have different experiences. E.g., you could build a pre-Civil War environment. Two avatars walk down the street together. They see the same things, but one is a slave and one is a slave-holder. That leads to an interesting conversation.

Q: [charlie nesson] Can you establish a transfer of skills from games to real world skills?
A: I’m skeptical about claims of far transfer. The evidence there is weak. I’m quite more convinced about near transfer. So, saying that you’re good at World of Warcraft and thus you’d be good as a lawyer isn’t going to get you too far. It might mean that you can make fast decisions, but WoW aggression probably doesn’t correlate with aggression in the courtroom. The first is a near transfer, and the second is a far transfer.
Q: Has there been a lot of research on this?
A: Not that I’ve found. Closest you get to this is the military that has evidence that military skills transfer to civilian life, and many of those skills are gained by simulation. [Tags: education teaching simulations secondlife chris_dede games learning avatars ]

Robbie Daw presents a weekly pop music update here on Towleroad! Robbie runs his own site called Chart Rigger.

There are no doubt some Britney Spears fans amongst the readers of Towleroad, so it's time to turn it over to you guys. What do you think of Circus?

Her sixth studio album, Circus is out today, one month shy of the 10-year anniversary of her debut ...Baby One More Time's release date. Britney was in Europe last week promoting the album by performing current single "Womanizer" on television shows such as France's Star Academy and U.K. talent competition The X Factor.

The video for her Dr. Luke/Benny Blanco-produced new single "Circus" premieres this Friday on Entertainment Tonight. It was directed by Francis Lawrence, who previously did Spears' "I'm A Slave 4 U" clip.

Circus also sees Britney reunited with Swedish hitmaker Max Martin—albeit on one song, "If U Seek Amy"—who crafted her classic singles "...Baby One More Time," "(You Drive Me) Crazy" and "Oops!...I Did It Again."

STANDOUT: For casual listeners, the main cut worth checking out is the dreamy dance jam "Unusual You." It was produced by Bloodshy & Avant, the duo behind Britney's award-winning hits "Piece Of Me" and "Toxic." How this wasn't the second (or first) single is anyone's guess.

Finally, happy birthday, Britney.

A FEW CLIPS FOR THE WEEK:

BRITNEY SPEARS: Doing new single "Circus" today morning on Good Morning America.

THE KILLERS: "Losing Touch," the opening track off new album Day & Age, live on FUSE.

MGMT: Performing "Kids" on French television show Le Grand Journal De Canal+ on Thanksgiving Day.

"KIDS," A CAPPELLA: As done by Northfield, Minnesota's Carleton Singing Knights of Carleton College.

TODAY'S NEW RELEASES:

New singles from Mariah Carey ("Right To Dream"), Franz Ferdinand ("Ulysses") and Lionel Richie ("Good Morning").

Sia's "Buttons" EP, featuring remixes by CSS and Filterheadz.

The Decemberists' Always The Bridesmaid, Volume 3 EP.

Akon's third album Freedom.

The holiday collection I'll Stay 'Til After Christmas, featuring Sally Shapiro's haunting "Piano Mix" of "Anorak Christmas."

The Cadillac Records motion picture soundtrack, with songs by Beyonce, Solange, Mos Def, Mary Mary, Nas and Buddy Guy.

img src="http://cdn.thesuperficial.com//bfm_gallery/2008/12/1201 Angelina Jolie Maddox/post_image/post_image-1201_angelina_jolie_maddox_00.jpg" border="0"br Angelina Jolie has about a thousand kids which is why it's important she tries to fit in some quality time with each of them. In this case, she took Maddox shopping in New Orleans yesterday. Not exactly sure what she bought him, but let's assume it was Europe. That's right; Europe. The continent. Okay, that's a bit of an exaggeration. It was probably just his own set of white slaves. Haha! 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border: 1px solid #cccccc; width: 88px; margin: 0; padding: 0;"/a/lili style="display: block; float: left; width: 90px; height: 134px; margin: 0; padding: 0 10px 10px 0;"a href="http://thesuperficial.com/2008/12/angelina_jolie_takes_notshiloh.php?bfm_index=10" style="display: block; width: 90px; height: 134px; background: #CCC; overflow: hidden; margin: 0; padding: 0;"img src="http://cdn.thesuperficial.com//bfm_gallery/2008/12/1201 Angelina Jolie Maddox/gallery_thumb/gallery_thumb-1201_angelina_jolie_maddox_10.jpg" style="display: block; border: 1px solid #cccccc; width: 88px; margin: 0; padding: 0;"/a/lili style="display: block; float: left; width: 90px; height: 134px; margin: 0; padding: 0 10px 10px 0;"a href="http://thesuperficial.com/2008/12/angelina_jolie_takes_notshiloh.php?bfm_index=11" style="display: block; width: 90px; height: 134px; background: #CCC; overflow: hidden; margin: 0; padding: 0;"img src="http://cdn.thesuperficial.com//bfm_gallery/2008/12/1201 Angelina Jolie Maddox/gallery_thumb/gallery_thumb-1201_angelina_jolie_maddox_11.jpg" style="display: block; 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Le nouvel album de Napalm Death, "Time Waits For No Slave", engluera les bacs à partir du 2 février prochain. Selon Shane Embury, sorte de Jacques ...img src="http://feeds.feedburner.com/~r/Visual-Music/~4/471731006" height="1" width="1"/

An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany. nbsp; nbsp; Heat is Buford's account of working for free in the kitchen of Babbo, a New York restaurant owned by Chef Mario Batali. Buford's premise is that he considered himself to be a capable home cook and wondered if he had the skill to work in a busy restaurant kitchen. He met Batali at a dinner party and asked him if he would take on Buford as his kitchen bitch. nbsp; nbsp; Buford begins his time at Babbo in a variety of roles including dishwasher, prep cook, garbage remover and any other role demanded of him. Over the course of the book his skills improve and he is able to butcher a hog and work any station in the restaurant. Buford travels to Italy to meet cooks and chefs who were critical to Batali's early culinary development, as Buford works and lives in some of the places Batali honed his craft.