institutions (OT)

> I guess my point is simply this: the halls of learning are a fine
>and wonderful place, but you point to examples of rebellion as what
>can happen there, and it seems to me the thrust is *against* the
>institution. Which begs the question: why be there in the first
>place?

The point of the University is to exist in such a way that, there are
little spaces almost on the "outside" of it where cool things happen.

Thus I suggested to the director of the Computer Music Center here at
Columbia U, that he set aside several rooms with expensive equipment, in
which only Important People could do their work. (In fact, those said
people wouldn't actually exist: the rooms would remain unused.)

Then, there could be this "junk room", with 4 year-old computers, analog
synths, some bad speakers and amps placed haphazardly around the joint,
and other "crap" lying about, where the real creative processes would take
place.

That's the way it used to be, when Mario Davidovsky was around. Only he,
Charlie "Chuckles" Wourinen, Otto Leuning, Ussachevsky and some other
luminaries were allowed to use the Main Equipment.

The computer center was ghettoized--but they had fun and made some good
music.

Now, the director of the center is the person who was the director of that
junk-room. So I said, "Hey, let's keep it like the old days. Keep us in
the ghetto, man."

But it didn't really work out, instead, the Expensive Equipment is used
mostly by rappers and college metal bands to record their demos.
Actually, I'm doing an ambient techno album, plus a hard-core nasty-ass
@#$%@#$-you-if-you-don't-like-it serial piano piece.

It's heaven at the University, folks. Gotta love it.

Well, this is way OT, so I'm gonna go listen to Ben Johnston, some Yes,
and the Babbitt 1st Piano Concerto.

cheerio!

CB

Christopher!
Since the 60's, the universities have failed to be the places where the musical innovation has
happened. Someday they might catch up if they assimilate which has taken place outside it
borders, and despite it borders. Harry Partch case in point. Cornelius Cardew from his work with
the Scratch orchestra and AMM created a wave that dominates 90% of the experimental racks in most
record store in the worlds. If academia wants to play this game with artists, then it seems the
only response of those forced on the outside is to go for the throat. Is that a razor in my hand?

Christopher Bailey wrote:

> > I guess my point is simply this: the halls of learning are a fine
> >and wonderful place, but you point to examples of rebellion as what
> >can happen there, and it seems to me the thrust is *against* the
> >institution. Which begs the question: why be there in the first
> >place?
>
> The point of the University is to exist in such a way that, there are
> little spaces almost on the "outside" of it where cool things happen.
>
> Thus I suggested to the director of the Computer Music Center here at
> Columbia U, that he set aside several rooms with expensive equipment, in
> which only Important People could do their work. (In fact, those said
> people wouldn't actually exist: the rooms would remain unused.)
>
> Then, there could be this "junk room", with 4 year-old computers, analog
> synths, some bad speakers and amps placed haphazardly around the joint,
> and other "crap" lying about, where the real creative processes would take
> place.
>
> That's the way it used to be, when Mario Davidovsky was around. Only he,
> Charlie "Chuckles" Wourinen, Otto Leuning, Ussachevsky and some other
> luminaries were allowed to use the Main Equipment.
>
> The computer center was ghettoized--but they had fun and made some good
> music.
>
> Now, the director of the center is the person who was the director of that
> junk-room. So I said, "Hey, let's keep it like the old days. Keep us in
> the ghetto, man."
>
> But it didn't really work out, instead, the Expensive Equipment is used
> mostly by rappers and college metal bands to record their demos.
> Actually, I'm doing an ambient techno album, plus a hard-core nasty-ass
> @#$%@#$-you-if-you-don't-like-it serial piano piece.
>
> It's heaven at the University, folks. Gotta love it.
>
> Well, this is way OT, so I'm gonna go listen to Ben Johnston, some Yes,
> and the Babbitt 1st Piano Concerto.
>
> cheerio!
>
> CB
>
>
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-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

Kraig Grady wrote:
>
> Christopher!
> Since the 60's, the universities have failed to be the places
> where the musical innovation has happened. Someday they might catch
> up if they assimilate which has taken place outside it borders, and
> despite it borders. Harry Partch case in point. Cornelius Cardew from
> his work with the Scratch orchestra and AMM created a wave that
> dominates 90% of the experimental racks in most record store in the
> worlds. If academia wants to play this game with artists, then it
> seems the only response of those forced on the outside is to go for
> the throat. Is that a razor in my hand?

Very funny and on the mark Kraig!

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

--- In tuning@y..., Christopher Bailey <cb202@c...> wrote:

/tuning/topicId_20061.html#20061

> > I guess my point is simply this: the halls of learning are a fine
> >and wonderful place, but you point to examples of rebellion as what
> >can happen there, and it seems to me the thrust is *against* the
> >institution. Which begs the question: why be there in the first
> >place?
>
> The point of the University is to exist in such a way that, there
are little spaces almost on the "outside" of it where cool things
happen.
>

Actually, Chris, this is EXACTLY what was happening in Ann Arbor in
the 1960's with the ONCE group. There were the "university"
composers and there were the ONCE group outsiders... Bob Ashley
(great
guy!), Alvin Lucier, Gordon Mumma and George Cappiopo (my friend, but
now mostly forgotten as a composer... alas).

The university guys and the ONCE guys all attended each others
concerts. They would applaud and BOO... lots of ferment. It was an
exciting time...

Part of the excitement was all the different opinions and activity.
I think it's all great. I like that kind of debate. However, if
people start to take it all personally, one can't do it anymore...

But without the "foil" of the university, the "excitement" would not
have been the same...

Frankly, I don't find this post so OT, since it concerns electronic
music studios... where possible "xenharmonics" could be made...

______ _____ _____ __
Joseph Pehrson