right brain is ok, too

I'd like to suggest a way to increase global harmony, or at least list-wide harmony. In defense
of Kraig and his Anaphoria, I detect no phobias in his postings. It appears to me that Kraig has
not "retreated to the Anaphoria inside [his] head," but rather has created Anaphoria out of his
head. By making his music and legends available to others, he has given us a new place to
"visit," just as Tolkien created Middle-earth, which can now be "visited" by anyone who cares to
read "The Lord of the Rings," etc. That's a thoroughly right-brain activity, and is difficult to
explain or appreciate using left-brain techniques alone. An academic topic mailing list like
this, by its nature, is biased toward left brain activity. To gain insight for a greater
appreciation of people who seem to live almost exclusively out of their right brains (like our
friends Kraig Grady and Neil Haverstick might), I suggest reading the following short web page:

http://www.viewzone.com/bicam.html

It's all very interesting to me, but about half way down the page is a table, half black with
white text and half white with black text, which gives an excellent summary of how the two sides
of our brains work. This basic understanding has been of great benefit to me.

--
David J. Finnamore
Nashville, TN, USA
http://members.xoom.com/dfinn.1
--

--- In tuning@egroups.com, "David J. Finnamore" <daeron@b...> wrote:

http://www.egroups.com/message/tuning/12202

During my nice and fortunate trip to Minnesota, I had to good luck to
spend some time gazing out upon a beautiful lake...

One of my thoughts concerned Kraig Grady's Anaphoria and how it
related to the "grand tradition" of anti-ego statements made by
recent composers, most particularly, John Cage.

Whether he really was successful at it or not, and whether there was,
indeed, fundamental ego in Cage's work (asserted by some non-fans),
it is true that one of his basic aims was to rid the final
compositional process from the ego of the composer.

In this same tradition, Kraig Grady, by creating his Anaphoria, has
made a place where music is created, and it is not stamped with his
own ego... ostensibly.

The compositions are NOT by the composer Kraig Grady, but are by
residents of a communal world...
_____________ _____ ___ __ _
Joseph Pehrson

And what a beautiful concept this is in my opinion!!!

When we look at the paintings on the walls of the Paleolithic caves
in France, or works of art and artifacts from civilizations past, we
look at these things for their innate beauty that transcends the ego
of the creators themselves - we do not evaluate them in the light of
our commercial and materialistic world of today. The view today is to
put the creators and their egos on a pedestal - and evaluate art by
numbers of objects that are sold, or how cool they look. But when you
strip away all the trappings of much of this kind of consumer art,
you find no substance. Allot of the time, all it is - is the ego and
the haircuts - the glitz and the glamour. Perhaps we need to reflect
more about what it takes to make people want to experience our art
over and over, rather than the disposable way that music and many
other forms are used today. What does it take to make a work endure
repeated listenings? Perhaps Kraig is onto something here!

Respectfully,

Jacky Ligon

--- In tuning@egroups.com, "Joseph Pehrson" <pehrson@p...> wrote:
>
> In this same tradition, Kraig Grady, by creating his Anaphoria, has
> made a place where music is created, and it is not stamped with his
> own ego... ostensibly.
>
> The compositions are NOT by the composer Kraig Grady, but are by
> residents of a communal world...
> _____________ _____ ___ __ _
> Joseph Pehrson

> [David J. Finnamore]
> http://www.egroups.com/message/tuning/12202

referred us to this webpage:

> http://www.viewzone.com/bicam.html

Wow! I was astounded when I saw the photos of Nixon!

I discovered this same phenomenon myself, long ago, when
I was more involved in visual arts. I was making a pencil
drawing of Brooke Shields, copying from a 'Vogue' cover.

I was astonished then when I realized that the two sides
of her face were extraordinarily different: if you covered
up one side, the one you could see looked like the face of
the teenage girl that she then was, but if you covered that
side and looked at the other, it looked like the face of
an alluring, sexy, fully mature woman.

I came to the conclusion that this was the main source of
her appeal as a model. It was interesting to see something
that parallels my 'discovery'.

-monz
http://www.ixpres.com/interval/monzo/homepage.html