From monique at buzzarte.org  Thu Feb  1 04:26:47 2007
From: monique at buzzarte.org (Monique =?iso-8859-1?Q?Buzzart=E9?=)
Date: Thu, 1 Feb 2007 07:26:47 -0500
Subject: [NewMusic] Fwd:   Glassy anniversary
In-Reply-To: <mailman.3.1170306001.4150.newmusic@music.mills.edu>
References: <mailman.3.1170306001.4150.newmusic@music.mills.edu>
Message-ID: <p06240816c1e78c326c20@[192.168.1.103]>

>Date: Wed, 31 Jan 2007 10:03:39 -0800 (PST)
>From: Tom Duff <td at pixar.com>
>Subject: [NewMusic] Glassy anniversary
>To: newmusic at music.mills.edu
>
>
>acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc
>acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac
>acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac
>bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac
>bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd
>bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd
>gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd
>gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb
>gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb
>gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb
>gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc
>gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc
>acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc
>acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac
>acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac
>bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac
>bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd
>bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd
>gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd
>gbgbgc gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb
>gbgcgc gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb
>gcgcgc acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb
>gcgcac acacbd bdbdgb gbgbgc gcgcac acacbd bdbdgb gbgbgc
>gcacac acbdbd bdgbgb gbgcgc gcacac acbdbd bdgbgb gbgcgc
>acacac bdbdbd gbgbgb gcgcgc acacac bdbdbd gbgbgb gcgcgc
>
>(Philip Glass is 70 today: http://www.sequenza21.com/index.php/260)
>

That's yesterday - Jan. 31 - Monique


-- 
***************************
Monique Buzzart?
monique at buzzarte.org
http://www.buzzarte.org

From cypod25 at gmail.com  Thu Feb  1 08:55:59 2007
From: cypod25 at gmail.com (Cypod)
Date: Thu, 1 Feb 2007 08:55:59 -0800
Subject: [NewMusic] 5.1 dvd
In-Reply-To: <BAY113-F2879BD1772EEE79C6B1F71EBA40@phx.gbl>
References: <mailman.3.1170306001.4150.newmusic@music.mills.edu>
	<BAY113-F2879BD1772EEE79C6B1F71EBA40@phx.gbl>
Message-ID: <473c28030702010855k4c00baa5me940fb9ccca553f7@mail.gmail.com>

thanks for the info on your 5.1 mixing set-up. And yeah its hard to
even find DVD-A, I finally got a player that can read it, and software
players don't really sell it as a feature. Sooner or later I want to
pick up Amon Tobin's new album "Chaos Theory", I downloaded it from
emusic, but if I find the DVD-A surround version at the record store
it would be nice to hear the full mix. I found a few good surround
albums in the DTSonline store.

On 1/31/07, robi kauker <robi2 at hotmail.com> wrote:
>
> i'm doing a 5.1 work - currently finishing up a project of my own noise with
> some visuals under my "Critical Monkey' moniker
>
> i mix/master audio in digital performer - full variant of surround support
> and a couple of different surround panner options
>
> I convert to dolby digital using apack - part of the apple dvd studio
> package which is how i author the whole dvd layout for final product
>
> most interesting thing is the options for compression in the dolby encoder -
> lots of option and they all do something different to the sound
>
> some semi useful info for setting up a mixing environment - though i'm not a
> fan of their speakers
> http://www.abluesky.com/p_s_gb/p3s1.html
> also some useful stuff at dolby but i can't find the link right now
>
> btw - i'm doing dvd-v- the most common format - dvd-a is pracitcally useless
> since so few dvd players will deal with the audio only format - a sad
> reality
>
> robi
>
> _________________________________________________________________
> >From predictions to trailers, check out the MSN Entertainment Guide to the
> Academy Awards(r)
> http://movies.msn.com/movies/oscars2007/?icid=ncoscartagline1
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


-- 
B~
www.cypod.co.nr

From michaelz at zoka.com  Thu Feb  1 10:13:22 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Thu, 1 Feb 2007 10:13:22 -0800
Subject: [NewMusic] Recording media news
Message-ID: <p0602043bc1e7d3588a90@[192.168.0.5]>

>Quantegy Discontinuing Several Products
>Many Analog Audio Formats Get the Ax

>On January 19th 2007 Quantegy / Ampex Recording Media announced its 
>decision to discontinue various magnetic tape products from the 
>professional video, professional audio and instrumentation telemetry 
>recording lines.
>
>Discontinued Products:
>
>Professional Audio
>GP9
>400 Series
>600 Series
>ADAT
>DAT
>DAU
>
>Professional Video
>BETA Products
>UMATIC
>D1/D2
>196
>VHS Products
>
>Instrumentation
>795
>797
>799
>721
>722
>Logging Tape
>700 Series
>
>To read the official letter from Frank Foster, Chief Operating 
>Officer of Quantegy,please click here. (PDF) 
><http://www.quantegy.com/press/DiscLetter07.pdf>

<http://www.quantegy.com/>

From tfbsaxman at hotmail.com  Thu Feb  1 11:39:29 2007
From: tfbsaxman at hotmail.com (Michael Cooke)
Date: Thu, 01 Feb 2007 11:39:29 -0800
Subject: [NewMusic] an indefinite suspension of the possible by Cooke Quintet
Message-ID: <BAY102-F1644FB155BAB2721F493D5B7A40@phx.gbl>

Hey all,

I have been trying to get this CD recorded and released for 4 years and 
today it is finally available. This one was supposed to finished before the 
last CD "The Is" and these two are related to each other. Miles Boisen did a 
nice job recording it. Shoko Hikage, Alex Kelly, Jen Baker and Timothy Orr 
are the other musicians on the session.

You can check it out at http://www.blackhatrecords.com/

There is  a review out: http://www.dustedmagazine.com/reviews/3355

For Immediate Release:
San Francisco, CA February 1, 2007 ? Black Hat Records is proud to announce 
it?s fourth release:  "an indefinite suspension of the possible" (Black Hat 
Records BH-1004) by Cooke Quintet.

Cooke Quintet is based in the San Francisco Bay Area and draws inspiration 
from the creative energy of multi-cultural and diverse music from around the 
world and from inside and outside the American and European jazz and 
avant-garde traditions. CQ's approach to acoustic jazz allows for a new 
freedom of emotional expression. Combining solid grooves with bursts of 
energy and sound, Cooke Quintet's music reminds a listener of the work of 
contemporaries such as Ken Vandermark, Ken Simon, or Elliot Levin. The 
instrumentation of CQ, however, presents a fresh twist on the classic jazz 
quintet - woodwinds, trombone, cello, koto and percussion can be heard 
interacting here. Additionally, modern forms for improvisation, such as 
circle music and pan-rhythmic pulse signatures, are center points for 
spontaneous inventions. Together, these five musicians collaborate in ways 
that might best and simply be described as "improvised group music."

Alex Kelly returns on cello for this new title, and new drummer Timothy Orr 
stirs up a provocative concoction of rhythmic suggestions and allusions. Two 
other new members of the group, Shoko Hikage on koto and Jen Baker on 
trombone, add an indispensable flavor and shading to the proceedings. 
Multi-instrumentalist Michael Cooke heads up the ensemble as both leader and 
composer.

What sets ?an indefinite suspension of the possible? apart from a number of 
jazz albums on the market today is the variety of styles and techniques 
employed to make this music. "Love at Twilight" references Tuvan and Indian 
music influences, "Ha Me'aggel" uses a blended Klezmer scale, "N 36 7.46' W 
121 38.35'" and "Loss" synthesize post-modern efforts in subjectivity. 
"Harmonic Rebellion" is a high-energy improvisation that combines both 
multiphonic and harmonic releases. Another high-energy work, "Hard 8," 
steers closest to traditional jazz, while "Chain of Existence," a 
multi-section composition, encapsulates the outward-looking feel of the 
entire CD.

Like our other titles, Searching, Statements, and The Is, "an indefinite 
suspension of the possible" explores new paths to create our music. Our 
titles are distributed by North Country Distribution (Cadence Building, 
Redwood, New York 13679), and are available on iTunes. Black Hat Records 
hopes you will enjoy our new release.

###

For high-resolution images and other information about Michael Cooke, CQ, 
Black Hat Records and "an indefinite suspension of the possible" and other 
titles, please visit www.blackhatrecords.com


Michael Cooke
http://www.blackhatrecords.com/

_________________________________________________________________
>From predictions to trailers, check out the MSN Entertainment Guide to the 
Academy Awards? 
http://movies.msn.com/movies/oscars2007/?icid=ncoscartagline1


From slusser at pixar.com  Thu Feb  1 13:47:10 2007
From: slusser at pixar.com (David Slusser)
Date: Thu, 1 Feb 2007 13:47:10 -0800
Subject: [NewMusic] Guy who plays "music" on barbed wire fences
References: <230BE896-2005-404C-8F83-AE3BA1A308A9@pixar.com>
Message-ID: <7B05B275-B472-412A-893E-506042C6C479@pixar.com>

Nothing new, but a nice video

> http://www.jonroseweb.com/movies/f_projects_fences_video.mov

From mattdavignon at gmail.com  Thu Feb  1 13:51:01 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 1 Feb 2007 13:51:01 -0800
Subject: [NewMusic] Guy who plays "music" on barbed wire fences
In-Reply-To: <7B05B275-B472-412A-893E-506042C6C479@pixar.com>
References: <230BE896-2005-404C-8F83-AE3BA1A308A9@pixar.com>
	<7B05B275-B472-412A-893E-506042C6C479@pixar.com>
Message-ID: <c70e517b0702011351n5b5396dk8c737ab5a4928632@mail.gmail.com>

He had performances at UC Berkeley and Mills about 6 months ago.

On 2/1/07, David Slusser <slusser at pixar.com> wrote:
> Nothing new, but a nice video
>
> > http://www.jonroseweb.com/movies/f_projects_fences_video.mov
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From Henry.Kuntz at ceb.ucop.edu  Fri Feb  2 16:50:38 2007
From: Henry.Kuntz at ceb.ucop.edu (Henry Kuntz)
Date: Fri, 2 Feb 2007 16:50:38 -0800 
Subject: [NewMusic] BELLS Compilation Online
Message-ID: <34EC3AC09ED2D24288CDD6BB1A348511066E2BEA@exchange.ceb.ucop.edu>

On Monday Feb 5, Klaus Thiemann of metropolis 
http://www.m-etropolis.com/wordpress/?language=en
<http://www.m-etropolis.com/wordpress/?language=en> 
will begin putting up pages on his website from the BELLS compilation
manuscript FREE JAZZ, FREE MUSIC that I put together some years ago. 
As you may know, BELLS was the internationally circulated newsletter-review
that I published and edited from 1973 to 1979 containing lots of record
reviews, performance reviews, feature articles, and an occasional interview.
Henry Kaiser's 1975 interview with Derek Bailey, for instance (the first
extensive interview with Bailey to be published anywhere) appeared in the
pages of BELLS. Other writers whose contributions appeared in BELLS included
Loren Means, Charles K. Noyes, Randolph Savicky, Barry Tepperman, David
Wild, and English writers Jack Cooke and Peter Riley.
You might enjoy having a look at the material.
Henry
 

From tweakoz at pacbell.net  Sun Feb  4 13:01:08 2007
From: tweakoz at pacbell.net (Synthia)
Date: Sun, 4 Feb 2007 13:01:08 -0800 (PST)
Subject: [NewMusic] an indefinite suspension of the possible by Cooke
	Quintet
In-Reply-To: <BAY102-F1644FB155BAB2721F493D5B7A40@phx.gbl>
Message-ID: <20070204210108.85709.qmail@web81005.mail.mud.yahoo.com>

OMG: if only for the way it made my brain fire I want this disc.
xosynth

Michael Cooke <tfbsaxman at hotmail.com> wrote: Hey all,

I have been trying to get this CD recorded and released for 4 years and 
today it is finally available. This one was supposed to finished before the 
last CD "The Is" and these two are related to each other. Miles Boisen did a 
nice job recording it. Shoko Hikage, Alex Kelly, Jen Baker and Timothy Orr 
are the other musicians on the session.

You can check it out at http://www.blackhatrecords.com/

There is  a review out: http://www.dustedmagazine.com/reviews/3355

For Immediate Release:
San Francisco, CA February 1, 2007 ? Black Hat Records is proud to announce 
it?s fourth release:  "an indefinite suspension of the possible" (Black Hat 
Records BH-1004) by Cooke Quintet.

Cooke Quintet is based in the San Francisco Bay Area and draws inspiration 
from the creative energy of multi-cultural and diverse music from around the 
world and from inside and outside the American and European jazz and 
avant-garde traditions. CQ's approach to acoustic jazz allows for a new 
freedom of emotional expression. Combining solid grooves with bursts of 
energy and sound, Cooke Quintet's music reminds a listener of the work of 
contemporaries such as Ken Vandermark, Ken Simon, or Elliot Levin. The 
instrumentation of CQ, however, presents a fresh twist on the classic jazz 
quintet - woodwinds, trombone, cello, koto and percussion can be heard 
interacting here. Additionally, modern forms for improvisation, such as 
circle music and pan-rhythmic pulse signatures, are center points for 
spontaneous inventions. Together, these five musicians collaborate in ways 
that might best and simply be described as "improvised group music."

Alex Kelly returns on cello for this new title, and new drummer Timothy Orr 
stirs up a provocative concoction of rhythmic suggestions and allusions. Two 
other new members of the group, Shoko Hikage on koto and Jen Baker on 
trombone, add an indispensable flavor and shading to the proceedings. 
Multi-instrumentalist Michael Cooke heads up the ensemble as both leader and 
composer.

What sets ?an indefinite suspension of the possible? apart from a number of 
jazz albums on the market today is the variety of styles and techniques 
employed to make this music. "Love at Twilight" references Tuvan and Indian 
music influences, "Ha Me'aggel" uses a blended Klezmer scale, "N 36 7.46' W 
121 38.35'" and "Loss" synthesize post-modern efforts in subjectivity. 
"Harmonic Rebellion" is a high-energy improvisation that combines both 
multiphonic and harmonic releases. Another high-energy work, "Hard 8," 
steers closest to traditional jazz, while "Chain of Existence," a 
multi-section composition, encapsulates the outward-looking feel of the 
entire CD.

Like our other titles, Searching, Statements, and The Is, "an indefinite 
suspension of the possible" explores new paths to create our music. Our 
titles are distributed by North Country Distribution (Cadence Building, 
Redwood, New York 13679), and are available on iTunes. Black Hat Records 
hopes you will enjoy our new release.

###

For high-resolution images and other information about Michael Cooke, CQ, 
Black Hat Records and "an indefinite suspension of the possible" and other 
titles, please visit www.blackhatrecords.com


Michael Cooke
http://www.blackhatrecords.com/

_________________________________________________________________
>From predictions to trailers, check out the MSN Entertainment Guide to the 
Academy Awards? 
http://movies.msn.com/movies/oscars2007/?icid=ncoscartagline1

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From tweakoz at pacbell.net  Sun Feb  4 13:01:08 2007
From: tweakoz at pacbell.net (Synthia)
Date: Sun, 4 Feb 2007 13:01:08 -0800 (PST)
Subject: [NewMusic] an indefinite suspension of the possible by Cooke
	Quintet
In-Reply-To: <BAY102-F1644FB155BAB2721F493D5B7A40@phx.gbl>
Message-ID: <20070204210108.85709.qmail@web81005.mail.mud.yahoo.com>

OMG: if only for the way it made my brain fire I want this disc.
xosynth

Michael Cooke <tfbsaxman at hotmail.com> wrote: Hey all,

I have been trying to get this CD recorded and released for 4 years and 
today it is finally available. This one was supposed to finished before the 
last CD "The Is" and these two are related to each other. Miles Boisen did a 
nice job recording it. Shoko Hikage, Alex Kelly, Jen Baker and Timothy Orr 
are the other musicians on the session.

You can check it out at http://www.blackhatrecords.com/

There is  a review out: http://www.dustedmagazine.com/reviews/3355

For Immediate Release:
San Francisco, CA February 1, 2007 ? Black Hat Records is proud to announce 
it?s fourth release:  "an indefinite suspension of the possible" (Black Hat 
Records BH-1004) by Cooke Quintet.

Cooke Quintet is based in the San Francisco Bay Area and draws inspiration 
from the creative energy of multi-cultural and diverse music from around the 
world and from inside and outside the American and European jazz and 
avant-garde traditions. CQ's approach to acoustic jazz allows for a new 
freedom of emotional expression. Combining solid grooves with bursts of 
energy and sound, Cooke Quintet's music reminds a listener of the work of 
contemporaries such as Ken Vandermark, Ken Simon, or Elliot Levin. The 
instrumentation of CQ, however, presents a fresh twist on the classic jazz 
quintet - woodwinds, trombone, cello, koto and percussion can be heard 
interacting here. Additionally, modern forms for improvisation, such as 
circle music and pan-rhythmic pulse signatures, are center points for 
spontaneous inventions. Together, these five musicians collaborate in ways 
that might best and simply be described as "improvised group music."

Alex Kelly returns on cello for this new title, and new drummer Timothy Orr 
stirs up a provocative concoction of rhythmic suggestions and allusions. Two 
other new members of the group, Shoko Hikage on koto and Jen Baker on 
trombone, add an indispensable flavor and shading to the proceedings. 
Multi-instrumentalist Michael Cooke heads up the ensemble as both leader and 
composer.

What sets ?an indefinite suspension of the possible? apart from a number of 
jazz albums on the market today is the variety of styles and techniques 
employed to make this music. "Love at Twilight" references Tuvan and Indian 
music influences, "Ha Me'aggel" uses a blended Klezmer scale, "N 36 7.46' W 
121 38.35'" and "Loss" synthesize post-modern efforts in subjectivity. 
"Harmonic Rebellion" is a high-energy improvisation that combines both 
multiphonic and harmonic releases. Another high-energy work, "Hard 8," 
steers closest to traditional jazz, while "Chain of Existence," a 
multi-section composition, encapsulates the outward-looking feel of the 
entire CD.

Like our other titles, Searching, Statements, and The Is, "an indefinite 
suspension of the possible" explores new paths to create our music. Our 
titles are distributed by North Country Distribution (Cadence Building, 
Redwood, New York 13679), and are available on iTunes. Black Hat Records 
hopes you will enjoy our new release.

###

For high-resolution images and other information about Michael Cooke, CQ, 
Black Hat Records and "an indefinite suspension of the possible" and other 
titles, please visit www.blackhatrecords.com


Michael Cooke
http://www.blackhatrecords.com/

_________________________________________________________________
>From predictions to trailers, check out the MSN Entertainment Guide to the 
Academy Awards? 
http://movies.msn.com/movies/oscars2007/?icid=ncoscartagline1

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From mattdavignon at gmail.com  Sun Feb  4 19:00:42 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Sun, 4 Feb 2007 19:00:42 -0800
Subject: [NewMusic] A buttload of tapes & more
Message-ID: <c70e517b0702041900q468fd7bwded9abefad3dcb67@mail.gmail.com>

So, I'm trying to do some house decluttering, after years and years of
not wanting to throw things away.

One thing I need to get rid of is a drawer full of audio cassettes. I
just can't bring myself to throw some of these away, because there are
some real gems. These are left over from when I had a car, and when I
was taking a cassette walkman to shcool/work. If you still listen to
cassettes on your car stereo, and have been looking for some different
music, you may like some of what's in here:
Tape Beatles
Coil
some local indie-experimental comps
old Pink Floyd
Talking Heads
Naked City
Microstoria
Throbbing Gristle
Ween
and lots of quirky weird experimental stuff, some of which is famous
and some of which isn't. Slightly more than half of these are dubs
from cd. If you want 'em I'll give you a whole box of them.

I'm also giving away:

A black and white portable television (5" screen).

A kean with carrying case
http://www.larkinam.com/product.asp_Q_pn_E_WIN019_A_Kaen_E_
(Yes, this is free to a good home. It's not perfect, but you might be
able to put it to better use than me.)

I don't have a car. So, the best way to obtain these is either to come
to my apartment in Lake Merritt some evening, or arrange to meet me at
a show. (Luggage Store is your best bet.)


Matt
510-459-1507

From matt at sfsound.org  Mon Feb  5 15:07:35 2007
From: matt at sfsound.org (matt ingalls)
Date: Mon, 5 Feb 2007 15:07:35 -0800
Subject: [NewMusic] Fwd: jamie allen - SF visit
References: <BFCBF490-1A1B-4F84-A16F-71140D3F8AA9@heavyside.net>
Message-ID: <6F3BCF5F-AA97-44F6-B822-4F18977560A3@sfsound.org>


On Feb 5, 2007, at 12:51 AM, jamie allen wrote:

> hi there!
>
> i'm a experimental sound/performance artist in NYC and am going to  
> be around San Francisco from March 15th-19th and was wondering if  
> there might be some little show i could take part in or workshop i  
> could give?  i'd really love to get together with some experimental  
> musicians, noise artists or improvisers in the area, as well as  
> interactive artists or similar.  i teach a class at NYU called "new  
> interfaces for musical expression"  (http://itp.nyu.edu/nime/) and  
> am always on the lookout for associations/guests/performers to be a  
> part of the community surrounding the class.  i run a few  
> performance nights around NYC, including one at the LEMURplex in  
> Brooklyn called "tranzducer" (http://www.tranzducer.com), as well.
>
> i'm particularly interested in ideas surrounding 'interfaces' and  
> musical control structures.  from a performance perspective, i have  
> a piece of live audio-circuit construction called "Circuit Music"  
> i've been growing i thought might be "appropriate":  http:// 
> heavyside.net/jamie/works/circuit-music/.  having built many  
> 'musical interfaces' in the past, i've come to revel in the rawness  
> of circuit construction itself as a real-time compositional  
> framework.  it also has an aspect of David Tudor-like improvisation  
> involved with it, as it's difficult at times to make conscientious  
> decisions about the direction a given decision will take you, i.e.:  
> ultimately improvised.
>
> in any case, links to my work and other activities are below - let  
> me know if anything appropriate comes to mind!
>
> cheers!
> jamie allen
>
> jamie at heavyside.net
> http://heavyside.net/
>
>



From grobair at emusician.com  Wed Feb  7 10:06:44 2007
From: grobair at emusician.com (Robair, Gino)
Date: Wed, 07 Feb 2007 10:06:44 -0800
Subject: [NewMusic] Beatbox recipes
Message-ID: <C1EF5534.2CC7%grobair@emusician.com>

http://www.dailymotion.com/loranger/video/x12565_beatbox


From moestaiano1 at yahoo.com  Wed Feb  7 22:23:38 2007
From: moestaiano1 at yahoo.com (Moe! Staiano)
Date: Wed, 7 Feb 2007 22:23:38 -0800 (PST)
Subject: [NewMusic] Moe!kestra! date set for May!
Message-ID: <350477.21959.qm@web58701.mail.re1.yahoo.com>

Hello!

I finally got a date and venue for the 10th Anniversary show for Moekestra! It will be held at the Lab in San Francisco and the date is set for Friday, May 25th. Please let me know if you would like to participate in this. I am going to need a lot of musicians for this event (I am optimisticlly aiming for 100). There will be two pieces performed, a new one entitled Piece No.9: When Terrie Had Six, which needs the following: 

-Guitars
-Bass (electric)
-Drums (traps)
-Assorted percussion (xylophone, objects, bass drum, etc.)
-Reeds (Bass clarinets and clarinets)
-Strings (violins, violas, cellos, contrabasses - many needed!)
-Electronics (Laptops, analogs)

And ending the night will be the piece that started it all, Piece No.1: Death Of A Piano, which needs the following:

-Guitars
-Bass
-Drums
-Percussion (xylophones, etc.)
-Reeds (saxophones and clarinets)
 -Strings (violins, violas, cellos, contrabasses - many needed!)
-Trombones
-Theremins
-And maybe someone who can play on the doomed piano beside myself

Please feel free to forward this to as many musicians who may be interested. If you can play in this, please let me know. This will be a huge event and will be sponsored by KFJC and 21 Grand. Hope to hear from you soon. Cheers!


Moe! Staiano
  209-814-2524
  moestaiano1 at yahoo.com
  www.moestaiano.com 
  www.myspace.com/moestaianomoekestra
   
"Suicide is prepared within the silence of  the heart, 
as is a great work of art"
-  Albert Camus
 
---------------------------------
Don't be flakey. Get Yahoo! Mail for Mobile and 
always stay connected to friends.

From aurorarising at hotmail.com  Wed Feb  7 22:26:16 2007
From: aurorarising at hotmail.com (~ Aurora ~)
Date: Wed, 7 Feb 2007 22:26:16 -0800
Subject: [NewMusic] Catching Up with Pictures
Message-ID: <BAY124-W11AB576D6626E00E4EBD5ADD9D0@phx.gbl>

February 2nd & 3rd, 2007
Milkbar @ CounterPulse
http://www.aurorarising.com/Events/2.2.07.htm
 
January 28, 2007
Hazard & Joe Colley
http://www.aurorarising.com/Events/1.28.07.htm
 
January 28, 2007
Berkeley Repertory Theater
http://www.aurorarising.com/Events/1.28.07.1.htm
 
January 27, 2007
Noise + Film & Molecules
http://www.aurorarising.com/Events/1.27.07.htm
 
January 20 & 25, 2007
Alvin Curran at UC Santa Cruz & Recombinant
http://www.aurorarising.com/Events/1.20.07.htm
 
January 12, 2007
Caroliner @ CCA Playspace
http://www.aurorarising.com/Events/1.12.07.htm
 
January 5, 2007
Art Murmur
http://www.aurorarising.com/Events/1.5.07.htm
 
January 3, 2007
The Gowns
http://www.aurorarising.com/Events/1.3.07.htm Aurora Josephson 
http://www.aurorarising.com
 

From td at pixar.com  Thu Feb  8 08:40:47 2007
From: td at pixar.com (Tom Duff)
Date: Thu, 8 Feb 2007 08:40:47 -0800 (PST)
Subject: [NewMusic] Beatbox recipes
In-Reply-To: <C1EF5534.2CC7%grobair@emusician.com>
References: <C1EF5534.2CC7%grobair@emusician.com>
Message-ID: <Pine.LNX.4.63.0702080839250.2356@marvin.dynamic.pixar.com>

On Wed, 7 Feb 2007, Robair, Gino wrote:

> http://www.dailymotion.com/loranger/video/x12565_beatbox

And how about a Beatboxing flute player playing the Super Mario Brothers
Theme, along with a whole lot of other versions of same (incl. hand farts,
a capella, Er Hu, etc.):
http://www.fantent.com/2007/02/06/super-mario-brothers-theme-song-homemade-versions/

-- 
Tom Duff.  Fund the composer for more of this!

From mcbrzytwa at yahoo.com  Thu Feb  8 21:18:05 2007
From: mcbrzytwa at yahoo.com (maryclare brzytwa)
Date: Thu, 8 Feb 2007 21:18:05 -0800 (PST)
Subject: [NewMusic] NewMusic Digest, Vol 10, Issue 6
In-Reply-To: <mailman.2.1170997201.9102.newmusic@music.mills.edu>
Message-ID: <381343.10714.qm@web55104.mail.re4.yahoo.com>

That beat boxing flute player is named greg patillo and he is a good friend of mine from cleveland...he taught me everything I know about beat boxing.....when I first met him he showed me how to beat box "straight up now tell me" by paula abdul...
I'm playing with him this summer in newyork.
small world!

newmusic-request at music.mills.edu wrote: Send NewMusic mailing list submissions to
 newmusic at music.mills.edu

To subscribe or unsubscribe via the World Wide Web, visit
 http://music.mills.edu/mailman/listinfo/newmusic
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When replying, please edit your Subject line so it is more specific
than "Re: Contents of NewMusic digest..."
Today's Topics:

   1. Moe!kestra! date set for May! (Moe! Staiano)
   2. Catching Up with Pictures (~ Aurora ~)
   3. Re: Beatbox recipes (Tom Duff)
From: Moe! Staiano <moestaiano1 at yahoo.com>
To: Bay Area New Music Discussion <ba-newmus at eartha.mills.edu>
Date: Wed, 7 Feb 2007 22:23:38 -0800 (PST)
Subject: [NewMusic] Moe!kestra! date set for May!

 Hello!

I finally got a date and venue for the 10th Anniversary show for Moekestra! It will be held at the Lab in San Francisco and the date is set for Friday, May 25th. Please let me know if you would like to participate in this. I am going to need a lot of musicians for this event (I am optimisticlly aiming for 100). There will be two pieces performed, a new one entitled Piece No.9: When Terrie Had Six, which needs the following: 

-Guitars
-Bass (electric)
-Drums (traps)
-Assorted percussion (xylophone, objects, bass drum, etc.)
-Reeds (Bass clarinets and clarinets)
-Strings (violins, violas, cellos, contrabasses - many needed!)
-Electronics (Laptops, analogs)

And ending the night will be the piece that started it all, Piece No.1: Death Of A Piano, which needs the following:

-Guitars
-Bass
-Drums
-Percussion (xylophones, etc.)
-Reeds (saxophones and clarinets)
 -Strings (violins, violas, cellos, contrabasses - many needed!)
-Trombones
-Theremins
-And maybe someone who can play on the doomed piano beside myself

Please feel free to forward this to as many musicians who may be interested. If you can play in this, please let me know. This will be a huge event and will be sponsored by KFJC and 21 Grand. Hope to hear from you soon. Cheers!


Moe! Staiano
  209-814-2524
  moestaiano1 at yahoo.com
  www.moestaiano.com 
  www.myspace.com/moestaianomoekestra
   
"Suicide is prepared within the silence of  the heart, 
as is a great work of art"
-  Albert Camus
 
---------------------------------
Don't be flakey. Get Yahoo! Mail for Mobile and 
always stay connected to friends.
From: ~ Aurora ~ <aurorarising at hotmail.com>
To: Bay Area New Music List <ba-newmus at eartha.mills.edu>
Date: Wed, 7 Feb 2007 22:26:16 -0800
Subject: [NewMusic] Catching Up with Pictures

 February 2nd & 3rd, 2007
Milkbar @ CounterPulse
http://www.aurorarising.com/Events/2.2.07.htm
 
January 28, 2007
Hazard & Joe Colley
http://www.aurorarising.com/Events/1.28.07.htm
 
January 28, 2007
Berkeley Repertory Theater
http://www.aurorarising.com/Events/1.28.07.1.htm
 
January 27, 2007
Noise + Film & Molecules
http://www.aurorarising.com/Events/1.27.07.htm
 
January 20 & 25, 2007
Alvin Curran at UC Santa Cruz & Recombinant
http://www.aurorarising.com/Events/1.20.07.htm
 
January 12, 2007
Caroliner @ CCA Playspace
http://www.aurorarising.com/Events/1.12.07.htm
 
January 5, 2007
Art Murmur
http://www.aurorarising.com/Events/1.5.07.htm
 
January 3, 2007
The Gowns
http://www.aurorarising.com/Events/1.3.07.htm Aurora Josephson 
http://www.aurorarising.com
 
From: Tom Duff <td at pixar.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Date: Thu, 8 Feb 2007 08:40:47 -0800 (PST)
Subject: Re: [NewMusic] Beatbox recipes

 On Wed, 7 Feb 2007, Robair, Gino wrote:

> http://www.dailymotion.com/loranger/video/x12565_beatbox

And how about a Beatboxing flute player playing the Super Mario Brothers
Theme, along with a whole lot of other versions of same (incl. hand farts,
a capella, Er Hu, etc.):
http://www.fantent.com/2007/02/06/super-mario-brothers-theme-song-homemade-versions/

-- 
Tom Duff.  Fund the composer for more of this!

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


 
---------------------------------
Have a burning question? Go to Yahoo! Answers and get answers from real people who know.

From cypod25 at gmail.com  Thu Feb  8 21:50:54 2007
From: cypod25 at gmail.com (Cypod)
Date: Thu, 8 Feb 2007 21:50:54 -0800
Subject: [NewMusic] Net Neutrality!
Message-ID: <473c28030702082150s7acdca39r378c97ec89033cdc@mail.gmail.com>

Bassnectar sound collage:

http://thephatconductor.com/bassnectar_radio-phat_conductor_rantapella.mp3

From mattdavignon at gmail.com  Thu Feb  8 23:05:35 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 8 Feb 2007 23:05:35 -0800
Subject: [NewMusic] NewMusic Digest, Vol 10, Issue 6
In-Reply-To: <381343.10714.qm@web55104.mail.re4.yahoo.com>
References: <mailman.2.1170997201.9102.newmusic@music.mills.edu>
	<381343.10714.qm@web55104.mail.re4.yahoo.com>
Message-ID: <c70e517b0702082305n352eda36j7f9e3c2492a885f6@mail.gmail.com>

All right - now I want to hear you do that. :)

On 2/8/07, maryclare brzytwa <mcbrzytwa at yahoo.com> wrote:
> when I first met him he showed me how to beat box "straight up now tell me" by paula abdul...
> I'm playing with him this summer in newyork.
> small world!

From grobair at emusician.com  Fri Feb  9 09:39:47 2007
From: grobair at emusician.com (Robair, Gino)
Date: Fri, 09 Feb 2007 09:39:47 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F21A9F.A9A0%colecutsmusic@gmail.com>
Message-ID: <C1F1F1E3.2D85%grobair@emusician.com>

Hey y'all,
An FYI to those of you on the list who teach ... (not that any of us would
fall for such a ruse). [And, no Moe!, I get first dibs on that phrase in the
subject line as a future band name!]

------ Forwarded Message
> From: "P.Roehling" <Pete.Roehling at CUTOUTeee.org>
> Subject: Scammers Looking For Banjo Teachers!
> Date: Fri, 2 Feb 2007 12:01:17 -0800
> Newsgroups: alt.banjo,alt.banjo.clawhammer
> Message-ID: <12s764cpb2d9ia0 at corp.supernews.com>
> 
> Got two posts today from overseas. Both are from guys (?) who claim to be
> looking for banjo teachers for their sons. They also both claim their sons
> will be in America soon and want to pre-pay for their banjo lessons with
> "U.S. Certified Cashier's Checks" that they will send you before you ever
> see the kid.
> 
> This is an obvious variant on the "Nigerian Scam" where they send you a
> counterfeit check for more than the amount that they would actually owe, and
> have you send them the "change" via money order. Of course their "Cashier's
> Check" eventually bounces, and you end up being out the money you sent them.
> 
> I'm sure that most of you are aware of the Nigerian scams, but this is the
> first time I've ever seen someone try to pull one on music teachers -who can
> ill afford it- and I'd like to spread the word as far as possible and as
> quickly as possible in as many venues as possible. For instance, if anyone
> here also posts to BANJO-L, I'd appreciate it if you'd spread the
> information both there and anywhere else you can think of where music
> teachers of any sort will be likely to see it.
> 
> Let's protect our own.
> 
> Thanks,
> 
> Pete 
> 
> 



From polly.moller at gmail.com  Fri Feb  9 09:43:41 2007
From: polly.moller at gmail.com (Polly Moller)
Date: Fri, 9 Feb 2007 09:43:41 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F1F1E3.2D85%grobair@emusician.com>
References: <C1F21A9F.A9A0%colecutsmusic@gmail.com>
	<C1F1F1E3.2D85%grobair@emusician.com>
Message-ID: <2eb068d40702090943w6b6760c1k7d0597eab286f614@mail.gmail.com>

Gods.
I wanna be in that band.
I don't care what instrument they make me play.
I'll even wear a tiara.  ;)
P.

On 2/9/07, Robair, Gino <grobair at emusician.com> wrote:
> Hey y'all,
> An FYI to those of you on the list who teach ... (not that any of us would
> fall for such a ruse). [And, no Moe!, I get first dibs on that phrase in the
> subject line as a future band name!]
>
> ------ Forwarded Message
> > From: "P.Roehling" <Pete.Roehling at CUTOUTeee.org>
> > Subject: Scammers Looking For Banjo Teachers!
> > Date: Fri, 2 Feb 2007 12:01:17 -0800
> > Newsgroups: alt.banjo,alt.banjo.clawhammer
> > Message-ID: <12s764cpb2d9ia0 at corp.supernews.com>
> >
> > Got two posts today from overseas. Both are from guys (?) who claim to be
> > looking for banjo teachers for their sons. They also both claim their sons
> > will be in America soon and want to pre-pay for their banjo lessons with
> > "U.S. Certified Cashier's Checks" that they will send you before you ever
> > see the kid.
> >
> > This is an obvious variant on the "Nigerian Scam" where they send you a
> > counterfeit check for more than the amount that they would actually owe, and
> > have you send them the "change" via money order. Of course their "Cashier's
> > Check" eventually bounces, and you end up being out the money you sent them.
> >
> > I'm sure that most of you are aware of the Nigerian scams, but this is the
> > first time I've ever seen someone try to pull one on music teachers -who can
> > ill afford it- and I'd like to spread the word as far as possible and as
> > quickly as possible in as many venues as possible. For instance, if anyone
> > here also posts to BANJO-L, I'd appreciate it if you'd spread the
> > information both there and anywhere else you can think of where music
> > teachers of any sort will be likely to see it.
> >
> > Let's protect our own.
> >
> > Thanks,
> >
> > Pete
> >
> >
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>


-- 
-------------------------------------
http://www.pollymoller.com
-------------------------------------

From damon at balancepointacoustics.com  Fri Feb  9 09:44:13 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Fri, 9 Feb 2007 09:44:13 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F1F1E3.2D85%grobair@emusician.com>
References: <C1F1F1E3.2D85%grobair@emusician.com>
Message-ID: <51ed9a99a86833f1dd2dc82e29d5fe48@balancepointacoustics.com>

I get those for bass lessons from my craigslist ads.

Damon

On Feb 9, 2007, at 9:39 AM, Robair, Gino wrote:

> Hey y'all,
> An FYI to those of you on the list who teach ... (not that any of us 
> would
> fall for such a ruse). [And, no Moe!, I get first dibs on that phrase 
> in the
> subject line as a future band name!]
>
> ------ Forwarded Message
>> From: "P.Roehling" <Pete.Roehling at CUTOUTeee.org>
>> Subject: Scammers Looking For Banjo Teachers!
>> Date: Fri, 2 Feb 2007 12:01:17 -0800
>> Newsgroups: alt.banjo,alt.banjo.clawhammer
>> Message-ID: <12s764cpb2d9ia0 at corp.supernews.com>
>>
>> Got two posts today from overseas. Both are from guys (?) who claim 
>> to be
>> looking for banjo teachers for their sons. They also both claim their 
>> sons
>> will be in America soon and want to pre-pay for their banjo lessons 
>> with
>> "U.S. Certified Cashier's Checks" that they will send you before you 
>> ever
>> see the kid.
>>
>> This is an obvious variant on the "Nigerian Scam" where they send you 
>> a
>> counterfeit check for more than the amount that they would actually 
>> owe, and
>> have you send them the "change" via money order. Of course their 
>> "Cashier's
>> Check" eventually bounces, and you end up being out the money you 
>> sent them.
>>
>> I'm sure that most of you are aware of the Nigerian scams, but this 
>> is the
>> first time I've ever seen someone try to pull one on music teachers 
>> -who can
>> ill afford it- and I'd like to spread the word as far as possible and 
>> as
>> quickly as possible in as many venues as possible. For instance, if 
>> anyone
>> here also posts to BANJO-L, I'd appreciate it if you'd spread the
>> information both there and anywhere else you can think of where music
>> teachers of any sort will be likely to see it.
>>
>> Let's protect our own.
>>
>> Thanks,
>>
>> Pete
>>
>>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From 21grand at 21grand.org  Fri Feb  9 10:21:24 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Fri, 09 Feb 2007 10:21:24 -0800
Subject: [NewMusic]  The Nigerian Banjo Scam
Message-ID: <C1F1FBA4.18C6C%21grand@21grand.org>

The next SL Morse performance (some time in April) will be "Miriam Abacha's
Greatest Hits" ... if you ever wanted to know what "Dear Beloved in Christ"
sounds like in morse code, then will be your chance.

sl


From bradysharp at gmail.com  Fri Feb  9 10:58:23 2007
From: bradysharp at gmail.com (Brady Sharp)
Date: Fri, 9 Feb 2007 12:58:23 -0600
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <51ed9a99a86833f1dd2dc82e29d5fe48@balancepointacoustics.com>
References: <C1F1F1E3.2D85%grobair@emusician.com>
	<51ed9a99a86833f1dd2dc82e29d5fe48@balancepointacoustics.com>
Message-ID: <a7177e350702091058h76d96507pfe707b3d60e4d597@mail.gmail.com>

Related to Nigerian 419 scams, check out this scambaiting site,
419eater.com.  Click on the Trophy room.  Pretty funny stuff, although
some of these people get a little too close, and these scammers are
not people to be messed with from what I hear...

Brady

From 21grand at 21grand.org  Fri Feb  9 11:05:40 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Fri, 09 Feb 2007 11:05:40 -0800
Subject: [NewMusic]  The Nigerian Cthulhu Scam
Message-ID: <C1F20604.18C78%21grand@21grand.org>

There's also the HP Lovecraft episode:

http://www.geocities.com/steerp1ke/David_Ehi.html

sl


Brady Sharp wrote:
Related to Nigerian 419 scams, check out this scambaiting site,
419eater.com.  Click on the Trophy room.  Pretty funny stuff, although
some of these people get a little too close, and these scammers are
not people to be messed with from what I hear...

Brady


From michaelz at zoka.com  Fri Feb  9 13:08:26 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Fri, 9 Feb 2007 13:08:26 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F1FBA4.18C6C%21grand@21grand.org>
References: <C1F1FBA4.18C6C%21grand@21grand.org>
Message-ID: <p0602044ac1f29336ee0f@[192.168.0.5]>

On 2/9/07, Sarah - 21 Grand wrote:

>The next SL Morse performance (some time in April) will be "Miriam Abacha's
>Greatest Hits" ... if you ever wanted to know what "Dear Beloved in Christ"
>sounds like in morse code, then will be your chance.

Take a look at this nutty story from The New Yorker last year for 
more fun with Mrs. Abacha:

>THE PERFECT MARK
>How a Massachusetts psychotherapist fell for a Nigerian e-mail scam.
<http://www.newyorker.com/fact/content/articles/060515fa_fact>

MZ

--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From aanz at mindspring.com  Fri Feb  9 17:38:35 2007
From: aanz at mindspring.com (Alan Anzalone)
Date: Fri, 9 Feb 2007 17:38:35 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F1F1E3.2D85%grobair@emusician.com>
References: <C1F1F1E3.2D85%grobair@emusician.com>
Message-ID: <3CCC51FC-3118-4671-8CE3-A57FCB196007@mindspring.com>

Here's a couple of exchanges I had about a bass clarinet I listed on  
craigslist.

I am Alan Anzalone by name.
>>
Prospective Buyer #1
You can mail cash. The price is $750.00 plus $100.00 processing fee.  
I will not ship this item. You may pick it up no less than 30 days  
after I receive your payment. I am willing to deliver this fine  
instrument to you in Cotonou Benin for an additional $2500.00, plus  
expenses. Again, I must receive payment at least 45 days before  
delivery can be made. All funds must be in U.S. funds or Gold. My  
exchange rate for gold is $110. = 1 oz. gold. You stupid fuckin  
asshole. stay off the internet or i will kill you.



On Feb 4, 2007, at 6:20 AM, willians duke wrote:
** CRAIGSLIST ADVISORY --- AVOID SCAMS BY DEALING LOCALLY
** Avoid: wiring money, cross-border deals, work-at-home
** Beware: cashier checks, money orders, escrow, shipping
** More Info: http://www.craigslist.org/about/scams.html


   I have gone through your ad and have seen your  Bass Clarinet. I   
am very interested in buying it, i operate a music store here in   
cotonou benin. But can arrange your payment from where i am but that   
will take a week before it gets to you i can add $20 for the  
delay .If you are okay with that, kindly let me know if you will  
acept money orders as that is the
only means i can pay you at this moment. If  this is okay with you  
Give me your full name and address where i  should send payment to
   William


Prospective Buyer #2
I accept your new offer of $4000. for the Bundy Bass Clarinet. I  
accept only cash (US Dollars). When you have $4000. cash in US funds,  
email me and I will contact you with a location you can deposit the  
$4000. Once I have the payment in hand, I will contact you with a  
location you may retrieve the Bass Clarinet.

NOTE: I accept only cash (US funds), and will not ship this item.

P.S.,  The Bass Clarinet has been sold. If you still want to send me  
$4000., I will find another Bass Clarinet for you.

Thanks for being so amusing you idiot!


On Feb 5, 2007, at 1:04 PM, Caron Hanscom wrote:
I never wanted to offer you $3900 for the item. I said the check  
would consist of some other espenses such as the shipping and owed  
payments for previous frieghts handle by my shipping firm. Due to  
this. I am willing to add a $100 more for the item and would be  
especting to read back from you with your details if this works well  
with you.
Thanks.

Alan Anzalone <aanz at mindspring.com> wrote:
I accept your offer of $3900. for the Bundy Bass Clarinet. I accept  
only cash (US Dollars). When you have $3900. cash in US funds, email  
me and I will contact you with a location you can deposit the $3900.  
Once I have the payment in hand, I will contact you with a location  
you may retrieve the Bass Clarinet.

NOTE: I accept only cash (US funds), and will not ship this item.

On Feb 4, 2007, at 11:40 AM, Caron Hanscom wrote:
Thank you very much for the response. I have seen the advert and I am  
very satisfied with it. I want you to know that I will be paying you  
with a  cashiers cheque drawn from a bank
here in the states and  pickup has already been lined up from your  
location. For me to proceed, I want you to get back to me with your  
full name and address in which payment will be issued out . As soon  
as I have your details, I will get back to you with an advise on when  
to espect payment which will not take any of our time and for your  
information, A cheque for $3900 which will consist of payment,  
shipping and some other espenses for my shipping co. would be issued  
out to you. As soon as you have the cheque delivered to your provided  
address.  I will be especting an update from you for confirmation  
that, it has been delivered.
Then, I will advise you on how you proceed in which, You will  
probably get it cashed and as soon as it goes through you bank, You  
will deduct your
money for the payment and an advise on how you proceed with the  
remaining funds would be rendered to you after having funds in your  
hand.
By this time, there would be no
further hasle for both parties. Then, I will provide you with the  
shippers contact in which we proceed.
I am sure this arrangement goes well with you and would like you to  
get back to me with your
Full name :
Address:
Phone#:
NB: Get back to me with an advise as soon as possible.
I will be especting your response shortly.
Regards, Caron.


Alan Anzalone <aanz at mindspring.com> wrote:
Pickup and Cash only.

On Feb 4, 2007, at 6:40 AM, Caron Hanscom wrote:


Hi ?
            How are you today? I am Caron Hanscom by name. I am  
interested in these "Bass Clarinet, Bundyl" which you want to sell  
for $750. And willing to buy it as well. For us to proceed, I want  
you to get back to me with your terms and pickup or shipping  
arrangements. I look forward to your response shortly..
Caron.




From phil at philipgelb.com  Fri Feb  9 20:08:32 2007
From: phil at philipgelb.com (Philip Gelb)
Date: Fri, 9 Feb 2007 20:08:32 -0800 (PST)
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <C1F1F1E3.2D85%grobair@emusician.com>
Message-ID: <17025.21512.qm@web83401.mail.sp1.yahoo.com>

i get these messages fairly regularly from idiots
looking for a shakuhachi teacher for their kids. does
anyone actually fall for this stuff??

phil


Philip Gelb
shakuhachi player, teacher
vegetarian chef
http://philipgelb.com
http://myspace.com/inthemoodforfood
http://myspace.com/philipgelb

From pgsaxo at pacbell.net  Fri Feb  9 23:36:53 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Fri, 9 Feb 2007 23:36:53 -0800
Subject: [NewMusic] The Nigerian Banjo Scam
In-Reply-To: <3CCC51FC-3118-4671-8CE3-A57FCB196007@mindspring.com>
Message-ID: <000f01c74ce6$3cce4a90$4001a8c0@PG>

Like Damon and Alan, I have also been approached by people who want
lessons for their sons. They are going to send a cashier check, and want
to know how many lessons, and what the cost and what the address is
where they can send the check.

The first time around, I gave this guy my PO Box #. 
All I really got was harassed quite a bit with: "What? The check hasn't
arrived yet?"
This went on for a few months, and I kept saying, "Look, forget it. Go
away".
Then I read on Craig's list that you should beware of anyone that offers
to pay you with a cashier's check. So I wrote back to the guy and told
him I was going to report his email address. I never heard from him
again, but received other similar emails.

Fuck!
Making a living at this isn't hard enough; now we have to be preyed upon
as well.

PG



Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of Alan Anzalone
Sent: Friday, February 09, 2007 5:39 PM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] The Nigerian Banjo Scam

Here's a couple of exchanges I had about a bass clarinet I listed on  
craigslist.

I am Alan Anzalone by name.
>>
Prospective Buyer #1
You can mail cash. The price is $750.00 plus $100.00 processing fee.  
I will not ship this item. You may pick it up no less than 30 days  
after I receive your payment. I am willing to deliver this fine  
instrument to you in Cotonou Benin for an additional $2500.00, plus  
expenses. Again, I must receive payment at least 45 days before  
delivery can be made. All funds must be in U.S. funds or Gold. My  
exchange rate for gold is $110. = 1 oz. gold. You stupid fuckin  
asshole. stay off the internet or i will kill you.



On Feb 4, 2007, at 6:20 AM, willians duke wrote:
** CRAIGSLIST ADVISORY --- AVOID SCAMS BY DEALING LOCALLY
** Avoid: wiring money, cross-border deals, work-at-home
** Beware: cashier checks, money orders, escrow, shipping
** More Info: http://www.craigslist.org/about/scams.html


   I have gone through your ad and have seen your  Bass Clarinet. I   
am very interested in buying it, i operate a music store here in   
cotonou benin. But can arrange your payment from where i am but that   
will take a week before it gets to you i can add $20 for the  
delay .If you are okay with that, kindly let me know if you will  
acept money orders as that is the
only means i can pay you at this moment. If  this is okay with you  
Give me your full name and address where i  should send payment to
   William


Prospective Buyer #2
I accept your new offer of $4000. for the Bundy Bass Clarinet. I  
accept only cash (US Dollars). When you have $4000. cash in US funds,  
email me and I will contact you with a location you can deposit the  
$4000. Once I have the payment in hand, I will contact you with a  
location you may retrieve the Bass Clarinet.

NOTE: I accept only cash (US funds), and will not ship this item.

P.S.,  The Bass Clarinet has been sold. If you still want to send me  
$4000., I will find another Bass Clarinet for you.

Thanks for being so amusing you idiot!


On Feb 5, 2007, at 1:04 PM, Caron Hanscom wrote:
I never wanted to offer you $3900 for the item. I said the check  
would consist of some other espenses such as the shipping and owed  
payments for previous frieghts handle by my shipping firm. Due to  
this. I am willing to add a $100 more for the item and would be  
especting to read back from you with your details if this works well  
with you.
Thanks.

Alan Anzalone <aanz at mindspring.com> wrote:
I accept your offer of $3900. for the Bundy Bass Clarinet. I accept  
only cash (US Dollars). When you have $3900. cash in US funds, email  
me and I will contact you with a location you can deposit the $3900.  
Once I have the payment in hand, I will contact you with a location  
you may retrieve the Bass Clarinet.

NOTE: I accept only cash (US funds), and will not ship this item.

On Feb 4, 2007, at 11:40 AM, Caron Hanscom wrote:
Thank you very much for the response. I have seen the advert and I am  
very satisfied with it. I want you to know that I will be paying you  
with a  cashiers cheque drawn from a bank
here in the states and  pickup has already been lined up from your  
location. For me to proceed, I want you to get back to me with your  
full name and address in which payment will be issued out . As soon  
as I have your details, I will get back to you with an advise on when  
to espect payment which will not take any of our time and for your  
information, A cheque for $3900 which will consist of payment,  
shipping and some other espenses for my shipping co. would be issued  
out to you. As soon as you have the cheque delivered to your provided  
address.  I will be especting an update from you for confirmation  
that, it has been delivered.
Then, I will advise you on how you proceed in which, You will  
probably get it cashed and as soon as it goes through you bank, You  
will deduct your
money for the payment and an advise on how you proceed with the  
remaining funds would be rendered to you after having funds in your  
hand.
By this time, there would be no
further hasle for both parties. Then, I will provide you with the  
shippers contact in which we proceed.
I am sure this arrangement goes well with you and would like you to  
get back to me with your
Full name :
Address:
Phone#:
NB: Get back to me with an advise as soon as possible.
I will be especting your response shortly.
Regards, Caron.


Alan Anzalone <aanz at mindspring.com> wrote:
Pickup and Cash only.

On Feb 4, 2007, at 6:40 AM, Caron Hanscom wrote:


Hi ?
            How are you today? I am Caron Hanscom by name. I am  
interested in these "Bass Clarinet, Bundyl" which you want to sell  
for $750. And willing to buy it as well. For us to proceed, I want  
you to get back to me with your terms and pickup or shipping  
arrangements. I look forward to your response shortly..
Caron.



_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From letucepry at yahoo.com  Fri Feb  9 23:47:32 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Fri, 9 Feb 2007 23:47:32 -0800 (PST)
Subject: [NewMusic] South bay practice space
Message-ID: <20070210074736.78971.qmail@web50309.mail.yahoo.com>

Does anyone know of anyone who wants to share a practice space in the south bay, preferentially San Jose area....


lettuce

From moestaiano1 at yahoo.com  Sat Feb 10 15:08:19 2007
From: moestaiano1 at yahoo.com (Moe! Staiano)
Date: Sat, 10 Feb 2007 15:08:19 -0800 (PST)
Subject: [NewMusic] ROCK LOTTO - More participants needed
Message-ID: <17398.52383.qm@web58714.mail.re1.yahoo.com>

Hi!

Moe! Staiano here just saying that the ROCK LOTTO, set for March 30th, is still in high need of musicians who would like to participate. Those of you who are unfamiliar with the event, participants are drawn with other musicians to make up a band and create four or five new songs (or a 20-minute set), unimprovised, to be played in front of an audience at 21 Grand on March 30th. The amount of people who was interested that responded was low and so more interested parties are needed. If the turnout is low, I may have to forefit the show and postpone until a later date either later in the year or have it altogether next year around time same time. 

If interested, please email me your name, instrument that you want to play and anything else I may need to know. Thanks.


Moe! Staiano
  209-814-2524
  moestaiano1 at yahoo.com
  www.moestaiano.com 
  www.myspace.com/moestaianomoekestra
   
"Suicide is prepared within the silence of  the heart, 
as is a great work of art"
-  Albert Camus
 
---------------------------------
Need Mail bonding?
Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users.

From elsuperfantastico at yahoo.com  Mon Feb 12 15:54:43 2007
From: elsuperfantastico at yahoo.com (Chris Broderick)
Date: Mon, 12 Feb 2007 15:54:43 -0800 (PST)
Subject: [NewMusic] Jazz Robot
Message-ID: <578966.59445.qm@web53601.mail.yahoo.com>

Sax players!  It's official.  You are obsolete.

http://positiveapeindex.blogspot.com/2007/02/all-your-jazz-records-are-belong-to-us.html

-Chris



 
____________________________________________________________________________________
Bored stiff? Loosen up... 
Download and play hundreds of games for free on Yahoo! Games.
http://games.yahoo.com/games/front

From matthew at matthewgoodheart.com  Mon Feb 12 16:03:39 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Mon, 12 Feb 2007 16:03:39 -0800
Subject: [NewMusic] Jazz Robot
In-Reply-To: <578966.59445.qm@web53601.mail.yahoo.com>
References: <578966.59445.qm@web53601.mail.yahoo.com>
Message-ID: <74109d9db12fec7f51a2558708627271@matthewgoodheart.com>

After hearing so many jazz robots, it's nice to see one actually that's  
mechanical.

mg


On Feb 12, 2007, at 3:54 PM, Chris Broderick wrote:

> Sax players!  It's official.  You are obsolete.
>
> http://positiveapeindex.blogspot.com/2007/02/all-your-jazz-records- 
> are-belong-to-us.html
>
> -Chris
>
>
>
>
> _______________________________________________________________________ 
> _____________
> Bored stiff? Loosen up...
> Download and play hundreds of games for free on Yahoo! Games.
> http://games.yahoo.com/games/front
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From slusser at pixar.com  Mon Feb 12 16:09:36 2007
From: slusser at pixar.com (David Slusser)
Date: Mon, 12 Feb 2007 16:09:36 -0800
Subject: [NewMusic] Jazz Robot
In-Reply-To: <74109d9db12fec7f51a2558708627271@matthewgoodheart.com>
References: <578966.59445.qm@web53601.mail.yahoo.com>
	<74109d9db12fec7f51a2558708627271@matthewgoodheart.com>
Message-ID: <0EBB1258-C00E-4BFB-9D30-AB46AB93A56C@pixar.com>

Crappy tone, and it had 10 fingers for the upper horn alone - and didn't
show the other set operating the lower horn notes.  Maybe one of you
composers will write a piece for saxophone three hands.

On Feb 12, 2007, at 4:03 PM, Matthew Goodheart wrote:

> After hearing so many jazz robots, it's nice to see one actually  
> that's
> mechanical.
>
> mg
>
>
> On Feb 12, 2007, at 3:54 PM, Chris Broderick wrote:
>
>> Sax players!  It's official.  You are obsolete.
>>
>> http://positiveapeindex.blogspot.com/2007/02/all-your-jazz-records-
>> are-belong-to-us.html
>>
>> -Chris

From ingalls at mills.edu  Mon Feb 12 16:33:16 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Mon, 12 Feb 2007 16:33:16 -0800 (PST)
Subject: [NewMusic] Jazz Robot
In-Reply-To: <578966.59445.qm@web53601.mail.yahoo.com>
References: <578966.59445.qm@web53601.mail.yahoo.com>
Message-ID: <Pine.LNX.4.60.0702121633040.4302@myfiles.mills.edu>


it's a HOAX!!!!

On Mon, 12 Feb 2007, Chris Broderick wrote:

> Sax players!  It's official.  You are obsolete.
>
> http://positiveapeindex.blogspot.com/2007/02/all-your-jazz-records-are-belong-to-us.html
>
> -Chris
>
>
>
>
> ____________________________________________________________________________________
> Bored stiff? Loosen up...
> Download and play hundreds of games for free on Yahoo! Games.
> http://games.yahoo.com/games/front
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From matthew at matthewgoodheart.com  Mon Feb 12 19:30:50 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Mon, 12 Feb 2007 19:30:50 -0800
Subject: [NewMusic] Jazz Robot
In-Reply-To: <Pine.LNX.4.60.0702121633040.4302@myfiles.mills.edu>
References: <578966.59445.qm@web53601.mail.yahoo.com>
	<Pine.LNX.4.60.0702121633040.4302@myfiles.mills.edu>
Message-ID: <e1cab15cfb8080038385504ac5923bbc@matthewgoodheart.com>


On Feb 12, 2007, at 4:33 PM, Matt J. Ingalls wrote:

>
> it's a HOAX!!!!


Hoax is the most popular form of jazz.


From elsuperfantastico at yahoo.com  Mon Feb 12 19:41:39 2007
From: elsuperfantastico at yahoo.com (Chris Broderick)
Date: Mon, 12 Feb 2007 19:41:39 -0800 (PST)
Subject: [NewMusic] Jazz Robot
In-Reply-To: <e1cab15cfb8080038385504ac5923bbc@matthewgoodheart.com>
Message-ID: <81825.57740.qm@web53604.mail.yahoo.com>

Yeah, get that robot a player piano & a drum machine,
and you've got yourself some dinner music!

-Chris

--- Matthew Goodheart <matthew at matthewgoodheart.com>
wrote:

> 
> 
> Hoax is the most popular form of jazz.
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 



 
____________________________________________________________________________________
It's here! Your new message!  
Get new email alerts with the free Yahoo! Toolbar.
http://tools.search.yahoo.com/toolbar/features/mail/

From michaelz at zoka.com  Mon Feb 12 23:10:56 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Mon, 12 Feb 2007 23:10:56 -0800
Subject: [NewMusic] Jazz Robot
In-Reply-To: <81825.57740.qm@web53604.mail.yahoo.com>
References: <81825.57740.qm@web53604.mail.yahoo.com>
Message-ID: <p06020421c1f713da4b4a@[192.168.0.5]>

On 2/12/07, Chris Broderick wrote:

>Yeah, get that robot a player piano & a drum machine,
>and you've got yourself some dinner music!

Why not introduce RoboSax to this guy?

<http://www.techeblog.com/index.php/tech-gadget/toyotas-trumpet-playing-robot>

But he started playing a couple of years ago, so he probably thinks 
he's too advanced for RoboSax.

MZ

--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From grobair at emusician.com  Tue Feb 13 09:28:00 2007
From: grobair at emusician.com (Robair, Gino)
Date: Tue, 13 Feb 2007 09:28:00 -0800
Subject: [NewMusic] Bananas and bodies as theremins
In-Reply-To: <000c01c74f8f$b3afa9a0$0e00a8c0@ASA22>
Message-ID: <C1F73520.2E6D%grobair@emusician.com>

>From the TermenCenter

http://www.youtube.com/watch?v=Mra34_SlERg&mode=user&search
<http://www.youtube.com/watch?v=Mra34_SlERg&amp;mode=user&amp;search> =
http://www.youtube.com/watch?v=WfVeVhYOrQI&mode=user&search
<http://www.youtube.com/watch?v=WfVeVhYOrQI&amp;mode=user&amp;search> =



From grobair at emusician.com  Tue Feb 13 09:57:43 2007
From: grobair at emusician.com (Robair, Gino)
Date: Tue, 13 Feb 2007 09:57:43 -0800
Subject: [NewMusic] Slaves to off-the-shelf software?
Message-ID: <C1F73C17.2E7D%grobair@emusician.com>

A topic I've been interested in since I first visited Mills, when HMSL was
king....
http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5


From slusser at pixar.com  Tue Feb 13 10:44:38 2007
From: slusser at pixar.com (David Slusser)
Date: Tue, 13 Feb 2007 10:44:38 -0800
Subject: [NewMusic] was Bananas and bodies as theremins
In-Reply-To: <C1F73520.2E6D%grobair@emusician.com>
References: <C1F73520.2E6D%grobair@emusician.com>
Message-ID: <99E62151-6E8F-4D31-9703-C9FBA6C3C8CE@pixar.com>

On Feb 13, 2007, at 9:28 AM, Robair, Gino wrote:

> http://www.youtube.com/watch?v=Mra34_SlERg&mode=user&search


Here's something a little more elegant:

http://www.poetv.com/video.php?vid=8728

...visually reminds me of The Day The Earth Stood Still and
Forbidden Planet (but the music isn't as funky as the Krell's).

From pgsaxo at pacbell.net  Tue Feb 13 10:49:07 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Tue, 13 Feb 2007 10:49:07 -0800
Subject: [NewMusic] free websites for local bay area artsts
In-Reply-To: <C1F73520.2E6D%grobair@emusician.com>
Message-ID: <001301c74f9f$ac8e26a0$4001a8c0@PG>

Hey Folks,

Tim DuRoche sent this to me - it's a way that "poor" artists like us can
get free websites to promote our work, etc.

Check it out...



Good news for po' improvisers!!

Nonprofits, arts organizations, artists and minority-owned businesses
qualify for free Web sites from an arts partnership in the S.F. Bay Area
if they apply before February 23, 2007. The Community Arts Mentorship
Class at California College for the Arts' Center for Art in Public Life
has formed a service-learning partnership with the enterprising Bayview
Hunters Point Center for Art & Technology. Gino Squadrito professional
designer and CCA faculty member, will teach a Web Design Production
Studio 2 class this semester in which CCA students will mentor
high-school students. Set up as a design firm, class members will work
together in small teams to design Web sites for the community free of
charge. Students will learn design, production and publishing for
application in community art and education contexts. Apply:
ginosq at sbcglobal.net.



Go to this entry:
http://www.communityarts.net/apinews/archivefiles/2007/02/caa_baycat_off
e.php

Cancel this subscription:
http://www.communityarts.net/mt/plugins/Notifier/mt-notifier.cgi?c=r4b5Q
OJfzEQGI&u=1

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Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com



From tjohns at mills.edu  Tue Feb 13 10:49:57 2007
From: tjohns at mills.edu (Travis C. Johns)
Date: Tue, 13 Feb 2007 10:49:57 -0800
Subject: [NewMusic] Slaves to off-the-shelf software?
In-Reply-To: <C1F73C17.2E7D%grobair@emusician.com>
References: <C1F73C17.2E7D%grobair@emusician.com>
Message-ID: <1171392597.45d20855ef429@webmail.mills.edu>

Wow, has a day ever gone by when Momus hasn't had something to rail
against? Then again, the article was quite elegant and sophisticated -
being that it came from an artist whose discography includes quite a
high percentage of harpsichord-addled odes to his penis...

My opinion: Software = tool. Computer = tool. Guitar = tool. Effects box
= tool. Staff paper - tool. Amplified bucket of mud - tool. "Prepared"
parakeet... well, you see where I'm going with this. Granted, yes, the
over-commodification of software and plugins, etc has lead to some
pretty generic, homogenous-sounding, "look how tech-savvy I can be
without really knowing what I'm doing..." type music/video/ etcetcetc -
but at the same time, hasn't there always been generic,
homogenous-sounding commodity-music/video/etcetcetc??? Why is it
suddenly so vogue to blame the technology and the software for creating
mundane compo-slop? Let's face it - computers only do what you tell
them to do so the blame on this one is on the collective "us."

And true, many, many companies offer oodles and oodles of flashy voices,
plug-ins and effects with even more oodles of snazzy presets for
out-of-the-box satisfaction, but that doesn't mean you have to use
them! Explore! Tweak! Make something original - I dare you! Try to do
something you wouldn't expect your flashy new box to do...

Whoops, out of nickels for the soapbox machine - next contestant please!

t.

Quoting "Robair, Gino" <grobair at emusician.com>:

> A topic I've been interested in since I first visited Mills, when
> HMSL was
> king....
> http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From miltnerunit at gmail.com  Tue Feb 13 11:54:16 2007
From: miltnerunit at gmail.com (kristin miltner)
Date: Tue, 13 Feb 2007 11:54:16 -0800
Subject: [NewMusic] Slaves to off-the-shelf software?
In-Reply-To: <1171392597.45d20855ef429@webmail.mills.edu>
References: <C1F73C17.2E7D%grobair@emusician.com>
	<1171392597.45d20855ef429@webmail.mills.edu>
Message-ID: <ef1ad92c0702131154g781e0d7pcd86bc52b60f15d0@mail.gmail.com>

I always hear comments like "this sounds like max" (very rarely -- i think
in reference to the rhythms you can immediately generate from Max using
metro and counter, is my theory, but i am not sure. Matt Davignon says this,
but i have yet to uncover exactly which qualities of the sound he is
referring to) or especially "this sounds like Live" in reference to
electronic music.  The time compression in Live has a trademark sound. I
have heard this characteristic of Live exploited extremely successfully,
like in Bevin Kelley's work, and then i've heard your basic loop music. Just
like someone being unimaginative with a guitar, you can tell when someone's
being unimaginative with their software. It works the same way; there are so
many levels of mastering your instrument.

On 2/13/07, Travis C. Johns <tjohns at mills.edu> wrote:
>
> Wow, has a day ever gone by when Momus hasn't had something to rail
> against? Then again, the article was quite elegant and sophisticated -
> being that it came from an artist whose discography includes quite a
> high percentage of harpsichord-addled odes to his penis...
>
> My opinion: Software = tool. Computer = tool. Guitar = tool. Effects box
> = tool. Staff paper - tool. Amplified bucket of mud - tool. "Prepared"
> parakeet... well, you see where I'm going with this. Granted, yes, the
> over-commodification of software and plugins, etc has lead to some
> pretty generic, homogenous-sounding, "look how tech-savvy I can be
> without really knowing what I'm doing..." type music/video/ etcetcetc -
> but at the same time, hasn't there always been generic,
> homogenous-sounding commodity-music/video/etcetcetc??? Why is it
> suddenly so vogue to blame the technology and the software for creating
> mundane compo-slop? Let's face it - computers only do what you tell
> them to do so the blame on this one is on the collective "us."
>
> And true, many, many companies offer oodles and oodles of flashy voices,
> plug-ins and effects with even more oodles of snazzy presets for
> out-of-the-box satisfaction, but that doesn't mean you have to use
> them! Explore! Tweak! Make something original - I dare you! Try to do
> something you wouldn't expect your flashy new box to do...
>
> Whoops, out of nickels for the soapbox machine - next contestant please!
>
> t.
>
> Quoting "Robair, Gino" <grobair at emusician.com>:
>
> > A topic I've been interested in since I first visited Mills, when
> > HMSL was
> > king....
> > http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From amar at ptank.com  Tue Feb 13 12:17:51 2007
From: amar at ptank.com (amar at ptank.com)
Date: Tue, 13 Feb 2007 12:17:51 -0800 (PST)
Subject: [NewMusic] Slaves to off-the-shelf software?
In-Reply-To: <ef1ad92c0702131154g781e0d7pcd86bc52b60f15d0@mail.gmail.com>
References: <C1F73C17.2E7D%grobair@emusician.com>
	<1171392597.45d20855ef429@webmail.mills.edu>
	<ef1ad92c0702131154g781e0d7pcd86bc52b60f15d0@mail.gmail.com>
Message-ID: <22717.198.95.32.195.1171397871.squirrel@198.95.32.195>

I don't really buy into a "max" sound (though there are sounds that peg
the institutions where it's popular).  But there are definitely sounds
attached to other software, particularly to synthesizers, and complete
packages like Live - but so what?  Indeed, why is that any different from
recognizing any other instrument?

  -Amar




http://www.amar-music.info
http://www.myspace.com/amarchaudhary



> I always hear comments like "this sounds like max" (very rarely -- i think
> in reference to the rhythms you can immediately generate from Max using
> metro and counter, is my theory, but i am not sure. Matt Davignon says
> this,
> but i have yet to uncover exactly which qualities of the sound he is
> referring to) or especially "this sounds like Live" in reference to
> electronic music.  The time compression in Live has a trademark sound. I
> have heard this characteristic of Live exploited extremely successfully,
> like in Bevin Kelley's work, and then i've heard your basic loop music.
> Just
> like someone being unimaginative with a guitar, you can tell when
> someone's
> being unimaginative with their software. It works the same way; there are
> so
> many levels of mastering your instrument.
>
> On 2/13/07, Travis C. Johns <tjohns at mills.edu> wrote:
>>
>> Wow, has a day ever gone by when Momus hasn't had something to rail
>> against? Then again, the article was quite elegant and sophisticated -
>> being that it came from an artist whose discography includes quite a
>> high percentage of harpsichord-addled odes to his penis...
>>
>> My opinion: Software = tool. Computer = tool. Guitar = tool. Effects box
>> = tool. Staff paper - tool. Amplified bucket of mud - tool. "Prepared"
>> parakeet... well, you see where I'm going with this. Granted, yes, the
>> over-commodification of software and plugins, etc has lead to some
>> pretty generic, homogenous-sounding, "look how tech-savvy I can be
>> without really knowing what I'm doing..." type music/video/ etcetcetc -
>> but at the same time, hasn't there always been generic,
>> homogenous-sounding commodity-music/video/etcetcetc??? Why is it
>> suddenly so vogue to blame the technology and the software for creating
>> mundane compo-slop? Let's face it - computers only do what you tell
>> them to do so the blame on this one is on the collective "us."
>>
>> And true, many, many companies offer oodles and oodles of flashy voices,
>> plug-ins and effects with even more oodles of snazzy presets for
>> out-of-the-box satisfaction, but that doesn't mean you have to use
>> them! Explore! Tweak! Make something original - I dare you! Try to do
>> something you wouldn't expect your flashy new box to do...
>>
>> Whoops, out of nickels for the soapbox machine - next contestant please!
>>
>> t.
>>
>> Quoting "Robair, Gino" <grobair at emusician.com>:
>>
>> > A topic I've been interested in since I first visited Mills, when
>> > HMSL was
>> > king....
>> > http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5
>> >
>> > _______________________________________________
>> > Bay Area New Music Discussion Group
>> > NewMusic at music.mills.edu
>> > http://music.mills.edu/mailman/listinfo/newmusic
>> >
>>
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From 21grand at 21grand.org  Tue Feb 13 12:40:02 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 12:40:02 -0800
Subject: [NewMusic]  Slaves to off-the-shelf software?
Message-ID: <C1F76222.18ECC%21grand@21grand.org>

Travis wrote:
but at the same time, hasn't there always been generic,
homogenous-sounding commodity-music/video/etcetcetc???

- yes, going back to those cave paintings at Lescaux.

Why is it suddenly so vogue to blame the technology and the software for
creating mundane compo-slop?

- because more people are making it. Because the technology and the software
are even more accessible now than ever, so there is more of it. I think
there's this additional assumption based on the notion that computers allow
for so many more variations and options that are widely different from one
another, and thus are a "blanker" slate than an acoustic instrument.

sl 


From bthrew at gmail.com  Tue Feb 13 12:58:15 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 12:58:15 -0800
Subject: [NewMusic] Slaves to off-the-shelf software?
In-Reply-To: <22717.198.95.32.195.1171397871.squirrel@198.95.32.195>
References: <C1F73C17.2E7D%grobair@emusician.com>	<1171392597.45d20855ef429@webmail.mills.edu>	<ef1ad92c0702131154g781e0d7pcd86bc52b60f15d0@mail.gmail.com>
	<22717.198.95.32.195.1171397871.squirrel@198.95.32.195>
Message-ID: <45D22667.8070708@gmail.com>

I've been thinking about the problem of interface design and its 
insidious qualities a lot lately, as I have been involved in making more 
generalize interfaces for composition and performance.   This is not a 
new problem, but one that is seemingly inescapable.  By necessity we 
have to abstract something to not make the sheer amount of options 
present in computer composition (or, in a possibly smaller infinity, 
traditional composition) overwhelming.

This is just as true of synthesis languages, and even more general 
purpose programming languages.  When you have been involved with a 
couple for some period of time, you inevitably run into a situation 
where you can't figure out how to solve  a problem using language X but 
could think very easily of how to solve the issue in another.  I guess a 
useful metaphor would be trying to explain colloquial expressions in 
English to someone whose native tongue was Swahili.    (side note: 
there is a section in Hofstader's Godel, Escher, Bach where he 
translates Lewis Carrol's Jabberwocky into French and German.  Consider 
that a book recommendation.)

Any time you create a framework, or an application, you do it for the 
*purpose* of hiding away less relevant information so that the choices 
presented to you are such that you can effectively complete the task at 
hand (see Travis "tools" notes.)  This problem exists equally for 
traditional instruments: The interface of the saxophone invites you to 
approach  playing it in a certain way.

The major difference with computer technology, and why it seems to be 
blamed more in this regard, is because our current stage of tools is not 
difficult in the same way traditional musical instruments are difficult. 
    It is physically challenging to play the saxophone, or piano, or 
bass, or anything.  You must play enough to make the interface between 
your body and the instrument become transparent, and this type of 
seamless interaction takes years to develop.  Now, software instruments 
take years of practice to become fluent in too, but the learning curve 
is not as readily apparent to us because it is primarily mental, not a 
physical barrier that immediately confronts us.

In the same respect I would consider it an easier task for me to learn 
spanish than to learn how to free climb mountains.  However (and I am 
purely speculating, but I think the point remains) a similar amount of 
dedicated  training in both disciplines would probably place you at 
roughly similar points in the learning curve of each.

This is both one of the greatest boons and downfalls of the 
democratization of our technological tools. It makes things seems easy, 
but in actuality there are deeper concepts to grasp that aren't apparent 
at first. The inherent ability to for distribution of digital media also 
allows a higher portion of beginner work to   reach the world.  My 
techno-vangilism aside, this is a real issue  but I think it will 
probably be eased culturally.

$0.02

b

amar at ptank.com wrote:
> I don't really buy into a "max" sound (though there are sounds that peg
> the institutions where it's popular).  But there are definitely sounds
> attached to other software, particularly to synthesizers, and complete
> packages like Live - but so what?  Indeed, why is that any different from
> recognizing any other instrument?
> 
>   -Amar
> 
> 
> 
> 
> http://www.amar-music.info
> http://www.myspace.com/amarchaudhary
> 
> 
> 
>> I always hear comments like "this sounds like max" (very rarely -- i think
>> in reference to the rhythms you can immediately generate from Max using
>> metro and counter, is my theory, but i am not sure. Matt Davignon says
>> this,
>> but i have yet to uncover exactly which qualities of the sound he is
>> referring to) or especially "this sounds like Live" in reference to
>> electronic music.  The time compression in Live has a trademark sound. I
>> have heard this characteristic of Live exploited extremely successfully,
>> like in Bevin Kelley's work, and then i've heard your basic loop music.
>> Just
>> like someone being unimaginative with a guitar, you can tell when
>> someone's
>> being unimaginative with their software. It works the same way; there are
>> so
>> many levels of mastering your instrument.
>>
>> On 2/13/07, Travis C. Johns <tjohns at mills.edu> wrote:
>>> Wow, has a day ever gone by when Momus hasn't had something to rail
>>> against? Then again, the article was quite elegant and sophisticated -
>>> being that it came from an artist whose discography includes quite a
>>> high percentage of harpsichord-addled odes to his penis...
>>>
>>> My opinion: Software = tool. Computer = tool. Guitar = tool. Effects box
>>> = tool. Staff paper - tool. Amplified bucket of mud - tool. "Prepared"
>>> parakeet... well, you see where I'm going with this. Granted, yes, the
>>> over-commodification of software and plugins, etc has lead to some
>>> pretty generic, homogenous-sounding, "look how tech-savvy I can be
>>> without really knowing what I'm doing..." type music/video/ etcetcetc -
>>> but at the same time, hasn't there always been generic,
>>> homogenous-sounding commodity-music/video/etcetcetc??? Why is it
>>> suddenly so vogue to blame the technology and the software for creating
>>> mundane compo-slop? Let's face it - computers only do what you tell
>>> them to do so the blame on this one is on the collective "us."
>>>
>>> And true, many, many companies offer oodles and oodles of flashy voices,
>>> plug-ins and effects with even more oodles of snazzy presets for
>>> out-of-the-box satisfaction, but that doesn't mean you have to use
>>> them! Explore! Tweak! Make something original - I dare you! Try to do
>>> something you wouldn't expect your flashy new box to do...
>>>
>>> Whoops, out of nickels for the soapbox machine - next contestant please!
>>>
>>> t.
>>>
>>> Quoting "Robair, Gino" <grobair at emusician.com>:
>>>
>>>> A topic I've been interested in since I first visited Mills, when
>>>> HMSL was
>>>> king....
>>>> http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5
>>>>
>>>> _______________________________________________
>>>> Bay Area New Music Discussion Group
>>>> NewMusic at music.mills.edu
>>>> http://music.mills.edu/mailman/listinfo/newmusic
>>>>
>>>
>>> _______________________________________________
>>> Bay Area New Music Discussion Group
>>> NewMusic at music.mills.edu
>>> http://music.mills.edu/mailman/listinfo/newmusic
>>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
> 
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

(if you would see the stars clearly,
look hard at the surrounding darkness)
		-Ooka Makoto

From bthrew at gmail.com  Tue Feb 13 13:06:11 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 13:06:11 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the art
	object
Message-ID: <45D22843.1020009@gmail.com>

I didn't see anyone else from this list there...or were you?

It was a pretty interesting dialog, the better parts of it were when it 
was more directly applied to Matmos' music.  Drew talked for about an 
hour non-stop, he certainly has fluency with the theory.  It was mostly 
about conceptual art, and the definition of the art-object to the grey 
area in between the actual work and the concepts behind it.

There was also some discussion of purely conceptual art.  As evidenced 
by the earlier Cage-Cellphone discussion, I normally call bullshit on 
that kind of thing, with a few exceptions.  However, the discussion here 
was about even more abstract works,  where there is no actual 
deliverable involved.  (driving down the highway from LA to LV at 90mph, 
a typewriter gets thrown out the window).

i wonder why it is even necessary to make conceptual art.  isn't just 
saying "I make conceptual art." enough.  am I now a meta-conceptual artist?

b

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

(if you would see the stars clearly,
look hard at the surrounding darkness)
		-Ooka Makoto

From 21grand at 21grand.org  Tue Feb 13 13:17:41 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 13:17:41 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the
	art	object
Message-ID: <C1F76AF5.18ED8%21grand@21grand.org>

Barry wrote:
I didn't see anyone else from this list there...or were you?

- I wanted to go and made a point of checking the date when Drew mentioned
it at a 21 Grand show a while back ... but we had a show last night, that
was really great. I actually got to see Zs full set - when they played last
July I missed half of it because I had to go on a beer run. Ettrick and
Sword & Sandals both played really well - it's been cool to see how Jacob
and Jay have developed as a duo in the past year or so.

However, the discussion here
was about even more abstract works,  where there is no actual
deliverable involved.  (driving down the highway from LA to LV at 90mph,
a typewriter gets thrown out the window).

- I've seen documentation of this - that's the "ironic" thing about
conceptual art, it regularly gets turned into objects. The photo of the
typewriter by the side of road is quite nice.

sl


From praemedia at yahoo.com  Tue Feb 13 13:19:11 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 13:19:11 -0800 (PST)
Subject: [NewMusic] matmos lecture: the re-dematerialization of the art
	object
In-Reply-To: <45D22843.1020009@gmail.com>
Message-ID: <20070213211911.78909.qmail@web51601.mail.yahoo.com>

> I didn't see anyone else from this list there...or
> were you?


argh! had no idea it was happening.....





 
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Everyone is raving about the all-new Yahoo! Mail beta.
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From 21grand at 21grand.org  Tue Feb 13 13:34:35 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 13:34:35 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the
	art	object
Message-ID: <C1F76EEB.18EE0%21grand@21grand.org>

Barry the genius wrote:
i wonder why it is even necessary to make conceptual art.


- Why is it necessary to make any art or music?

 isn't just 
saying "I make conceptual art." enough.

- No. Besides, that's invariably been done.

  am I now a meta-conceptual artist?

- No, you're the equivalent of someone playing the preset song on the Casio
mini-keyboard I got for Christmas when I was 9.

While we're on the subject, here's a link to something I wrote about local
conceptual artists, including Mr. Jon Brumit and Matt Volla, whom some of
you know.

http://www.atasite.org/zine/issue4/lockhart/

sl


From letucepry at yahoo.com  Tue Feb 13 13:44:59 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Tue, 13 Feb 2007 13:44:59 -0800 (PST)
Subject: [NewMusic] Slaves to off-the-shelf software?
Message-ID: <272521.10211.qm@web50315.mail.yahoo.com>

I think that there may also be an added level of "the computer is doing all of that" cynicism that is inserted when using computers, that is not there with say the sousaphone. If you hear someone doing incredible things with a sousaphone, you pretty much think that they're a virtuoso, with computers, you are suspect, as we all know computers can play back things with limits only determined by the skill of thier programmers. So we get really suspect of someone who sounds like they've been honing thier musical skill for 20 years when they're sitting behind a laptop (since a robot can now play Giant Steps)...

I've seen this kind of things with younger kids (those that have never seen a world without photoshop) where they don't appreciate a real photograph, and automatically assume that anything spectacular has been photo-shopped together....


lettuce

----- Original Message ----
From: kristin miltner <miltnerunit at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Tuesday, February 13, 2007 11:54:16 AM
Subject: Re: [NewMusic] Slaves to off-the-shelf software?


I always hear comments like "this sounds like max" (very rarely -- i think
in reference to the rhythms you can immediately generate from Max using
metro and counter, is my theory, but i am not sure. Matt Davignon says this,
but i have yet to uncover exactly which qualities of the sound he is
referring to) or especially "this sounds like Live" in reference to
electronic music.  The time compression in Live has a trademark sound. I
have heard this characteristic of Live exploited extremely successfully,
like in Bevin Kelley's work, and then i've heard your basic loop music. Just
like someone being unimaginative with a guitar, you can tell when someone's
being unimaginative with their software. It works the same way; there are so
many levels of mastering your instrument.

On 2/13/07, Travis C. Johns <tjohns at mills.edu> wrote:
>
> Wow, has a day ever gone by when Momus hasn't had something to rail
> against? Then again, the article was quite elegant and sophisticated -
> being that it came from an artist whose discography includes quite a
> high percentage of harpsichord-addled odes to his penis...
>
> My opinion: Software = tool. Computer = tool. Guitar = tool. Effects box
> = tool. Staff paper - tool. Amplified bucket of mud - tool. "Prepared"
> parakeet... well, you see where I'm going with this. Granted, yes, the
> over-commodification of software and plugins, etc has lead to some
> pretty generic, homogenous-sounding, "look how tech-savvy I can be
> without really knowing what I'm doing..." type music/video/ etcetcetc -
> but at the same time, hasn't there always been generic,
> homogenous-sounding commodity-music/video/etcetcetc??? Why is it
> suddenly so vogue to blame the technology and the software for creating
> mundane compo-slop? Let's face it - computers only do what you tell
> them to do so the blame on this one is on the collective "us."
>
> And true, many, many companies offer oodles and oodles of flashy voices,
> plug-ins and effects with even more oodles of snazzy presets for
> out-of-the-box satisfaction, but that doesn't mean you have to use
> them! Explore! Tweak! Make something original - I dare you! Try to do
> something you wouldn't expect your flashy new box to do...
>
> Whoops, out of nickels for the soapbox machine - next contestant please!
>
> t.
>
> Quoting "Robair, Gino" <grobair at emusician.com>:
>
> > A topic I've been interested in since I first visited Mills, when
> > HMSL was
> > king....
> > http://www.wired.com/news/columns/0,72705-0.html?tw=wn_index_5
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From bthrew at gmail.com  Tue Feb 13 14:23:59 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 14:23:59 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the	art
 object
In-Reply-To: <C1F76EEB.18EE0%21grand@21grand.org>
References: <C1F76EEB.18EE0%21grand@21grand.org>
Message-ID: <45D23A7F.7060901@gmail.com>

 > - Barry the genius wrote:

Genius?  Thanks.  You want to be my valentine?

> - Why is it necessary to make any art or music?

The difference is, when you make other kinds of art or music, you 
actually make something. I do see this as important, and not as simply 
an issue of craft.

> - No. 

Why not?  Is it my intention? Is that really what makes an art work? 
Given, it can't be ignored...but there was a real point which got 
glossed over in my statement; does this conceptual artwork have value in 
itself, or simply contextually in proving   a point, that this kind of 
thing can exist, that the concept is as "physical" and valid an object 
as any "real" object.  This is pretty much a foundational building block 
of any digital practitioner.  However, in the event that the concept is 
as valid as a physical art piece, I re-ask the question,  Why is it 
necessary to make any art or music?

Its rhetorical for me; Because we live in an actual world.

Side question, what is the role of the artist if we accept purely 
conceptual art?  I would think, ideally, there is no more artist.  In 
the future no one will be famous. Everyone has equal ability to make 
this kind of work, and is limited only by their distribution channels. 
Channels that are limited to the privileged.  In this since the 
conceptual artist has not eschewed the object oriented materialist art 
world paradigm any more than anyone else.

> - Besides, that's invariably been done.

Eh.  Prove it.  I think I was the first.

> - No, you're the equivalent of someone playing the preset song on the Casio
> mini-keyboard I got for Christmas when I was 9.

And there are some people who would see that as a valid art statement. 
Hell, by these conceptual art precedents, the act of you pressing the 
button to play that preset song was in itself some kind of statement 
about technology and music in the age of mechanical reproduction.  I 
could see it now.  Some asshole goes up on stage, presses a button on a 
casio, and looks very austere.  By sheer hubris and wordplay they 
convince an audience that it is a worthwhile statement.  Where does it 
stop?  With what amount of verbal jacking-off do we finally say, 
"enough, this is ridiculous".

Haven't gotten to the article.  Will peruse.

b

> While we're on the subject, here's a link to something I wrote about local
> conceptual artists, including Mr. Jon Brumit and Matt Volla, whom some of
> you know.
> 
> http://www.atasite.org/zine/issue4/lockhart/
> 
> sl
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

Today, Noise is triumphant and reigns sovereign over the sensibility of men.
- Luigi Russolo, The Art of Noises

From praemedia at yahoo.com  Tue Feb 13 14:31:12 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 14:31:12 -0800 (PST)
Subject: [NewMusic] art object and the object of art
In-Reply-To: <45D23A7F.7060901@gmail.com>
Message-ID: <20070213223112.7961.qmail@web51601.mail.yahoo.com>

> The difference is, when you make other kinds of art
> or music, you 
> actually make something. I do see this as important,
> and not as simply 
> an issue of craft.

This would imply that the recorded disc or the score
is more important the performance itself. learning the
craft of an instrument is a conceptual form as is the
performance.

> thing can exist, that the concept is as "physical"
> and valid an object 
> as any "real" object.  This is pretty much a
> foundational building block 
> of any digital practitioner.  However, in the event
> that the concept is 
> as valid as a physical art piece, I re-ask the
> question,  Why is it 
> necessary to make any art or music?

You'll have to explain what you mean by the "real
object" in, for example, music.
 
> reproduction.  I 
> could see it now.  Some asshole goes up on stage,
> presses a button on a 
> casio, and looks very austere.  By sheer hubris and
> wordplay they 
> convince an audience that it is a worthwhile
> statement. 

I would call his art "acting" or "politics" rather
than music ... but none of it produces any "real
object" so none of it's valid anyway I suppose.

lance





 
____________________________________________________________________________________
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From 21grand at 21grand.org  Tue Feb 13 14:32:47 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 14:32:47 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the
	art	object
Message-ID: <C1F77C8F.18EE3%21grand@21grand.org>

Barry wrote:

> - No, you're the equivalent of someone playing the preset song on the Casio
> mini-keyboard I got for Christmas when I was 9.

And there are some people who would see that as a valid art statement.
...  Some asshole goes up on stage, presses a button on a
casio, and looks very austere.  By sheer hubris and wordplay they
convince an audience that it is a worthwhile statement.

- precisely my point.

With what amount of verbal jacking-off do we finally say,
"enough, this is ridiculous".

- I'm prepared to end it now for the sake of people on this list who'd
rather discuss music or look at Aurora's self-portraits in the restroom.

sl


From bthrew at gmail.com  Tue Feb 13 14:53:32 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 14:53:32 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the	art
 object
In-Reply-To: <C1F77C8F.18EE3%21grand@21grand.org>
References: <C1F77C8F.18EE3%21grand@21grand.org>
Message-ID: <45D2416C.7010102@gmail.com>

Sarah - 21 Grand wrote:
> Barry wrote:
> 
>> - No, you're the equivalent of someone playing the preset song on the Casio
>> mini-keyboard I got for Christmas when I was 9.
> 
> And there are some people who would see that as a valid art statement.
> ...  Some asshole goes up on stage, presses a button on a
> casio, and looks very austere.  By sheer hubris and wordplay they
> convince an audience that it is a worthwhile statement.
> 
> - precisely my point.

I don't get it?  Are you agreeing with me?  That was unexpected.

> - I'm prepared to end it now for the sake of people on this list who'd
> rather discuss music or look at Aurora's self-portraits in the restroom.

Well, this discussion of the art-object includes music.. In the sense 
that Matmos indicated that they would like the concetion of their music 
to be somewhere in the gray area between the concepts behind their 
works, and the music itself.

I personally take a very different stance with my own music.   I just 
like to create something that I perceive as beautiful and let my 
audience (my conceptual audience) take what they will.  Hopefully, 
everyone can find their own space in it somewhere.

b

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

Today, Noise is triumphant and reigns sovereign over the sensibility of men.
- Luigi Russolo, The Art of Noises

From bthrew at gmail.com  Tue Feb 13 14:58:13 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 14:58:13 -0800
Subject: [NewMusic] art object and the object of art
In-Reply-To: <20070213223112.7961.qmail@web51601.mail.yahoo.com>
References: <20070213223112.7961.qmail@web51601.mail.yahoo.com>
Message-ID: <45D24285.3080703@gmail.com>

I can see how it would imply that although that is not what I meant to 
imply.

I think the performance is valid, and critically important.

I understand the point you were making, and agree with it...I'm not sure 
if you meant to imply that there was no difference or little in 
conceptual art and music making.  I think there is a clear difference.

I think this difference is so clear that I am not going to belabor the 
discussion with an explanation.  Let me know if I should.

Praemedia wrote:
>> The difference is, when you make other kinds of art
>> or music, you 
>> actually make something. I do see this as important,
>> and not as simply 
>> an issue of craft.
> 
> This would imply that the recorded disc or the score
> is more important the performance itself. learning the
> craft of an instrument is a conceptual form as is the
> performance.
> 
>> thing can exist, that the concept is as "physical"
>> and valid an object 
>> as any "real" object.  This is pretty much a
>> foundational building block 
>> of any digital practitioner.  However, in the event
>> that the concept is 
>> as valid as a physical art piece, I re-ask the
>> question,  Why is it 
>> necessary to make any art or music?
> 
> You'll have to explain what you mean by the "real
> object" in, for example, music.
>  
>> reproduction.  I 
>> could see it now.  Some asshole goes up on stage,
>> presses a button on a 
>> casio, and looks very austere.  By sheer hubris and
>> wordplay they 
>> convince an audience that it is a worthwhile
>> statement. 
> 
> I would call his art "acting" or "politics" rather
> than music ... but none of it produces any "real
> object" so none of it's valid anyway I suppose.
> 
> lance
> 
> 
> 
> 
> 
>  
> ____________________________________________________________________________________
> Be a PS3 game guru.
> Get your game face on with the latest PS3 news and previews at Yahoo! Games.
> http://videogames.yahoo.com/platform?platform=120121
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

Today, Noise is triumphant and reigns sovereign over the sensibility of men.
- Luigi Russolo, The Art of Noises

From praemedia at yahoo.com  Tue Feb 13 15:03:00 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 15:03:00 -0800 (PST)
Subject: [NewMusic] art object and the object of art
In-Reply-To: <45D24285.3080703@gmail.com>
Message-ID: <557286.87533.qm@web51615.mail.yahoo.com>

> I understand the point you were making, and agree
> with it...I'm not sure 
> if you meant to imply that there was no difference
> or little in 
> conceptual art and music making.  I think there is a
> clear difference.

I see music making as a specific form of conceptual
art. 

Then again, I don't see much need to designate any art
as "conceptual" because it ALL is, but this has become
the catch-all phrase for many different forms of new
and experimental art which probably began long before
them but is best embodied by Fluxus. If it weren't for
that tradition and history, maybe there wouldn't be
such a sticky (and frankly redundant) phrase in front
of the word art. It would be some other -ism. 

lance


 
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From 21grand at 21grand.org  Tue Feb 13 15:09:50 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 15:09:50 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the
	art	object
Message-ID: <C1F7853E.18EEB%21grand@21grand.org>

Sarah - 21 Grand wrote:
> Barry wrote:
> 
>> - No, you're the equivalent of someone playing the preset song on the Casio
>> mini-keyboard I got for Christmas when I was 9.
> 
> And there are some people who would see that as a valid art statement.
> ...  Some asshole goes up on stage, presses a button on a
> casio, and looks very austere.  By sheer hubris and wordplay they
> convince an audience that it is a worthwhile statement.
> 
> - precisely my point.

I don't get it?  Are you agreeing with me?  That was unexpected

- I'm saying that your "I make conceptual art" gambit is the equivalent of
the casio auteur.

sl


From jfheule at gmail.com  Tue Feb 13 15:10:27 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 13 Feb 2007 15:10:27 -0800
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Feb 07
Message-ID: <9c5cfa860702131510g6d26fad0o38dce83f8ac9d255@mail.gmail.com>

This week's show is tonight, 11:59pm-3am (Tue. night/Wed. morning).
90.3 FM San Francisco
or online: http://heule.us/breakthrough/ (click "Online Broadcast")


Playlist from the last show:
2007 Feb 07

Alexander von Schlippenbach Trio, "Moonbeef," Pakistani Pomade [FMP, 1972]
Phillip Greenlief and Covered Pages, "Portrait of Anna Ahkmatova,"
Russian Notebooks [Evander, 2000]

unknown, "Kayagum Sanjo," various ? Four Thousand Years of Korean Folk
Music [Legacy, 2001]
unknown, "Kagok 'T'aep'yongga'," various ? Traditional Korean Music
[Buda Musique, 2004]

Helmut Lachenmann, "Air, music for large orchestra and solo percussion
(1968-69)," Orchestral Works and Chamber Music [Col Legno]

unknown, "Orang T'aryng, Kungch'o Taenggi," various ? Four Thousand
Years of Korean Folk Music [Legacy, 2001]
African Head Charge, "Far Away Chant," My Life in a Hole in the Ground
Zu & Ken Vandermark, "Thanatocracy," Zu + Spaceways Inc. - Radiale
[Atavistic, 2004]
Aki Takase Piano Quintet, "Tarantella," Tarantella [Psi, 2006]

Weasel Walter Quartet, "Revolt," Revolt Music [ugExplode, 2006]
John Shiurba, "1.2.4," 5x5 1.2=A [Rastascan/UN-Limited Sedition, 2006]

Can, "Turtles Have Short Legs," Radio Waves [1972]
Claudio Simonetti, "Night Creatures," Classic Italian Soundtracks: The
Horror Films Collection
Muslimgauze, "Enchante, Monsieur," Vampire of Tehran [1998]
R.H.Y. Yau, "Point of Separation," various - California
[Troniks/Ground Fault/RRR, 2006]

Iannis Xenakis, "Diamorphoses," Electronic Music
Vertonen, "Ventilator," Stations [CIP, 2006]
Eric Cordier, "Breizhiselad/Ar Baradoz," Breizhiselad [Erewhon]

John Butcher, "Atelier," Invisible Ear [Fringes, 2003]
Ikue Mori, "Minecat," Myrninerest [Tzadik, 2005]
Dead/Bird vs. Newton, #3, Jan. 2005 at Breathmint HQ [Dolor del Estamago]

Adam Linson, "Peaks of Present and Sheets of Past (Cut and Continuum
I)," Cut and Continuum [Psi, 2006]
Lustmord, "Section 5: Dog Star Descends," The Place Where the Black
Stars Hang [Soleilmoon, 1994/2006]


http://heule.us/breakthrough/

From praemedia at yahoo.com  Tue Feb 13 15:11:00 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 15:11:00 -0800 (PST)
Subject: [NewMusic] art object and the object of art
In-Reply-To: <557286.87533.qm@web51615.mail.yahoo.com>
Message-ID: <20070213231100.24477.qmail@web51601.mail.yahoo.com>

yep, reply to myself - natch

> the catch-all phrase for many different forms of new
> and experimental art which probably began long
> before
> them but is best embodied by Fluxus. If it weren't
> for
> that tradition and history, maybe there wouldn't be
> such a sticky (and frankly redundant) phrase in
> front
> of the word art. It would be some other -ism. 

Best to refer to sarah's great article than "listen"
to my brutally inaccurate praphrasing (while I should
by hacking away at the day job).....

lance



 
____________________________________________________________________________________
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Go to www.Answers.yahoo.com and get answers from real people who know.

From bthrew at gmail.com  Tue Feb 13 15:23:19 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 15:23:19 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the	art
 object
In-Reply-To: <C1F7853E.18EEB%21grand@21grand.org>
References: <C1F7853E.18EEB%21grand@21grand.org>
Message-ID: <45D24867.50108@gmail.com>

Agreed.  They would be identical if I were serious.  But they would also 
be valid statements if I were serious. Simply for the purposes of this 
conversation we had to pretend that I was not me, and was an artist that 
had made those two pieces in all seriousness.  I don't find that idea 
outside the realm of possibility given some other examples of this kind 
of work.

Why is the typewriter example a more valid statement?

I guess my real question is:

What are the aesthetic criteria by which we can judge ideas?

b

Sarah - 21 Grand wrote:
> Sarah - 21 Grand wrote:
>> Barry wrote:
>>
>>> - No, you're the equivalent of someone playing the preset song on the Casio
>>> mini-keyboard I got for Christmas when I was 9.
>> And there are some people who would see that as a valid art statement.
>> ...  Some asshole goes up on stage, presses a button on a
>> casio, and looks very austere.  By sheer hubris and wordplay they
>> convince an audience that it is a worthwhile statement.
>>
>> - precisely my point.
> 
> I don't get it?  Are you agreeing with me?  That was unexpected
> 
> - I'm saying that your "I make conceptual art" gambit is the equivalent of
> the casio auteur.
> 
> sl
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

Today, Noise is triumphant and reigns sovereign over the sensibility of men.
- Luigi Russolo, The Art of Noises

From olorin at lmi.net  Tue Feb 13 15:36:52 2007
From: olorin at lmi.net (scott r. looney)
Date: Tue, 13 Feb 2007 15:36:52 -0800
Subject: [NewMusic] room/share available at 1510 8th st w. oakland
Message-ID: <20070213153652.079683.63c9ba6c@lmi.net>

hello all of you local ba-newmus folks, this is scott looney here, 
proprieter and occasional host of the occasional music series at 1510 
8th st. thought i'd spread the news - please forward to friends if 
interested...

here's the deal. i have a room and practice/rehearsal/recording studio 
available in West Oakland for a sharing situation with an interested 
party who enjoys improvised music or free jazz or new music. the place 
is available for move-in anytime after march 1st.


Facts:
the rent price is $600 not including utilities. the whole place is 
around 950 sq ft with at least 11 ft ceilings and reasonably decent 
light - esp in the kitchen. you get your own bedroom - the bedroom is 
lofted and is approximately 9 X 12.

the main strength of the space is that it has a very nice large room 
suitable for rehearsals or performances. the room has a pergo-like 
hardwood floor which is reasonably isolated from traffic. it is 
somewhat wired up with access for recording stereo or multitrack (12 
channel snake), and there are many panels for absorbing and isolation. 
there is also a grand piano in the space, and several chairs.

the kitchen is fairly spacious and has great light and even better 
isolation from traffic. parking is available off street at the side of 
the house but the place is extremely close to BART and AC Transit stops 
(1 block).

CAVEATS: this are things i really must insist on:

1. must be OK with splitting use of the space - i host events and 
recording sessions occasionally and need the space available at those 
times.

2. fan of improvised music or free jazz or new music - otherwise you 
won't like many of these concerts i host...

3. very little rehearsal gear in main space - because i do concerts 
here it can't be like a regular rehearsal space where you can leave 
things set up all the time. we can probably find storage areas for 
items in places other than the main space if you can't fit them in your 
bedroom, but you shouldn't have too much stuff.

4. recording engineers preferred - i have recording gear and mics and 
stands and cables - maybe you have some nice mics, preamps or outboard 
gear. we can certainly cooperate on possibilities...and if you're only 
interested in it for rehearsal or studio options (not live-in) that's 
even better...

5. good communication - i'm OK with your use of the space to host 
events, recordings etc (short of neighborhood block parties) but you 
need to check with me first to see if the schedule works out.

6. west oakland neighborhood - not the roughest, but not berkeley or 
montclair either. 

7. no dogs - cats OK (that's from my landlord)


as a rehearsal/recording space with crashing/kitchen options this is 
really one the best things going. 

Total move-in fees: $900 ($300 deposit + one month) - rent due at the 
beginning of the month.

contact Scott at olorin at lmi.net or 510-893-2840 to schedule an 
appointment. i'm leaving this on ba-newmus (and community) for a week, 
then i'll put it up on Craigslist.



From aanz at mindspring.com  Tue Feb 13 16:30:16 2007
From: aanz at mindspring.com (Alan Anzalone)
Date: Tue, 13 Feb 2007 16:30:16 -0800
Subject: [NewMusic] room/share available at 1510 8th st w. oakland
In-Reply-To: <20070213153652.079683.63c9ba6c@lmi.net>
References: <20070213153652.079683.63c9ba6c@lmi.net>
Message-ID: <5ADB95BE-1244-4FF8-85C8-228AE14F320E@mindspring.com>

Gee, that's almost worth getting a divorce for.

Alan



On Feb 13, 2007, at 3:36 PM, scott r. looney wrote:

> hello all of you local ba-newmus folks, this is scott looney here,
> proprieter and occasional host of the occasional music series at 1510
> 8th st. thought i'd spread the news - please forward to friends if
> interested...
>
> here's the deal. i have a room and practice/rehearsal/recording studio
> available in West Oakland for a sharing situation with an interested
> party who enjoys improvised music or free jazz or new music. the place
> is available for move-in anytime after march 1st.
>
>
> Facts:
> the rent price is $600 not including utilities. the whole place is
> around 950 sq ft with at least 11 ft ceilings and reasonably decent
> light - esp in the kitchen. you get your own bedroom - the bedroom is
> lofted and is approximately 9 X 12.
>
> the main strength of the space is that it has a very nice large room
> suitable for rehearsals or performances. the room has a pergo-like
> hardwood floor which is reasonably isolated from traffic. it is
> somewhat wired up with access for recording stereo or multitrack (12
> channel snake), and there are many panels for absorbing and isolation.
> there is also a grand piano in the space, and several chairs.
>
> the kitchen is fairly spacious and has great light and even better
> isolation from traffic. parking is available off street at the side of
> the house but the place is extremely close to BART and AC Transit  
> stops
> (1 block).
>
> CAVEATS: this are things i really must insist on:
>
> 1. must be OK with splitting use of the space - i host events and
> recording sessions occasionally and need the space available at those
> times.
>
> 2. fan of improvised music or free jazz or new music - otherwise you
> won't like many of these concerts i host...
>
> 3. very little rehearsal gear in main space - because i do concerts
> here it can't be like a regular rehearsal space where you can leave
> things set up all the time. we can probably find storage areas for
> items in places other than the main space if you can't fit them in  
> your
> bedroom, but you shouldn't have too much stuff.
>
> 4. recording engineers preferred - i have recording gear and mics and
> stands and cables - maybe you have some nice mics, preamps or outboard
> gear. we can certainly cooperate on possibilities...and if you're only
> interested in it for rehearsal or studio options (not live-in) that's
> even better...
>
> 5. good communication - i'm OK with your use of the space to host
> events, recordings etc (short of neighborhood block parties) but you
> need to check with me first to see if the schedule works out.
>
> 6. west oakland neighborhood - not the roughest, but not berkeley or
> montclair either.
>
> 7. no dogs - cats OK (that's from my landlord)
>
>
> as a rehearsal/recording space with crashing/kitchen options this is
> really one the best things going.
>
> Total move-in fees: $900 ($300 deposit + one month) - rent due at the
> beginning of the month.
>
> contact Scott at olorin at lmi.net or 510-893-2840 to schedule an
> appointment. i'm leaving this on ba-newmus (and community) for a week,
> then i'll put it up on Craigslist.
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic


From bthrew at gmail.com  Tue Feb 13 16:41:07 2007
From: bthrew at gmail.com (Barry Threw)
Date: Tue, 13 Feb 2007 16:41:07 -0800
Subject: [NewMusic] matmos lecture: the re-dematerialization of the	art
 object
In-Reply-To: <C1F7853E.18EEB%21grand@21grand.org>
References: <C1F7853E.18EEB%21grand@21grand.org>
Message-ID: <45D25AA3.7080705@gmail.com>

Checked out the article.  Very informative.  Thanks.

I'll have to go through it a little more closely.

Sarah - 21 Grand wrote:
> Sarah - 21 Grand wrote:
>> Barry wrote:
>>
>>> - No, you're the equivalent of someone playing the preset song on the Casio
>>> mini-keyboard I got for Christmas when I was 9.
>> And there are some people who would see that as a valid art statement.
>> ...  Some asshole goes up on stage, presses a button on a
>> casio, and looks very austere.  By sheer hubris and wordplay they
>> convince an audience that it is a worthwhile statement.
>>
>> - precisely my point.
> 
> I don't get it?  Are you agreeing with me?  That was unexpected
> 
> - I'm saying that your "I make conceptual art" gambit is the equivalent of
> the casio auteur.
> 
> sl
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 

-- 
barry threw
composition : sound : programming
http://www.barrythrew.com
bthrew(at)gmail(dot)com
857-544-3967

Today, Noise is triumphant and reigns sovereign over the sensibility of men.
- Luigi Russolo, The Art of Noises

From 21grand at 21grand.org  Tue Feb 13 16:46:51 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 16:46:51 -0800
Subject: [NewMusic] the re-materialization of the conceptual art
	argument	between me & Barry
Message-ID: <C1F79BFB.18EF2%21grand@21grand.org>

Barry writes:
Why is the typewriter example a more valid statement?

- I'm not claiming that any of your "theoretical" conceptual art projects
aren't valid. Validity isn't the question in my mind - it's whether or not
it's any good. Ed Ruscha's typewriter piece made for some nice photos and
others appreciate the poetic gesture of it.

leading us to:
I guess my real question is: What are the aesthetic criteria by which we can
judge ideas?

- What are the aesthetic criteria by which one judges other art?

You said in an earlier post that you aspire to make music that is beautiful.
There are artists working in a conceptual vein that aim to do the same
thing, kinda in that "practice random acts of kindness" mode - a negative
stereotype of this is something like the guy in "American Beauty" captivated
by the plastic bag sweeping along the street. The web-based "learning to
love you more" project of Harrell Fletcher and Miranda July is in this vein.
Some work results in documentation or process-based objects that are
beautiful, or attempt to be.

To a certain extent conceptual work sets its own terms and one judges it
based on whether it did what it claimed to do. In some ways it's a
philosophical beauty or the beauty of a good argument.

Other aesthetic criteria for conceptual art/ideas:
- is it interesting? Does it make you think about something in a new way?

- is it impressive in terms of the execution - almost everything you've
brought up in this debate has been the equivalent of one-liners, but there
are plenty of examples of conceptual art that are process-driven that
require a lot of work or work that one views as difficult - Chris Burden
getting shot in the arm, nailed to a Volkswagen, the New York artist from
the late 70s/early 80s that punched a time clock every day.

- is it funny/clever? For everyone who hasn't heard of it or heard the thing
itself, there's America's Most Unwanted Song conceived by conceptual artists
Komar and Malamid featuring the operatic rapping of our own Dina Emerson.
Personally I can't understand why so many people would not want to hear the
children singing "Ramadan Ramadan Lots of praying and no breakfast ... Do
all your shopping at Wal-Mart" plus bagpipes, tubas ... awesome.
> http://mulatta.org/mp3s/The%20Most%20Unwanted%20Song.mp3

- is it well-crafted? I think it's a misnomer that conceptual art is
object-free. As I said before, it's more common than not for there to be
some object referent to the work, even if solely in terms of documentation.
Is the idea presented well?

The cover story in the East Bay Express a couple weeks ago was about a
conceptual art project
http://www.eastbayexpress.com/2007-01-31/news/artists-inc/

sl


From praemedia at yahoo.com  Tue Feb 13 16:49:52 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 16:49:52 -0800 (PST)
Subject: [NewMusic] matmos lecture: the re-dematerialization of the art
	object
In-Reply-To: <45D24867.50108@gmail.com>
Message-ID: <523007.71003.qm@web51610.mail.yahoo.com>

> What are the aesthetic criteria by which we can
> judge ideas?

What are the aesthetic criteria by which we can judge
music?

Even better in my opinion, mostly because I was
listening to some Duchamp interviews last night, is to
interrogate visual arts, especially painting in this
way....

lance



 
____________________________________________________________________________________
Get your own web address.  
Have a HUGE year through Yahoo! Small Business.
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From praemedia at yahoo.com  Tue Feb 13 16:54:35 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 13 Feb 2007 16:54:35 -0800 (PST)
Subject: [NewMusic] the re-materialization of the conceptual art
	argument between me & Barry & me
In-Reply-To: <C1F79BFB.18EF2%21grand@21grand.org>
Message-ID: <20070214005435.93128.qmail@web51614.mail.yahoo.com>

> Is the idea presented well?

Usually the primary problem with most recent
conceptual art I've seen. Just my humble opinion.

lance



 
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From 21grand at 21grand.org  Tue Feb 13 16:58:29 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 13 Feb 2007 16:58:29 -0800
Subject: [NewMusic] the re-materialization of the conceptual art
	argument	between me & Barry & me
Message-ID: <C1F79EB5.18EF9%21grand@21grand.org>

> Is the idea presented well?

Usually the primary problem with most recent
conceptual art I've seen. Just my humble opinion.

lance

- Agreed. I can rant about this at length, and have elsewhere, not to the
extent that a google search of my name and the word "asshole" yields as many
results as one for other people ... but I'm not really aspiring to this.

sl


From cypod25 at gmail.com  Tue Feb 13 17:15:50 2007
From: cypod25 at gmail.com (Cypod)
Date: Tue, 13 Feb 2007 17:15:50 -0800
Subject: [NewMusic] Slaves to off-the-shelf software?
In-Reply-To: <272521.10211.qm@web50315.mail.yahoo.com>
References: <272521.10211.qm@web50315.mail.yahoo.com>
Message-ID: <473c28030702131715n41ffae82ycde0c64be062bfa4@mail.gmail.com>

nice one Roddy got in to wired. And I remember when he used to be my
next door neighboor.

From mattdavignon at gmail.com  Wed Feb 14 00:32:50 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Wed, 14 Feb 2007 00:32:50 -0800
Subject: [NewMusic] NWEAMO Call for Works
Message-ID: <c70e517b0702140032g450e60d5mcfcd2c9301d7371a@mail.gmail.com>

The NWEAMO board is pleased to announce that we are accepting submissions
for our 2007 festival, with the theme:

Synesthesia: the Mixing of Senses

Submission Deadline: April 1, 2007

Festival Dates:

? San Diego, CA - Oct. 5 & 6, 2007

? Boulder, CO - Oct. 13, 2007

? Morelia, Mexico- Oct. 19, 2007

? New York, NY- Oct. 26 & 27, 2007

Please read the guidelines (below) before submitting your work using our
online submission form:

http://nweamo.org/Guidelines.html

Online Submission and venue/city information is on the new NWEAMO website:

http://nweamo.org/Home.html

Synesthesia has fascinated composers for hundreds of years. The brain's
ability and tendency to map one sense onto another and to cross connect
between them has likewise remained a subject of intense scientific inquiry.

What roles might synesthesia play in pattern recognition, memory,
association and other mechanisms of cognition?

What possibilities does this suggest for artistic exploration?

Do works of music teach, train or condition us to smell colors, hear smells,
touch sounds, taste timbres, see rhythms?

And what about works that map higher order concious funcions, such as
language, onto non-liguistic sensory input?

We know that brooks can babble. Colors can shout. Can a smell yell? ? or
whisper?

Do you have a work that causes people to hear imaginary voices, or speak in
tongues?

For the 2007 festival we are hoping to feature works that in the broadest
sense explore the potential for these connections.

Many, maybe most existing works do this metaphorically by relating a title
(for example with visual imagery) to musical content.

Hence, we think that nearly every electro-acoustic work is relevant to our
theme, and hope to hear from all of you!

Please submit your work using our online submission form.

This year's fall festival will be held in four fascinating North American
cities: Morelia (Mexico), San Diego CA, Boulder CO and New York City.

The Mission of NWEAMO: To forge connections between the composers,
performers and lovers of avant garde classical music and the DJs, MCs,
guitar-gods, troubadours and gourmets of experimental popular music.

When there is no connection, both suffer: When classical music does not
connect with popular culture, it becomes a music of experts, unable to
reflect and contribute meaningfully in the broad marketplace of developing
ideas and cultural experimentation. When popular music has no connection and
communication with the classical it becomes naive and superficial,
untethered to its historical roots and broad cultural underpinnings. A
healthy cultural milieu celebrates both.

BASIC GUIDELINES: (PLEASE READ!)

? We invite you to participate in our annual celebration of creativity.

Please regard this as an opportunity to meet with fellow composers and
performers who are dedicated to exploring the edges of aesthetics, cognition
and international culture through electro-acoustic music.

? Submission fee: There is a $15 upfront submission fee per work. This goes
to support the festival in general. There are no other fees.

? Conference Fee: There is no conference fee. NWEAMO is a grassroots affair.
In lieu of a conference fee we hope that selected composers and performers
will get involved in some way with the presentation of their work and
contribute their energy, enthusiasm and talents.

? Attendance 1: Selected composers must attend the cities in which their
work is performed. (except Jukebox selections?see below)

? Attendance 2: Jukebox selections ? Composers of selected 2 channel
tape-only works, with no performance element, are not required to attend.

? Attendance 3: How Many Cities Must I Attend? (please see above) We want
you to help out with the presentation of your music in each city where your
music is on the program. This will vary from 1 city to 4 cities, depending
on scheduling limitations of invitees and programming needs of the festival.
We will work it out with you.

? Performers: Performers must be provided by applicant.

? Visual Element: Works with a visual element (live
musicians/video/installations/dance/unusual lighting etc.) will be favored.

? 2 channel tape works: We welcome 2 channel tape works, and generally will
present these in an ancillary Listening Booth, aka Jukebox ? see above.

? Duration: In order to present 6-7 works per concert we are looking for
works of approximately 10 minutes duration. This is not a firm restriction,
but generally works at or under 10 minutes will be favored.

? File Type: All common compressed formats (audio and video) are acceptable.
Please do not submit full-bandwidth pieces.

? Multi-channel Surround Formats: Please submit a 2 channel version for
adjudication. NWEAMO will support 5.1 and 4 channel works.

? File Size: 20 MB maximum

? Travel Funds: Generally NWEAMO cannot provide funds for travel,
accommodation, performance fees etc. Small honorariums may be available,
depending on the overall costs of the festival, but these will not come
close to covering the costs of attending.

? Submission fee: There is a $15 upfront submission fee per work. This goes
to support the festival in general. There are no other fees.

? Apologies: Works cannot be considered until submission fee is paid. This
helps to fund the festival and to prevent frivolous submissions. The online
process makes it very easy to submit works, and consideration of your work
sets into motion a multi-layered process that takes months. In past years
the board has wasted many hours
considering the works of comp