Stephen Crawford: Difference between revisions

: This revision was by author [[User:stephencrawford|stephencrawford]] and made on <tt>2012-09-18 20:42:19 UTC</tt>.<br>

: The original revision id was <tt>365866156</tt>.<br>

The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.

The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &amp;quot;happenings&amp;quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.&lt;br /&gt;