Ultimately, it came down to this: my Cycling ’74 co-workers and I have come to believe the unique thing we have to offer the world is fundamentally about programming. In other words, we want to make edit buttons, and if we can put them in places where they have never existed before, all the better. It was clear to me that Ableton understood what it meant to have the Max environment work with their software. They weren’t just talking about more plug-ins.
Turns out that many of the new features in Max 5 were a result of Cycling’s collaboration with Ableton, such as the new timing system and presentation mode.
La MaMa e.t.c and Interpretations are presenting three recent Robert Ashley operas: Dust (1998), Celestial Excursions (2003) and Made Out of Concrete (2007/2009) beginning tonight and running through January 25. It may confound traditional opera-goers to call these operas, but there’s really no other suitable name. So go and be confounded.
Performers include Robert Ashley, Sam Ashley, Thomas Buckner, Tom Hamilton, Jacqueline Humbert, Joan La Barbara, Joan Jonas and “Blue” Gene Tyranny.
A year late, I’ve run across this review (in french) of ECFA’s Der Wald. Most accurate statement from the no-doubt innacurate BabelFish translation: “the essential obstinacy of Carl Smith.” Obstinate is a compliment here, of course.
I have fond memories of playing the Old Office stage with James Keepnews and attending numerous shows at the Knit. But my favorite memory of the Knit was visiting the original location on Houston Street in late 1989 for a vivid vivisection of a mannequin performed by Eugene Chadbourne. The operation involved amplified electric drills, knives, and barbie doll heads thrown into the audience. I guess it was all downhill from there…