HiTEC

HiTEC

HiTEC (Histrionic Thought Experiment Cooperative) was founded by tENTATIVELY, a cONVENIENCE in mid 2008. The idea was to get a large group of people together to collectively think about the same stimulus & to individually apply what we're thinking about in the production of sound & motion. Since t,ac had previously been the cofounder of the "Official Project" (1990-1994), which eventually became a big band & which centered around more physically specified activities, HiTEC was intended to be a conceptual step beyond the 'Official'.

The instructions that guided HiTEC's experiments were called "Systems Management" & the players were called "Systems Managers". The language was intended to subvert conventional contextualization. The Systems are presented below in the rough order in which they became formalized into the Systems Managers practice. These Systems were mainly created by tENT but the overall project was open to input from all of the Systems Managers so Ben Opie provided a wealth of Systems & others contributed too.

tENT made roughly 95 documentaries about HiTEC in-progress, 83 of which are online. Tony Balko generously shot one short 16mm document of the 21st rehearsal & donated it to the HiTEC aRCHIVE. Information about all of the HiTEC activities, including educational ones & the HiTE Club side-project, is presented below with links to the relevant movies.

- May 18, 2019 notes from tENTATIVELY, a cONVENIENCE

Roughly 53 people solicited as of Monday, August 25, '08; possibly 33 have declined (most by just not replying) or dropped out; 20 were left participating. An additional 3 were added in November, '08 - 1 of whom dropped out after 1 rehearsal. As of December, '08 there're 22 members (including myself). Another 12 were solicited as of April, 2009. 7 either didn't reply or declined - 2 dropped out after 1 rehearsal. Kerrith more or less dropped out (& then came back!), Erok has ambiguously dropped out at least temporarily (but probably permanently), Johan has moved away but is still involved. Stuart Anderson dropped out on May 28 '09. That leaves 22 members as of May, 2009. 6 new people participated in the 064 session on October 4, 2009 w/o, strictly speaking, becoming members of HiTEC. Mike Tamburo dropped out on January 30, 2010.

HiTEC had 40 participants (not counting those in the classroom situations) over 20 mnths. No more than 21 ever played together at once. 11 of those 40 only rehearsed w/ us once & then dropped out. The 2 dancers, Ilona Auth (4 rehearsals), & Margaret Campbell (3 rehearsals) never performed live w/ us. 2 more were only participants at the very end & never had time to learn the material. 3 of the remaining 25 only participated in one performance. That left 22 'hard-core' participants. - May 18, 2019 note

The Systems Managers listed in approximate order of dedication & contribution:

01. tENTATIVELY, a cONVENIENCE: TOTAL sessions participated in: 69

02. Ben Opie: TOTAL sessions participated in: 24

03. Johan Nystrom: TOTAL sessions participated in: 22

04. Kenny Haney: TOTAL sessions participated in: 27

05. Unfinished Symphonies: TOTAL sessions participated in: 27

06. Roger Dannenberg: TOTAL sessions participated in: 20

07. Hyla Willis: TOTAL sessions participated in: 25

08. Jonathan Brodsky: TOTAL sessions participated in: 25

09. Spat Cannon: TOTAL sessions participated in: 23

10. Joy Toujours: TOTAL sessions participated in: 22

11. William Wedler: TOTAL sessions participated in: 21

12. Tony Balko: TOTAL sessions participated in: 19

13. Ben Harris: TOTAL sessions participated in: 18

14. Dani Simmonds: TOTAL sessions participated in: 18

15. James Gyre: TOTAL sessions participated in: 17

16. Julian Krishnamurti: TOTAL sessions participated in: 17

17. Bob Jungkunz: TOTAL sessions participated in: 14

18. David Bernabo: TOTAL sessions participated in: 13

19. Kerrith Livengood: TOTAL sessions participated in: 13

20. Josh Beyer: TOTAL sessions participated in: 12

21. Erok: TOTAL sessions participated in: 11

22. Mike Tamburo: TOTAL sessions participated in: 11

23. Stuart Anderson: TOTAL sessions participated in: 10

24. Melissa St. Pierre: TOTAL sessions participated in: 10

25. Mike Kasunic: TOTAL sessions participated in: 10

26. Spencer Diaz: TOTAL sessions participated in: 7

27. Ilona Auth: TOTAL sessions participated in: 4

28. Margaret Campbell: TOTAL sessions participated in: 3

29. Gina Ketter: TOTAL sessions participated in: 3

30. Rick Gribenas: TOTAL sessions participated in: 1

31. Ben Grubb: TOTAL sessions participated in: 1

32. Andrew "The Impaled" Laswell: TOTAL sessions participated in: 1

33. Tracy Mortimore: TOTAL sessions participated in: 1

34. Caleb Gamble: TOTAL sessions participated in: 1

35. Josh Tanzer: TOTAL sessions participated in: 1

36. Kevin Smith: TOTAL sessions participated in: 1

37. Ally Reeves: TOTAL sessions participated in: 1

38. Jules Levine: TOTAL sessions participated in: 1

39. Nick Painter: TOTAL sessions participated in: 1

40. Doug Cronin: TOTAL sessions participated in: 1

HiTEC documents:

- HiTEC (Histrionic Thought Experiment Cooperative) was originally proposed as "Sonic Aughts Union" by tENTATIVELY, a cONVENIENCE after a May '08 gig in a library by t,ac; Margaret Cox; Rick Gribenas; & Steve Boyle. When "Sonic Aughts Union" failed to materialize as cONVENIENCE originally imagined, it transformed into HiTEC & into more orchestral dimensions. Its 1st rehearsal was on July 14, 2008. In an attempt to document every rehearsal, mini-dv has been shot, sometimes w/ 2 cameras, sometimes w/ the camera(s) only on (a) tripod(s), sometimes w/ camera operators - & explanatory titles have been added. The numbers in the title represent the number of the rehearsal & the letters represent the sub-group of HiTEC that was rehearsing. 'Full' groups are designated as such. The order they're presented in here is an approximate recreation of the order in wch they were shot.

- All were shot on mini-dv & edited & titled on computer by tENTATIVELY, a cONVENIENCE & outputted to DVD-R & mini-dv unless otherwise noted. Tony Balko's camerawork was particularly important.

from left-to-right: tENTATIVELY, a cONVENIENCE;

Johan Nystrom (inside "Erector Set"), Rick Gibenas

Hi-TEC (Histrionic

Thought Experiment

Cooperative) & Systems Management

To further clarify what I'm aiming for w/ this project: I encourage players to conceive of Systems to be Managed but I prefer that they not be specifically 'musical'. In my 4th example below, I use musical examples to try to make the idea clearer but the examples aren't intrinsic to the piece. I want to involve non-musicians eventually - dancers, eg - so I want all instructions to be non-discipline specific. The Systems Management(s) are meant to be instructions to generate ways of thinking, perceiving, & reacting. As such, the pieces described below will need some revising. I'm including them now so that people can be somewhat aware of them.

At the moment, I think that at least 2 reasonably large-scale gigs might be lined up in the next yr. I imagine assigning each Systems Management a number & having those numbers be on a wheel-of-fortune that can be placed somewhere where both the audience & the players can see it. Players can change what's happening by spinning the wheel. When a new number appears, the players switch to performing that piece. Simultaneously, a slide can appear that shows what the instruction is for that piece so that both the audience & the players can see it. That way the players have an easily readable score & the audience can try to figure out how the players are following it.

I'm also thinking of trying to organize something like 5 different small groups of maybe 5 people in each (about all that can fit in my rehearsal space) to each rehearse about once every 2 wks. As the opportunity arises, I'll try to arrange larger places that we can all practice in together. In the meantime, we can at least all be familiar w/ the same material.

280. "HiTEC 001 A"

- tENTATIVELY, a cONVENIENCE: piano, guitars, effects pedals, feedback, cymbal, sampler, wave-table synthesizer; Rick Gribenas: laptop, organ, vibres, floor stomping; Johan Nystrom: snare drum, cymbals

- Monday, July 14, 2008; etc..

- 1:05:22

- https://archive.org/details/HiTEC001A

- Systems Management 1-3, 3 improv exercises, "no immediate laws"

01. "Red Room": Each player chooses 2 units of sound as their only vocabulary. These units can be distinguished in any way. No unit can be played in approximately the same relational circumstance twice - ie: If player 1 plays unit 1 immediately following another player's unit 2 then player 1 must avoid having that sequence occur again. The player stops whenever they feel like it or when all such relational possibilities are exhausted.

02. "Persisting Resisting": Play in accordance w/ a system w/o telling the other player(s) what the system is. If you make a mistake, either stop playing & stay stopped until everyone else is done OR play according to a 2nd system for a 'satisfactory' length of time. What constitutes 'satisfactory' is determined by yr own criteria. Then return to the 1st system UNLESS you make a mistake during the 2nd system in wch case a 3rd system is to be followed for a 'satisfactory' length of time - after wch the 2nd system is reverted to UNLESS.. etc, etc.. From each system one either moves one system forward or one backward. If a player thinks another player has stopped they can end but they cannot restart (even if they're wrong about the other player stopping).

03. "Octave Butler": Play in accordance w/ a system staying w/in one octave. Switch to a different octave everytime you make a mistake - eliminating every octave that you make a mistake in. Stop when you feel like it or when you've played all octaves available to you. If octaves aren't applicable to yr sound-producing situation, use an alternate limitation that you consider to be analogous.

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This initial incarnation consisted of tENTATIVELY, a cONVENIENCE: piano, guitars, effects pedals, feedback, cymbal, sampler, wave-table synthesizer; Rick Gribenas: laptop, organ, vibres, floor stomping; Johan Nystrom: snare drum, cymbals. tENT had found a CD-R wrapped in plastered gauze at the P.C.A (Pittsburgh Center for the Arts) & contacted its maker, percussionist Johan Nystrom, to ask him to join this project. This 1st rehearsal was vague. Rick had to drop out immediately because he had severe health problems & family obligations. As the group transformed into HiTEC, the tENTATIVELY, s cONVENIENCE emphasis on Thought Experiments became central & more conventional structured improvisation orientations were discouraged but not entirely done away with.

281. "HiTEC 002 B"

- tENTATIVELY, a cONVENIENCE: piano, sampler; Ben Opie: alto sax; Spat Cannon: vibres

- Monday, July 21, 2008; etc..

- 0:22:40

- https://youtu.be/CzmiqSERZDU

- Systems Management 1-4

04. "Read Players" (for Johan Nystrom): Pick another player as yr score using typical graphic notation criteria: In other words: Decide on a method for reading the player - such as left-to-right, top-to-bottom - or by treating the player/score as a field that one can scan 'randomly', etc; Choose qualities of the player/score to represent metaphors/analogies to instructions for yr playing: EG: color = 'warmth', texture = texture (a rough sweater = soft scraping sounds; a suppurating wound = dripping sounds, etc), height = pitch, size = duration, size = volume. That sort of thing. Stop playing when you've performed the entire player/score.

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July 22, 2008:

This project is starting to percolate in my brain more. I dreamt about various SM possibilities this morning (but only the image of a reflective globe being handed by the player to themselves sticks w/ me) & I was inspired by the birds (I've been preoccupied w/ them anyway) when I was waking up. More about that below. One of the limitations of Systems Management so far is that each of the pieces are just separate things - too much like songs. There shd be a meta-structure (&, of course, a meta-meta-structure), etc. W/ that in mind, I'm imagining that when the Wheel of Fortune spins & produces a number that players shd somehow have the option of subjecting that number to mathematical processes. EG: If we reach the point of having 80 pieces, then something like this might happen: the WoF spins to "4", we play that for awhile then it spins to "6", the player can then subject 6 & 4 to any mathematical process that yields a number between 1 & 80: EG: they might choose to subtract 4 from 6 to get 2 & to then perform 2. ZERO IS ALSO AN ALLOWED POSSIBILITY. ZERO IS A DEFAULT. I'll explain that in a bit (I just thought of this right now). Essentially, all players start in unison (at ZERO) & as the WoF spins, more & more splintering takes place. ZERO can function as a reset.

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This 2nd incarnation consisted of tENTATIVELY, a cONVENIENCE: piano, sampler; Ben Opie: alto sax; Spat Cannon: vibres & was on Monday, July 21, 2008. Alas, these sessions were documented with mini-dvs & DVD-Rs & these have already started deteriorating less than 11 years later. Thus, "Read Players" here is defective.

282. "HiTEC 003 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: darbouka, Erector Set; Kenny Haney: bass clarinet

- Thursday, July 24, 2008; etc..

- 0:17:10

- on the Internet Archive here: https://archive.org/details/HiTEC003C

- Systems Management 1-5, Systems Management 0-5

00. "Stamping & Clapping": This is how sessions begin. All players stamp their feet & clap their hands in unison as if impatiently waiting for the playing to start. This is also the DEFAULT. Any player at any time can start "Stamping & Clapping" wch is the signal for the other players to stop doing whatever they're doing & to join in unison. This default wipes out all pre-existing numerical sequences EXCEPT FOR META-SYSTEMS (like "Birds") so that when the Wheel of Fortune spins next the 1st number will be one not subject to mathematical operations b/c all preceding numbers are effectively 'erased' by ZERO. "Stamping & Clapping" can be used as a desperate measure to pull players back together again.

05. "Birds" (for Michael Pestel): Choose 1 or more short phrases that you'll play throughout the entire session. These phrases, once chosen can only change in a very subtle theme-&-variation way. EG: yr phrase might be: "too-wee" wch you can then repeat in fairly quick succession as "too-wee, too-wee, too-wee" or as "too-wee, too-wee, too". There shd always be a longer pause between the playing of the phrases then the length of the playing of the phrases itself. SO, if playing the phrases takes 2 seconds, there shd be a pause longer than 2 seconds between them - preferably AT LEAST 4 seconds. The phrases can be much more complicated IFF (if & only if) THE PLAYER can remember them & not make mistakes (if mistakes are made, it's not a 'disaster', the player shd just then try their best to minimize the mistakes in the future by simplifying their phrase vocabulary & sequence). Here's an example of a more complex possibility: "wheep, wheep-wheep-wheep, wheedle-eep, qwawp!" wch cd then be varied as "wheep, wheep-wheep-wheep-wheep, qwawp!" &/or "wheep, wheep-wheep-wheep, wheedle-eep wheedle-eep, qwawp!" etc..

THIS SYSTEM, ONCE ACTIVATED, IS IN EFFECT THROUGHOUT THE ENTIRE SESSION. IT'S PART OF A META-SYSTEM & A PLAYER'S BIRD-SONG SHD BE PERIODICALLY INSERTED INTO WHATEVER OTHER SYSTEM IS BEING PLAYED INDEPENDENT OF THE RULES OF THAT OTHER SYSTEM. SO, let's say that everyone's just played "Birds" & then moved onto "Red Room". Independent of "Red Room"'s 2 unit restriction, the players' Bird-Song can be inserted from time-to-time (or not) at the player's discretion.

Players can also be "Mockingbirds" or "Lyrebirds" by creating their songs from imitations of their environments. This, however, is an extremely difficult process that shd only be attempted by advanced players sure of their abilities. EG: (advanced) Mockingbird Player 1 might hear Player 2 (who's performing "Birds") go "too-wee, too-wee, too" but might hear Player 4 (who's performing "Persisting Resisting" by playing in a system like "only notes in a C Major Chord w/ an occasional non-pitched disruption". THEN, Player 1 can "Mock" them by playing "too-wee, too-wee, too" followed immediately by "only notes in a C Major Chord w/ an occasional non-pitched disruption". HOWEVER, this then becomes their "bird-song" & must be stuck to in exactly the same sequence throughout the session. More "mockings" can be added to the sequence but the order of the sequence must be adhered to & only minor variations can take place w/in the overall sequence.

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This 3rd incarnation consisted of tENTATIVELY, a cONVENIENCE: piano; James Gyre: darbouka, Erector Set; Kenny Haney: bass clarinet. The documentary style has already evolved in such a way that there're no longer individual sections identified & explained. Instead, there's a continual flow of the 1st attempt at a playing of "Systems Management". The "Bird Call" has been introduced, as can be heard in tENT's repeated high treble figuring. At this stage, there were only 4 components to the overall "Systems Management" Thought Experiment. By the time it was thoroughly developed, there were 37.

283. "HiTEC 004 A"

- tENTATIVELY, a cONVENIENCE: piano; Johan Nystrom: percusssion; Ben Grubb: homemade tongue drum; Hyla Willis: erhu

- Monday, July 28, 2008; etc..

- 0:28:37

- on my onesownthoughts YouTube channel here: https://youtu.be/EKgYd0g1ZxU

- Systems Management 1-7, Systems Management 0-7

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July 23, 2008 - from Ben Opie via email:

SPY

SPY is a meta-structure. A performer can secretly choose to become a spy. A spy follows all directions but makes occasional, intentional "mistakes" (including not acknowledging real mistakes). If another player believes to have discovered a spy, that person can call out the spy with a simple gesture, such as pointing at one's nose. If this happens, the spy must immediately stop and remain inactive for a given period (i.e. two systems, or the rest of the performance, or whatever). If the person calling out the spy is incorrect, that player must remain silent for the given period.

OR (since I'm contemplating on it)

if SPY comes up on the WoF, all spies must discontinue, while other players may choose to become a spy mid-performance.

(if spy seems too Cobra-like a term, replace with mole, subversive, etc)

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I've changed that to:

06. "Saboteur" (from Ben Opie): SABOTEUR is a meta-system. A performer can secretly choose to become a saboteur. A saboteur follows all directions but makes occasional, intentional "mistakes" (including not acknowledging real mistakes). If another player believes to have discovered a saboteur, that person can call out the saboteur with the accusatory gesture of pointing to the player accused. If this happens, the saboteur must immediately stop being a saboteur for the rest of the session (unless the WoF spins to "06" - see more below) and remain inactive for two systems (the remainder of the one they're in the midst of & the following one). If the person calling out the saboteur is incorrect, then that player must remain silent for the remainder of the system they're in the midst of & the one following.

If SABOTEUR comes up on the WoF, all saboteurs must discontinue for the remainder of the session, while other non-saboteur players may choose to become a saboteur mid-performance.

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CHEAPER IMITATION

Each player may imitate another (or not).

If a player believes he is being imitated, he must either: stop entirely; initiate a new system/idea; or continue with their current idea, but in a way that can no longer be imitated.

If a player believes the person he is imitating has changed direction because the imitation, that player must stop, initiate a new system/idea, or find another person to imitate.

If a player initiates an idea and nobody chooses to imitate him, he must either continue with that idea until somebody does imitate him, or stop (at which time he is done for the rest of this strategy).

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I've changed that to:

07. "Cheaper Imitation" (from Ben Opie):

Each player may imitate another (or not).

If a player believes they are being successfully imitated, they must either: stop entirely; initiate a new idea; or continue with their current idea, but in a way that can no longer be successfully imitated.

EG: If Player 1 chooses to play 1 note repeatedly instead of imitating another player & Player 2 then imitates that by playing 1 note repeatedly then Player 1 must decide if the imitation is successful. That brings up issues like: Is it necessary for Player 2 to be playing the exact same pitch in order for the imitation to be successful? Or is just repeating any sound all that's needed? If Player 1 decides that the imitation IS successful then they follow the above instruction. If Player 1 decides that the imitation is NOT successful then they continue as before. That challenges the imitator to hone their imitation skills.

If a player believes the person they are imitating has changed direction because of the imitation, that player must stop, initiate a new idea, or find another person to imitate.

An easy example of playing "in a way that can no longer be successfully imitated" might be playing outside the technical range of the imitator's instrument - such as outside their pitch range or note-bending abilities. This is somewhat beside the point though given that the imitator will presumably notice any change in what the player they're copying is doing &, hence, cease imitating them regardless of whether they can be "successfully imitated" or not.

If a player initiates an idea and nobody chooses to imitate them (w/in a subjectively chosen time restriction such as by thinking something like "Hey! I've been doing this too long & as far as I can tell no-one's imitating me!"), they must either continue with that idea until somebody does imitate them, or stop (at which time they are done for the rest of this system).

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This 4th incarnation consisted of tENTATIVELY, a cONVENIENCE: piano; Johan Nystrom: percusssion; Ben Grubb: homemade tongue drum; Hyla Willis: erhu. The cueing is still in a formative stage & is limited to people holding up fingers to indicate the desired System. This session is the 1st to repeat a member other than t,ac from the previous sessions: Johan Nystrom. Ben Opie has added a meta-system (a system that can be introduced at any time irrespective of whatever else is happening - as with "Birds", the 1st of the meta-systems) + a regular system: "Cheaper Imitation" (a take-off of a John Cage score which was itself a take-off of Erik Satie - hence my quoting Satie in the session) - probably by email. The Systems Managers were beginning to think about how to develop this "Systems Management" more fully. Ben Grubb, alas, left (I would've liked it if he'd stayed with the group), but HiTEC's core members, t,ac, Ben Opie, Spat Cannon, James Gyre, Kenny Haney, & Hyla Willis, were accumulating. We'd gotten up to 7 systems here out of the final 37.

284. "HiTEC 005 D"

- tENTATIVELY, a cONVENIENCE: piano; Josh Tanzer: electric guitar; Tony Balko: temple blocks & singing bowls; Ilona Auth: tap dancing

- Tuesday, July 29, 2008; etc..

- 0:20:37

- on the Internet Archive here: https://archive.org/details/HiTEC005D

- Systems Management 1-7, Systems Management 0-7

This 5th incarnation consisted of tENTATIVELY, a cONVENIENCE: piano; Josh Tanzer: electric guitar; Tony Balko: temple blocks & singing bowls; Ilona Auth: tap dancing. Ilona was the 1st dancer & the longest-lasting one. Alas, she never made it to a public event. John Tanzer only participated in this one session. Tony Balko, a filmmaker, went on to become HiTEC's performing cameraperson & became a core member. We were still only at 7 systems out of the final 37. The 1st 3 sessions were trios, the next 3 were quartets. 007 was a quintet, 006 was a sextet, 008 & 009 were septets. HiTEC was rapidly blooming.

from left-to-right: Ally Reeves; tENTATIVELY, a cONVENIENCE; Margaret Campbell, Erok

285. "HiTEC 006 E"

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer; Erok: trombone; Ally Reeves: vibres; Margaret Campbell: belly dancing

- Sunday, August 3, 2008; etc..

- 1:05:17

- on my onesownthoughts YouTube channel here: https://youtu.be/28AWJK4xbC0

- Systems Management 1-7, 10

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August 1, 2008:

This morning I dreamt of 3 more Systems but I only remember one that I was already thinking about:

08. "Concerto":

Everyone begins w/ free-form improvising, paying close attn to what everyone else is doing. ASAP, each player makes a generalization about what most commonly characterizes what everyone else is doing & tries to distinguish what they're doing from that generalization. Thus, everyone becomes a soloist based on their own notion of how everyone else provides a commonality background.

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The wee hrs of August 2, 2008:

09. "Population Control" (from Johan Nystrom):

Only 1/5th of the Systems Managers shd play at one time (except that this number shd be no less than 2). Players shd try to accomplish this purely by paying attn to each other rather than thru hand-signals, glances, & other obvious means. EG: someone who's playing shd decide to drop out & someone who's not playing shd fill in the gap. If more than 1 player replaces 1 drop-out then an(other) player(s) shd also drop out to restabilize the relevant number. If too many players become active then some shd decide to stop on their own to correct this. This ends whenever other factors, such as a spin of the WoF, occur to interrupt it.

10. "Tele-Communications":

Pick another player & attempt to communicate something that you want them to do to them w/o using words. You can either try 3 different ways of doing this or 3 different ways to clarify what you want. Continue playing if they eventually do what you want them to & stop playing for the rest of the system if they don't. As usual, various obvious complications will arise: EG: a Systems Manager might mime what they want the other player to do in such an obvious way that they make their chances of being able to continue substantial - or a Manager might want another player to do something that's highly likely to happen such as 'play something'. Contrarily, the "tele-communicator" might attempt to communicate in extremely subtle ways highly unlikely to be picked up by the targeted player.

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This 6th incarnation consisted of tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer; Erok: trombone; Ally Reeves: vibres; Margaret Campbell: belly dancing. Erok stayed in long enough to be part of our 1st public event. Ally never came back. Margaret was our 2nd dancer but she only made it to 2 sessions before dropping out & she & the other dancer never overlapped. There are still only 7 Systems out of the final 37 - but, it's hinted that there were more that hadn't been tried yet. The 1st 3 sessions were trios, the next 3 were quartets. 007 was a quintet, 006 was a sextet, 008 & 009 were septets. HiTEC was rapidly blooming.

286. "HiTEC 007 B"

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer, DX-27S; Ben Opie: Bb clarinet, thingamagoop; Spat Cannon: vibres; Julian Krishnamurti: electric bass; Ben Harris: violin, table-tapping

- Monday, August 4, 2008; etc..

- 1:05:19

- on the Internet Archive here: https://archive.org/details/HiTEC007B

- Systems Management 1-5, 7-11 (a + b)

11. "Algebra 101":

a + b = c OR a - b = c OR a x b = c OR a ÷ b = c

Every player mentally designates 1 player as "a" & another as "b" & then attempts to create a "c" based on that. Only 1 procedure shd be picked per playing - ie: ONLY addition or only subtraction, etc.. The attempted result cd be something as obvious as (in the case of the addition) imitating both of their actions at the same time by, eg, combining a bass clarinetist w/ a tap dancer by tapping one's toe & heel while playing in a bass clarinet range &/OR by imagining the 2 players' DNA combined to create a 'Test-Tube Systems Manager", etc.. Multiplication cd yield a more energetic version of the preceding. Subtraction might mean taking away the notes of 1 player from the notes of another, etc.. - w/ division being a more extreme reduction.

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This 7th incarnation was the 2nd meeting of the B sub-group & consisted of a quintet, the largest group yet: tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer, DX-27S; Ben Opie: Bb clarinet, thingamagoop; Spat Cannon: vibres; Julian Krishnamurti: electric bass; Ben Harris: violin, table-tapping. t,ac & Ben & Spat had constituted the previous B so Julian & Ben Harris were the newcomers. Both stayed long enough to become core members. There are now at least 10 systems out of the final 37 & the speed with which I go through them shows both my confidence in the players & that I was getting tired of repeating myself from session to session. The 1st 3 sessions were trios, the next 3 were quartets. 007 was a quintet, 006 was a sextet, 008 & 009 were septets. HiTEC was rapidly blooming.

287. "HiTEC 008 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion, sampler, trumpet, didjeridoo; Kenny Haney: Bb clarinet, organ foot pedals, glass xylophone; Jonathan Brodsky: percussion, sampler; Joy: electric guitar, effects; Caleb Gamble: french horn

- Tuesday, August 5, 2008; etc..

- 0:50:42

- on my onesownthoughts YouTube channel here: https://youtu.be/d4xXx_WMhH8

- Systems Management 1-11 (a - b)

This 8th incarnation was the 2nd meeting of the C sub-group & consisted of a sextet, the largest group yet: tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion, sampler, trumpet, didjeridoo; Kenny Haney: Bb clarinet, organ foot pedals, glass xylophone; Jonathan Brodsky: percussion, sampler; Joy Toujours: electric guitar, effects; Caleb Gamble: french horn. Jonathan & Joy went on to become core members. Caleb only played with us this one time. There are now at least 11 systems out of the final 37 but the tape apparently ran out before we got to the 11th. The 1st 3 sessions were trios, the next 3 were quartets. 007 was a quintet, 006 was a sextet, 008 & 009 were septets. HiTEC was rapidly blooming. Emily Bosworth-Clemons is shown as a possible dancer but she decided against it. At this point I was aiming for a group of 30 or 31 people.

288. "HiTEC 009 A"

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ wah-wah, sampler, wave-table synthesizer, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, Jamaican bean; Ben Harris: violin ; Dave Bernabo: acoustic guitar; Kerrith Livengood: flute; Andrew "The Impaled" Laswell: Jamaican bean, piano, vibres

- Monday, August 11, 2008; etc..

- 1:05:10

- on the Internet Archive here: https://archive.org/details/HiTEC009A

- Systems Management 1-9, 12

12. "Comfort Zone 1" (for James Gyre):

Do something that was once creative for you but that's now banal due to overuse. Repeat it idiotically as if you have no new ideas. Gradually remove parts of it &/or substitute something drastically 'out-of-place' in it. Do this to both disrupt yr own comfort zone & that of others around you.

*********************************************************************************************

This 9th incarnation was the 3rd meeting of the A sub-group & consisted of a septet, the largest group yet: tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ wah-wah, sampler, wave-table synthesizer, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, Jamaican bean; Ben Harris: violin ; Dave Bernabo: acoustic guitar; Kerrith Livengood: flute; Andrew "The Impaled" Laswell: Jamaican bean, piano, vibres. David, Kerrith, & Andrew were the new members. David & Kerrith stayed with it. Andrew had too many other commitments. There are now at least 12 systems out of the final 37. The 1st 3 sessions were trios, the next 3 were quartets. 007 was a quintet, 006 was a sextet, 008 & 009 were septets. HiTEC was rapidly blooming. We'd come a long way in the month since HiTEC started. The documentation continues to be casual. The cheap camera I was using didn't have a wide-angle lens so I could never get all the players in the shot. The easiest tapes to come by were only 65 minutes so I only used one per session even though the sessions went on longer. The mini-dv tapes were not only extremely poor for archival reliability but they were much more expensive than the VHS tapes I'd been accustomed to using. The DVD-Rs that I outputted the edits to also deteriorated rapidly as can be witnessed here near the beginning. I mention in passing that I'd started building the Wheel of Fortune (WoF) which became a central object in the project but which took me a while to make & to make so that it was somewhat portable.

Ilona Auth's tap-dancing shoes

Tony Balko

289. "HiTEC 010 D"

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ effect; Tony Balko: videocamera, vibres; Ilona Auth: (tap) dancing; Kevin Smith: Realistic Moog MG1

- Thursday, August 14, 2008; etc..

- 0:38:45

- on my onesownthoughts YouTube channel here: https://youtu.be/SbWuSrLZIn4

- Systems Management 1-12

This 10th incarnation was the 2nd meeting of the D sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ effect; Tony Balko: videocamera, vibres; Ilona Auth: (tap) dancing; Kevin Smith: Realistic Moog MG1. Kevin decided to leave because, as he put it, he just wanted to make "weird noises" & wasn't inclined to the structure. The dancer & the cameraperson were expected to follow the Systems Management instructions even though they're mainly couched in(M)Usical terms. Tony & Ilona are now much more in the spirit of the thing.

Margaret Campbell

290. "HiTEC 011 E"

- tENTATIVELY, a cONVENIENCE: piano, sampler; Erok: trombone; Margaret Campbell: belly dancing; Unfinished Symphonies: electronic keyboard; Stuart Anderson: videocamera

- Sunday, August 17, 2008; etc..

- 0:23:44

- on the Internet Archive here: https://archive.org/details/HiTEC011E

- Systems Management 1, 2, 16, 14, 3, 5, 15

12. "Comfort Zone 2" (for James Gyre):

Improvise w/ yr fellow players in a way that's very easy for you & rooted in some of yr earliest acquired skills. Gradually 'regress' to doing something that was once creative for you but that's now banal due to overuse - esp something that's 'pre-socialized', that's no longer responsive to yr fellow players. Repeat it idiotically as if you have no new ideas. Gradually reduce it to short fragments & resocialize w/ the group by leaving space between yr fragments for other players' fragments to fit into.

Subject: Re: james gyre personality type (plus...)

Date: September 30, 2008 1:40:05 PM EDT

Oh, well.. I have to move onto something else now.. Maybe we shd

think about it more?

clearly...

Now, one problem here is

that HiTEC's collective "comfort zone" is probably closest to a free improv

that most of us are probably fairly adept at & the basic assumption is that

we've reached this adeptness by developing thru other forms such as:

folk music, punk rock, classical, groove-based music, etc.. Now, I think my

original idea was to reference those beginnings but to develop PAST free form.

Where it starts to get complicated is in how to 'force' things & where to 'force' them too.

this makes sense.

to get at this core, perhaps the issue is to

make this genre-orientation a specific part of the instruction.

i think cueing is a potentially powerful control, but it would be better to design the system so it doesn;t need it.

perhaps progression is the wrong direction and people should REGRESS to their early orientation.

maybe not, but it might work better.

also, maybe if everyone's comfort zone is improv, free improv should be a clear part of it...

it's a tricky one, let's keep at it.

13. "Affinity Groups":

Before each performance of Systems Management, the players divide into "affinity groups" based on obvious criteria such as wch players are friends w/ each other outside of the HiTEC environment, wch players have played together in other circumstances, etc.. When 13 appears on the WoF, the previous system is played again but only by one AG at a time. Wch AG plays in wch order is determined in the same way as w/ "Population Control" - ie: the players start playing & if a player notices that no-one else in their AG is playing they drop out - that sort of thing. Each AG shd try to play quickly (less than a minute) so that they can be replaced by a different AG.

14. "Echo":

Whoever the 1st player is after 14 appears performs a short figure & stops & is then echoed by everyone else as if they're little more than an echo effect - w/ their repetition gradually fading out. Player 1 can only resume near the end of the last fade-out - once again only performing a short figure. This is a meta-system insofar as once this system is initiated, one of the echoers can choose to interpolate an echo into any system ONE TIME ONLY PER SYSTEM & always echoing the same player. If an echoer does this & the person echoed notices then that player 1 stops. Hopefully, all other players will then also take up the echo & gradually fade out until near-silence is achieved - at wch point the interrupted system resumes.

*********************************************************************************************

On August 11, Johan Nystrom proposed the 1st meta-meta-system, he elaborated in an email on August 16:

Avian Flu

The Avian Flu is a virus, a metasystem that hijacks the metasystem of the Birds and is potentially destructive rather than constructive. It also needs a specific metasystem to function, it cannot do so on its own.

The Flu is activated if the WoF lands on it. The wheel must then be spun again to activate a normal system, but now there is a rampant case of Avian Flu. During the system activated after the flu, everyone is initially infected: all players must play their bird calls backwards. For example, "too-wee, too-wee, too-wee" would be "eew-oot, eew-oot, eew-oot" with the same standards for variation or pause as normal. Mockingbirds or Lyrebirds must play their mimicked calls backwards as well.

Players should continue to play their backwards bird calls for the current round and the following round. If a player feels they successfully play his or her call backwards for the two rounds, they have recovered from the virus and should return to the normal bird call in the next round. If they do not feel they have successfully played their call backwards, they move on to the late stage of infection, and should begin playing only their backwards bird call, but much louder and faster. Thus, if a player makes a mistake in the first round of bird flu, they should begin the late stage of infection in the following round, which would still be a bird flu round. If they make a mistake in the second bird flu round, they should begin the second stage of infection in the next round, the third round after Avian Flu has been activated, which is not an actual bird flu round, increasing the virus's destructive potential. If players with late stage infection feel they have played successfully for one round, they are cured, and can begin resume normal playing in the following round. If they do not, their bird call is dead. They must wait one round before they can start a new bird call.

Signs of late stage infection should be very noticeable and players can "vaccinate" sick birds by pointing with one hand and flapping their other arm like a wing. Sick birds then flap both wings, wait until the end of the round, and are cured. Unless a player is in late stage infection; however, there is no vaccine. All birds with early stage infection must sing backwards.

B/c of the excessive wordiness & confusion of the above, I rewrote this as:

15. "Avian Flu":

The Avian Flu is a meta-meta-system that undermines the Birds. The Flu is activated if the WoF lands on it and if Birds is in effect. The wheel must then be spun again to activate another system. During this next system, all players play their bird calls in a sickly diminished way.

Players should continue to play their sickly bird calls for the current system and the following one. If a player feels they successfully play their sickly Bird the two systems, they have recovered and should return to the healthy call in the next system.

If they do not feel they've been successfully sickly, they move on to the late stage of infection, and should begin playing only their backwards bird call (instead of whatever system they're in), but much louder and faster.

Other players can "vaccinate" late stage sick birds by flapping one arm & pointing at the late stage sickly Bird. Sick birds then flap both wings, are cured, & resume their healthy calls. Birds who aren't cured die & can no longer play their call for the rest of the session.

*********************************************************************************************

On August 11, Ben Opie sent me an email w/ the subject heading "if/then" wch prompted me to imagine a system of either that name of or "IFF" (as in "if & only if") so I wrote back to him telling him that & on August 12th Ben replied w/:

If/then

Something along the lines of,

IF I hear a certain event

THEN I respond with a certain other event

and/or

IF I create an event

THEN I stop that event when I hear something in particular.

That is, performers mentally determine something to which they'll react, and respond (maybe) with something unrelated (maybe); or create and event and stop it when someone else reacts in a way they secretly expect. Or not. Fuck.

to wch I counter-proposed:

16. "IFF" (from t,ac & Ben Opie):

"IFF" = "if & only if". Before any player plays they mentally create a condition wch has to be met for them to play. EG: Player 1 may decide in advance that they'll only play in a certain way for 10 seconds IFF Player 2 plays quietly by themselves for at least 5 seconds. Player 1 might also decide that they'll play in a different certain way IFF all players other than Player 2 play simultaneously. This creates the immediate problem of who plays 1st & under what conditions. Therefore, it's advisable that at least 1 player decides on an "IFF" that doesn't necessarily revolve around other people's playing - such as: "I'll play IFF an earthquake doesn't happen" or "I'll play IFF I'm taking the risk that it's highly likely everyone around me will play shortly after I start."

*********************************************************************************************

This 11th incarnation was the 2nd meeting of the E sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano, sampler; Erok: trombone; Margaret Campbell: belly dancing; Unfinished Symphonies: electronic keyboard; Stuart Anderson: videocamera. US & Stuart were new. Stuart stayed with it until the 1st public event. US became a core member, stayed with it to the nd, & has since become one of my main collaborators. This was one of the most primitive sessions. We're up to 15 Systems of the final 37 by now because the "Echo", a system that was probably never played correctly in the entire history of HiTEC, is being introduced - as well as the "Avian Flu", a new meta-system.

Roger Dannenberg on left

291. "HiTEC 012 B"

- tENTATIVELY, a cONVENIENCE: piano, guitar w/ f/x, sampler, DX27S; Spat Cannon: vibres; Tracy Mortimore: bass, piano; Roger Dannenberg: trumpet

- Monday, August 18, 2008; etc..

- 0:55:00

- on my onesownthoughts YouTube channel here: https://youtu.be/RWbIhs7vBkI

- Systems Management 1, 2, 3, 5, 15, Systems Management 1,5,1,15,2,3, 16, 14, 12, 8

*********************************************************************************************

On August 15, Ben Opie proposed:

17. RETARD or RETARDED or RETARDANT

This is a meta-structure. If a player chooses to be RETARDED (or whatever you decide the term should be), that player is always among the last to enter into any given strategy. (last, second-to-last, etc at least 90% of all other players activate before him/her). Furthermore, when another strategy has been called or determined, the RETARD holds onto the previous strategy for an undetermined length of time.

(or time lag, or whatever works...I like the un-pc nature of the title actually.)

If the WoF calls up RETARDED, then it is similar to SABOTEUR...all RETARDS must now get "back on track", and any non-RETARDS may now choose to become RETARDED.

to wch I counter-proposed:

17. "Retard" (from Ben Opie):

This is a meta-structure. If a player chooses to Retard, that player is either the last or the 2nd-to-last to enter into any given system. Furthermore, when another system has been called or determined, the Retard holds onto the previous system for an undetermined length of time while all the non-Retardants move on.

If the WoF calls up 17 (Retard), then it is similar to SABOTEUR...all RETARDS must now get "back on track", and any non-RETARDS may now choose to become RETARDED. An obvious problem is that if more than 2 players choose to become Retardants then none of them will be able to play the new system b/c all will be waiting to be 2nd-to-last or last. Players are free to be non-Retardant when the system they're currently in ends. A die-hard Retard may choose to stay in the old system thru upcoming systems until they finally get their chance to enter 2nd-to-last or last.

In November, for the pink sheets, I made this an unnumbered system & put my "Patterns" as 17 instead. This seemed to annoy Ben at the Nov 13 rehearsal SO, as of Saturday, Nov 15, I'm inquiring to Ben if he wants it restored.

*********************************************************************************************

This 12th incarnation was the 3rd meeting of the B sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano, guitar w/ f/x, sampler; Spat Cannon: vibres, Roger Dannenberg: trumpet, Tracy Mortimore: contrabass, piano. We're up to 16 Systems of the final 37. Given that Roger & Tracy were both new that was entirely too much to expose them to in 1 session but I was trying to get new people up to the same level as people who'd already rehearsed multiple times. Roger & Tracy & I had already played together in free improvisation sessions. Roger continued with HiTEC almost to the end & has since become one of my main (M)Usical collaborators. Tracy dropped out saying that he didn't like playing Strategy Music (or something to that effect).

from left-to-right: Ilona Auth; tENTATIVELY, a cONVENIENCE

303. "Persisting Resisting"

- tENTATIVELY, a cONVENIENCE

- Using every version of the "Persisting Resisting" part of "Systems Management" from the 1st 12 rehearsals of HiTEC (Histrionic Thought Experiment Cooperative).

- featuring the following 28 participants:

- 001A - Monday, July 14, 2008

- 002B - Monday, July 21, 2008

- tENTATIVELY, a cONVENIENCE: piano, sampler; Ben Opie: alto sax; Spat Cannon: vibres

- 003C - Thursday, July 24, 2008

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: darbouka, Erector Set; Kenny Haney: bass clarinet

- 004A - Monday, July 28, 2008

- tENTATIVELY, a cONVENIENCE: piano; Johan Nystrom: percusssion; Ben Grubb: homemade tongue drum; Hyla Willis: erhu

- 005D - Tuesday, July 29, 2008

- tENTATIVELY, a cONVENIENCE: piano; Josh Tanzer: electric guitar; Tony Balko: temple blocks & singing bowls; Ilona Auth: tap dancing

- 006E - Sunday, August 3, 2008

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer; Erok: trombone; Ally Reeves: vibres; Margaret Campbell: belly dancing

- 007B - Monday, August 4, 2008

- 008C - Tuesday, August 5, 2008

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion, sampler, trumpet, didjeridoo; Kenny Haney: Bb clarinet, organ foot pedals, glass xylophone; Jonathan Brodsky: percussion, sampler; Joy: electric guitar, effects; Caleb Gamble: french horn

- 009A - Monday, August 11, 2008

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ wah-wah, sampler, wave-table synthesizer, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, Jamaican bean; Ben Harris: violin; Dave Bernabo: acoustic guitar; Kerrith Livengood: flute; Andrew "The Impaled" Laswell: Jamaican bean, piano, vibres

- 010D - Thursday, August 14, 2008

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ effect; Tony Balko: videocamera, vibres; Ilona Auth: (tap) dancing; Kevin Smith: Realistic Moog MG1

- 011E - Sunday, August 17, 2008, 8PM

- tENTATIVELY, a cONVENIENCE: piano, sampler; Erok: trombone; Margaret Campbell: belly dancing; Unfinished Symphonies: electronic keyboard; Stuart Anderson: videocamera

- 012B - Monday, August 18, 2008

- tENTATIVELY, a cONVENIENCE: piano, guitar w/ f/x, sampler, DX27S; Spat Cannon: vibres; Tracy Mortimore: bass, piano; Roger Dannenberg: trumpet

- mini-dv -> computer -> DVD & mini-DV

- 0:09:11

- on my onesownthoughts YouTube channel here: https://youtu.be/uw65Z_87zsE

292. "HiTEC 013 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke; William Wedler: glass xylophone

- Thursday, August 21, 2008; etc..

- 1:04:26

- on the Internet Archive here: https://archive.org/details/HiTEC013C

- Systems Management 1-5, Systems Management 5,1,15,2,3,5, Systems Management 6,1,2,3, 14->3, 14->2, 7-9

This 13th incarnation was the 3rd meeting of the C sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke; William Wedler: glass xylophone. The recruiting continued throughout much of the entire time of HiTEC. For this one, both Dani & William were new. Both stayed with the project through most of the public presentations. Since I was trying to find as many open-minded participants as possible I didn't require that they all be professional musicians. That was awkward sometimes. In most cases, people who wouldn't've ever understood the Thought Experiment angle withdrew of their own accord. We're up to, maybe, 17 Systems of the final 37.

293. "HiTEC 014 F"

- tENTATIVELY, a cONVENIENCE: piano, electronics, Erector Set; Unfinished Symphonies: electronic keyboard; Dani Simmonds: lap guitar; William Wedler: vibraphone

- Sunday, August 24, 2008; etc..

- 0:30:27

- on my onesownthoughts YouTube channel here: https://youtu.be/tfUyHgiX5PM

- Systems Management 4, 6-12, Systems Management 0-12

This 14th incarnation was the 1st meeting of the F sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano, electronics, Erector Set; Unfinished Symphonies: electronic keyboard; Dani Simmonds: lap guitar; William Wedler: vibraphone. There were no new players this time but all 3 of the Systems Managers other than tENT had only rehearsed once before & needed to have more sessions fairly quickly in order to catch up to other players. Group F, being the 6th rehearsal group, marked the beginning of having 6 rehearsals every 2 weeks with them generally being on Sundays, Mondays, & Thursdays - but the logistical chaos of trying to juggle so many people's schedules was substantial. We're up to, maybe, 17 Systems of the final 37. Here we play a version of "Systems Management", the individual systems rehearsals weren't documented. The camera is still on a tripod & the shot is still too narrow to show all the Systems Managers. Hence, Unfinished Symphonies doesn't show, etc, etc.. That will eventually be improved upon.

294. "HiTEC 015 A"

- tENTATIVELY, a cONVENIENCE: piano; Hyla Willis: erhu, toy ratchet, siren whistle; Ben Harris: violin; Dave Bernabo: lap guitar, acoustic guitar; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Julian Krishnamurti: electric bass; Joy: Erector Set

- Erin Oldynski: (non-SM) camcorder

- Monday, August 25, 2008; etc..

- 0:40:21

- on the Internet Archive here: https://archive.org/details/HiTEC015A

- Systems Management 10-17, 1-3, 5

This 15th incarnation was the 4th meeting of the A sub-group & consisted of: tENTATIVELY, a cONVENIENCE: piano; Hyla Willis: erhu, toy ratchet, siren whistle; Ben Harris: violin; Dave Bernabo: lap guitar, acoustic guitar; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Julian Krishnamurti: electric bass; Joy: Erector Set. This was probably the 1st rehearsal where I felt like everything was starting to cohere in the way I'd imagined it. The playing has a greater delicacy than it had previously. This particular document is also a relief after the tripod-based ones of the past because my friend Erin Oldynski was visiting & she shot the footage. She wasn't following the Systems, so she wasn't acting as a Systems Manager but the mobility of her camerawork enables much more to be seen than usual. Thank you Erin. THIS WAS THE 1ST REHEARSAL WHERE ALL OF THE EXISTING 17 SYSTEMS WERE GONE THROUGH AND THE WHEEL OF FORTUNE HAS BEEN BUILT & IS SHOWN!!!

tENTATIVELY, a cONVENIENCE

295. "HiTEC 016 D"

- tENTATIVELY, a cONVENIENCE: electronics, MR/RRR RECORD, piano, percussion; Tony Balko: (non-SM) camcorder; Ilona Auth: tap dancing; Johan Nystrom: percussion

- Thursday, August 28, 2008, 2008; etc..

- 0:56:53

- on my onesownthoughts YouTube channel here: https://youtu.be/4naXZSpT-RI

- Systems Management 10-17, Systems Management (WoF) 00-17

This 16th incarnation was the 3rd meeting of the D sub-group & consisted of: tENTATIVELY, a cONVENIENCE: electronics, MR/RRR RECORD, piano, percussion; Tony Balko: (non-SM) camcorder; Ilona Auth: tap dancing; Johan Nystrom: percussion. This was probably the 1st rehearsal where the WoF (Wheel of Fortune) was used in its intended way - albeit without all of the numbers having matching systems. Tony is providing non-Systems camerawork. Ilona is tap-dancing & spinning the WoF. There's a part where tENT is intent on manipulating sampler controls & Johan is intent on his extended percussion. Ilona appears to spin the WoF to get us out of our ruts. We both seem to ignore multiple spins until a phone ringing brings us up short. Ilona appears to be, justifiably, exasperated by our non-response to the WoF. Are we both being Saboteurs? Has the RETARD been introduced? I don't know but I find the quirkiness of it all refreshing - although if I'd been in Ilona's position I might've just been annoyed. Making matters somewhat 'worse' is that spins of the WoF keep producing 003. "Octave Butler". About 44 minutes in one can witness Ilona grinning at this repetition. I play my Bird Call frequently. So does Ilona. Tony's camerawork included a fair amount of shots of the ceiling. Toward the end, the DVD-R that this was made from starts to glitch slightly.

Johan Nystrom

296. "HiTEC 017 E"

- Johan Nystrom: percussion; Stuart Anderson: camcorder

- Sunday, August 31, 2008; etc..

- 0:06:26

- on the Internet Archive here: https://archive.org/details/HiTEC017E

- Systems Management 12(v2), 10

This 17th incarnation was the 3rd meeting of the E sub-group & consisted of: Johan Nystrom: percussion & Stuart Anderson: camcorder. tENT had to be out of town for work so Johan, as the other senior Systems Manager, was in charge. Unfortunately, people took advantage of tENT's absence to not rehearse so only Stuart was there to do camerawork & to spin the WoF. As such, this is the shortest of the rehearsals.

018B - Monday, September 1

006Johan Nystrom: dedication & frustration

Kenny Haney

297. "HiTEC 019 C"

- Johan Nystrom: electronics, camcorder set-up; Kenny Haney: bass clarinet

- Thursday, September 4, 2008; etc..

- 0:31:39

- on the Internet Archive here: https://archive.org/details/HiTEC019C

- Systems Management 16, Systems Management (WoF) 00-17

This 19th incarnation was the 4th meeting of the C sub-group & consisted of: Johan Nystrom: electronics, camcorder set-up; Kenny Haney: bass clarinet. tENT had to be out of town for work so Johan, as the other senior Systems Manager, was in charge. Unfortunately, people took advantage of tENT's absence to not rehearse so only Johan showed up for the 18th HiTEC session so he didn't bother to record his being there by himself. Hence, the numbering jumps from 017 to 019. This was tENT's 55th birthday.

298. "HiTEC 020 F & A"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, small instrument; Dave Bernabo: vibres; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: Erector Set; Margaret Campbell: belly dancing, Wheel of Fortune

- Sunday, September 7, 2008; etc..

- 1:04:35

- on my onesownthoughts YouTube channel here: https://youtu.be/aDDsf5vY4nc

- Systems Management 19, Systems Management (WoF) 00-17

This 20th incarnation was the 2nd meeting of the F sub-group & the 5th meeting of the A Group & consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, small instrument; Dave Bernabo: vibres; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: Erector Set; Margaret Campbell: belly dancing, Wheel of Fortune. tENT had just returned from being out-of-town for work. During his absence, the rehearsals had been ill-attended so tENT scheduled 2 groups to rehearse together to try to get people up to speed. The result was 10 people practicing in one small crowded room. Prior to this, t,ac; Johan; & Ben had been the only people to contribute Systems but on this occasion Kerrith added "Sheepdog". Alas, this was Margaret's last day dancing with us.

299. a. "HiTEC 021 'Full' Group" - w/ framing titles

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock:

- Ilona Auth: tap dancing, WoF spinning; Ben Opie: alto sax, thingamagoop; Kerrith Livengood: flute; Ben Harris: violin; Dave Bernabo: acoustic guitar; Johan Nystrom: percussion; William Wedler: percussion; tENTATIVELY, a cONVENIENCE: grand piano, percussion; Unfinished Symphonies: electronic keyboard; Joy: acoustic guitar; Erok: trombone; Jonathan Brodsky: monome with mabalhabla software; Kenny Haney: bass clarinet; James Gyre: darbouka, flute, bicycle; Hyla Willis: erhu, small noisemaker; Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

b. "HiTEC 021 'Full' Group" - w/ partial titles

- Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

c. "HiTEC 021 'Full' Group" - w/ full titles

- Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

- on my onesownthoughts YouYube channel here: https://youtu.be/e0thj_1lWlA

This 21st incarnation was the 1st time that as many of the HiTEC Systems Managers as could be assembled were & that 'full group' consisted of: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Ilona Auth: tap dancing, WoF (Wheel of Fortune); Ben Opie: alto sax, thingamagoop; Kerrith Livengood: flute; Ben Harris: violin; David Bernabo: acoustic guitar; Johan Nystrom: percussion; William Wedler: percussion; Unfinished Symphonies: electronic keyboard; Joy Toujours: acoustic guitar; Erok: trombone; Jonathan Brodsky: monome with mabahabla software; Kenny Haney: bass clarinet; James Gyre: darbouka, flute, bicycle; Hyla Willis: erhu, small noisemaker; Tony Balko: 16mm & mini-dv cameras. 16 Systems Managers! Ben Opie arranged for us to use a practice room at CMU where he was teaching. This was exciting because we had the space for all of us AND I got to play a grand piano instead of the spinet in my house. Making it even more exciting was that Tony Balko started off by shooting 400 feet of 16mm film which he had processed & then donated to the project. I thought the rehearsal was excellent & that the efforts of the last 2 months were 'paying off'. This is also the 1st time started using "crawl" titles instead of "scroll" ones so that the visuals wouldn't be so blocked.

300. "HiTEC 021 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock:

- Sunday, September 14, 2008; etc..

- 1:01:57

- 16mm + mini-dv -> DVD-R & mini-dv

- on the Internet Archive here: https://archive.org/details/HiTEC021full

- Systems Management (WoF) 00-17

*********************************************************************************************

from Ben Opie:

Subject: DICTATOR proposal

Date: September 16, 2008 12:36:46 PM EDT

To: anon@fyi.net

new proposed strategy:

DICTATOR

DICTATOR is an unnumbered structure. One time per performance only, a single player may choose to become a DICTATOR. This happens when the player walks to the WoF and intentionally places it on a desired number. The Dictator may then perform solo (according to the strategy), or with any number of other players (up to the entire group) as the Dictator defines.

Dictatorship ends when either (a) the Dictator steps down willingly, or (b) the group as a whole stands and "deposes" the Dictator. In either case, the former Dictator must remain completely inactive for the next two systems.

I changed this slightly to:

DICTATOR (from Ben Opie)

DICTATOR is an unnumbered system. One time per performance only, a single player may choose to become a DICTATOR. This happens when the player walks to the WoF and intentionally places it on a desired number. The Dictator may then perform solo (according to the strategy), or with any number of other players (up to the entire group) as the Dictator defines thru hand signals.

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301. "HiTEC 022 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, organ, effected WoF, electronics; Kenny Haney: bass clarinet, digital recorder

- Thursday, September 18, 2008; etc..

- 0:46:41

- on my onesownthoughts YouTube channel here: https://youtu.be/3wral6BUgx8

- Systems Management 23, 20-22, Systems Management (WoF) 00-17

18. "Debriefing"

Discuss what you did when you managed the last system. Every Systems Manager shd have something to say - the more detailed the better.

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Kerrith Livengood suggested the following in an email on August 26, 2008:

19. "Sheepdog" (from Kerrith Livengood)

One player is designated the "sheepdog". (Preferably this is a player with a potentially loud, overbearing instrument, i.e. saxophone or percussion piano or electronics, etc.) The other players are divided into groups of three or four (you can use the groupings from "Affinity Groups" if desired, or you can group by instrument similarity) who then begin playing together, trying to create a very unified sound within the group. After a little time passes, the Sheepdog begins playing aggressively "at" the group of "sheep" to try and interrupt their thinking. If member(s) of the sheep group lose concentration and change what they are playing, they must try to get the other sheep to regroup with them until they are all playing more or less the same thing again. If the group fails to do this within a reasonable period of time, they must stop playing altogether and allow the next group of sheep to play. The process repeats until the Sheepdog either has bullied all the groups into silence, or has given up and stopped playing. If the latter, then all sheep groups may reenter and play their original collective ideas. If the former, the Sheepdog may then play a solo, or call for the WoF to be spun again.

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20. "Subtlety Olympics"

Compete w/ each other to try to be the subtlest Systems Manager. This can be manifested by playing extremely softly or by initiating long processes that take time for them to become obvious, etc..

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On Sunday, September 14, Ben Opie proposed the following in an email.

Consider every part on yourself that could create sound (i.e: voice, hands, instrument, feet, etc). Play a single sound event on each area. Do not repeat until you have cycled through each area. For example: you could play on hands, feet, instrument, voice, then you are free to do all areas again in any order. (In other words, you may do the same area twice in a row if you already cycled through all other areas.) Do not follow any sound area from another person with the same area on you.

On Monday, September 15, I named it & slightly rewrote it to make it less sound-specific & took out the last sentence b/c of its unworkableness.

21. "Yourself" (from Ben Opie)

Consider every part on yourself that could create events (i.e: voice, hands, instrument, feet, etc). Play a single event on each area. Do not repeat until you have cycled through each area. For example: you could play on hands, feet, instrument, voice, then you are free to do all areas again in any order. (In other words, you may do the same area twice in a row if you already cycled through all other areas.)

The last sentence of the original was later restored in November for the pink sheet version.

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On Monday morning, September 15, as response to the lack of histrionics in last night's 1st large group rehearsal, I thought of the "Getting It Out Of Your" System (& I think it's a pretty damned funny title too!).

22. Getting It Out Of Your

Become VERY DRAMATIC. Tear yr clothes, play w/ extreme dynamic level differences, make huge sweeping gestures, weep & laugh copiously, act out secret fantasies, etc. In general, up the histrionics level as uninhibitedly as you can. Feel free to be a total embarrassment.

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This 22nd incarnation marked going back to a small scale again given that it only consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, organ, effected WoF, electronics; Kenny Haney: bass clarinet, digital recorder. This session was the 1st time that tENT effected the WoF (Wheel of Fortune) to make spinning it sound more interesting. System 023 "Personality Types" has been introduced - which means that 020. "Subtlety Olympics", 021. "Yourself", & 022. "Getting It Our Of Your" have also been introduced. The Meyers-Briggs Personality Types descriptions running through as titles gives this one a special touch - as does Kenny's experimenting with recording & playing back.

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On Thursday, September 18, 2008, Group C consisted only of me & Kenny Haney. Kenny & I tried out "Personality Types" & I decided that it might be better to ask all the Systems Managers to create their own Personality Type bearing their own name & consisting of 4 sentences culled from the already provided Personality Types descriptions + 2 sentences of their own creation.

We also tried out the "Subtlety Olympics" & I decided that there shd be a judge to award a "Subtlety Olympics" Medal at the end of the Managing of the System.

Then we talked about various possible new systems - some incorporating things that Kenny's been studying in Game Theory class & one to try to explore unison - wch we agreed was lacking in the Systems so far. "Nash's Equilibrium" was mentioned & the idea of creating & using Game Theory as a basis for making decisions & for providing a fairer situation. I proposed a system that cd possibly be called "Nash's Equilibrium" in wch Systems Managers wd be called upon to provide what they think has been missing so far in a session. That wd be a sort of checks-&-balances thing. The flaw w/ that being that what people might think is missing might only be 'correctable' thru a process that can't be initiated by an individual in a playing situation - in other words, it might require talking or some such to establish unisons or whatever. Nonetheless, I haven't completely ruled this out. Maybe something just called "Equilibrium" or "Checks & Balances" cd be tried out & written in such a way that how to accomplish things cd be more specifically & practically envisioned. Another Game Theory idea discussed was the "Prisoner's Dilemma" - ie: HOW TO ESCAPE FROM SYSTEMS WHEN THEY'RE GETTING YOU DOWN. Kenny & I combined this w/ unison & came up w/:

24. "Escape Tunnel" (from t,ac & Kenny Haney):

When 24 appears on the WoF, try to act in total SOLIDARITY to escape from the system. EG: everyone narrows down their playing field to be absolutely in unison. Until every Systems Manager reaches some form of unspoken consensus that SOLIDARITY has been reached & the escape tunnel has been collectively dug, there is NO ESCAPE from this system - except, perhaps, thru the intrusion of the DICTATOR.

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25. "Equilibrium" (from t,ac & Kenny Haney):

Decide what you think has been missing from the Systems Management so far & provide it. EG: If you think that you haven't been prominent enuf then be so, if you think that there's been too little driving repetition then provide it, if you think the quality of Management has been too low then Manage the best you can, if you think another Systems Manager has been too neglected then support them, etc..

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302. "HiTEC 023 F"

- tENTATIVELY, a cONVENIENCE: piano, percussion, effected WoF; Roger Dannenberg: trumpet; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Stuart Anderson: recorder, vibres

- Sunday, September 21, 2008; etc..

- 1:05:42

- on the Internet Archive here: https://archive.org/details/HiTEC023F

- Systems Management (WoF) 00-23

On Monday morning, September 15, I finally got around to trying to elucidate this:

23. "Personality Types":

Pigeonhole yrself in one of the following psychological character types:

"The Duty Fulfiller" [ISTJ - Introverted Sensing Thinking Judging

(Introverted Sensing with Extraverted Thinking)]

Serious and quiet, interested in security and peaceful living. Extremely thorough, responsible, and dependable. Well-developed powers of concentration. Usually interested in supporting and promoting traditions and establishments. Well-organized and hard working, they work steadily towards identified goals. They can usually accomplish any task once they have set their mind to it.

"The Mechanic" [ISTP - Introverted Sensing Thinking Perceiving

(Introverted Sensing with Extraverted Sensing)]

Quiet and reserved, interested in how and why things work. Excellent skills with mechanical things. Risk-takers who they live for the moment. Usually interested in and talented at extreme sports. Uncomplicated in their desires. Loyal to their peers and to their internal value systems, but not overly concerned with respecting laws and rules if they get in the way of getting something done. Detached and analytical, they excel at finding solutions to practical problems.

"The Nurturer" [ISFJ - Introverted Sensing Feeling Judging

(Introverted Sensing with Extraverted Feeling)]

Quiet, kind, and conscientious. Can be depended on to follow through. Usually puts the needs of others above their own needs. Stable and practical, they value security and traditions. Well-developed sense of space and function. Rich inner world of observations about people. Extremely perceptive of other's feelings. Interested in serving others.

"The Artist" [ISFP - Introverted Sensing Feeling Perceiving

(Introverted Feeling with Extraverted Sensing)

Quiet, serious, sensitive and kind. Do not like conflict, and not likely to do things which may generate conflict. Loyal and faithful. Extremely well-developed senses, and aesthetic appreciation for beauty. Not interested in leading or controlling others. Flexible and open-minded. Likely to be original and creative. Enjoy the present moment.

"The Protector" [INFJ - Introverted iNtuitive Feeling Judging

(Introverted Intuition with Extraverted Feeling)]

Quietly forceful, original, and sensitive. Tend to stick to things until they are done. Extremely intuitive about people, and concerned for their feelings. Well-developed value systems which they strictly adhere to. Well-respected for their perserverence in doing the right thing. Likely to be individualistic, rather than leading or following.

"The Idealist" [INFP - Introverted iNtuitive Feeling Perceiving

(Introverted Feeling with Extraverted Intuition)]

Quiet, reflective, and idealistic. Interested in serving humanity. Well-developed value system, which they strive to live in accordance with. Extremely loyal. Adaptable and laid-back unless a strongly-held value is threatened. Usually talented writers. Mentally quick, and able to see possibilities. Interested in understanding and helping people.

"The Scientist" [INTJ - Introverted iNtuitive Thinking Judging

(Introverted Intuition with Extraverted Thinking)]

Independent, original, analytical, and determined. Have an exceptional ability to turn theories into solid plans of action. Highly value knowledge, competence, and structure. Driven to derive meaning from their visions. Long-range thinkers. Have very high standards for their performance, and the performance of others. Natural leaders, but will follow if they trust existing leaders.

"The Thinker" [INTP - Introverted iNtuitive Thinking Perceiving

(Introverted Thinking with Extraverted Intuition)]

Logical, original, creative thinkers. Can become very excited about theories and ideas. Exceptionally capable and driven to turn theories into clear understandings. Highly value knowledge, competence and logic. Quiet and reserved, hard to get to know well. Individualistic, having no interest in leading or following others.

"The Doer" [ESTP - Extraverted Sensing Thinking Perceiving

(Extraverted Sensing with Introverted Thinking)]

Friendly, adaptable, action-oriented. "Doers" who are focused on immediate results. Living in the here-and-now, they're risk-takers who live fast-paced lifestyles. Impatient with long explanations. Extremely loyal to their peers, but not usually respectful of laws and rules if they get in the way of getting things done. Great people skills.

"The Guardian" [ESTJ - Extraverted Sensing Thinking Judging

(Extraverted Thinking with Introverted Sensing)]

Practical, traditional, and organized. Likely to be athletic. Not interested in theory or abstraction unless they see the practical application. Have clear visions of the way things should be. Loyal and hard-working. Like to be in charge. Exceptionally capable in organizing and running activities. "Good citizens" who value security and peaceful living.

"The Performer" [ESFP - Extraverted Sensing Feeling Perceiving

(Extraverted Sensing with Introverted Feeling)]

People-oriented and fun-loving, they make things more fun for others by their enjoyment. Living for the moment, they love new experiences. They dislike theory and impersonal analysis. Interested in serving others. Likely to be the center of attention in social situations. Well-developed common sense and practical ability.

"The Caregiver" [ESFJ - Extraverted Sensing Feeling Judging

(Extraverted Feeling with Introverted Sensing)]

Warm-hearted, popular, and conscientious. Tend to put the needs of others over their own needs. Feel strong sense of responsibility and duty. Value traditions and security. Interested in serving others. Need positive reinforcement to feel good about themselves. Well-developed sense of space and function.

"The Inspirer" [ENFP - Extraverted iNtuitive Feeling Perceiving

(Extraverted Intuition with Introverted Feeling)]

Enthusiastic, idealistic, and creative. Able to do almost anything that interests them. Great people skills. Need to live life in accordance with their inner values. Excited by new ideas, but bored with details. Open-minded and flexible, with a broad range of interests and abilities.

"The Giver" [ENFJ - Extraverted iNtuitive Feeling Judging

(Extraverted Feeling with Introverted Intuition)]

Popular and sensitive, with outstanding people skills. Externally focused, with real concern for how others think and feel. Usually dislike being alone. They see everything from the human angle, and dislike impersonal analysis. Very effective at managing people issues, and leading group discussions. Interested in serving others, and probably place the needs of others over their own needs.

"The Visionary" [ENTP - Extraverted iNtuitive Thinking Perceiving

(Extraverted Intuition with Introverted Thinking)]

Creative, resourceful, and intellectually quick. Good at a broad range of things. Enjoy debating issues, and may be into "one-up-manship". They get very excited about new ideas and projects, but may neglect the more routine aspects of life. Generally outspoken and assertive. They enjoy people and are stimulating company. Excellent ability to understand concepts and apply logic to find solutions.

"The Executive" [ENTJ - Extraverted iNtuitive Thinking Judging

(Extraverted Thinking with Introverted Intuition)]

Assertive and outspoken - they are driven to lead. Excellent ability to understand difficult organizational problems and create solid solutions. Intelligent and well-informed, they usually excel at public speaking. They value knowledge and competence, and usually have little patience with inefficiency or disorganization.

Self-consciously structure yr playing around that type while thinking that it might be healthy for you to try one of the other types. Eventually switch to the other once you have a clear idea of what being that other is. Do this even if the WoF has moved onto another System - in other words, this isn't finished until you've switched to a different personality type. If you are finishing up in another System, play that other System at the same time.

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This 23rd incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, effected WoF; Roger Dannenberg: trumpet; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Stuart Anderson: recorder, vibres. As with the previous 022 C, the Systems Management includes the 1st 23 Systems (of an eventual 32 + 6) & the use of an effected WoF (Wheel of Fortune). The camera is still affixed to a tripod & incapable of a wide angle enough shot to show everyone playing. Fortunately, the shot does change.

306. a. "HiTEC 024 A" (sound version)

- tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, vibres; Ben Harris: violin; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; James Gyre: Erector Set; Spat Cannon: upright bass

- Monday, September 22, 2008; etc..

- 1:26:09

b. "HiTEC 024 A" ('silent' version)

c. "HiTEC 024 A" (hybrid version)

- 1:32:12

- edit made April 22, 2019

- on my onesownthoughts YouTube channel here: https://youtu.be/RmtaSPLef_w

- Systems Management (WoF) 00-23

This 24th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, vibres; Ben Harris: violin; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; James Gyre: Erector Set; Spat Cannon: upright bass. 8 Systems Managers. I'd found some 80+ minute min-dv tapes by this point so this is the 1st of the longer recordings. One of the cameras is glitching near the beginning - this is an indication of its impending decay. For this session I used 2 cameras so there's intercutting between the 2 shots that makes this the beginning of more elaborately edited documents. I wasn't really thinking of these as movies-to-be-shown, they're more just very casual records. By now, HiTEC itself is becoming fairly solid. Alas, the disc that I duped this from started malfunctioning at 1:06:14 & I didn't succeed in getting it to play correctly again until what would've been 1:15:14. As such, instead of being 1:26:24, this would be only 1:17:25 if I just worked from the one disc. At the point where the missing section is I was just going to have it fade out & then in again. But, NO, I couldn't let myself off so easily. I'd noticed that there's a "SILENT VERSION" & that mystified me. I didn't know why I made that. SO, I figured I could take the visuals for the missing section from the silent version & try to reconstruct the scene using the sound from a CD-R (if THAT's any good anymore). SO, I started dumping the SILENT VERSION into the editing program only to discover that it isn't just the session without sound but that it's got a silly framing narrative to it that I found entertaining. Hence, this version was 'born': the version that intercuts the 2 into something even stranger. Gotta love it.

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"Say AHHHdience" & "Private Phasing" - the former was 1st discussed by Johan & myself after the Monday, September 22 Group A rehearsal.

from Johan Nystrom:

Subject: RANKOU!!

Date: September 23, 2008 11:26:14 PM EDT

To: anon@fyi.net

tENT,

here's is a verison of Say Audience that I typed up based on what we talked about. here is also a suggestion for another system with the goal of adding to the "histrionic" side of things.

Say Audience

All system managers free improvise. Audience members are to choose a player: when and ONLY when that player STARTS playing, say "ah!" (just like when a doctor or dentist asks you to open your mouth wide).

Private Phasing

Choose three words that have some personal, private significance to you. How you choose these words is up to you, but they should be sufficiently decontexualized so that anyone listening will not know their source. Begin chanting the first word LOUDLY in short bursts, with pauses and spacing to approximate a rhythm (you can use an actual rhythm if you want). After you have done this long enough that the first word has a new association for you, move on to the second word but with a new pacing, and likewise until the third. Voice can be replaced with pantomime for each word and movement phrases, but instruments are not to be used.

I replied to the latter w/:

I have mixed feelings about this. In the beginning of HiTEC I wanted to avoid specific instructions altogether - staying w/ only instructions about how to think about what we're doing. Obviously, that hasn't turned out to be the case - even in my systems. ALSO, I wanted to avoid doing things in a way similar to what Neil Feather & I did w/ the Official Project. That, too, has not been completely avoided. When Ben Opie sd he wanted to make a system using only talking I was not enthusiastic b/c that reminds me of the many talking CAMUs we did "Officially". I counterproposed "Debriefing" just b/c it's what we already do in HiTEC so I wasn't opposed to incorporating it. Anyway, I'm not opposed to "Private Phasing" as a system, I'm just trying to get HiTEC & Systems Management 'back on course' somehow by making the systems more 'abstract'.

& then Johan countered w/:

PRIVATE PHASING

PICK THREE PERSONAL MOMENTS FROM PRIVATE MEMORY (IT

COULD BE AN EVENT, BUT COULD ALSO BE A SMELL, OR SOMETHING

LESS EPISTEMOLOGICALLY ACCESSIBLE).

ASSOCIATE ONE SYSTEM WITH

EACH.

PLAY THE FIRST, PAYING ATTENTION TO THE MEMORY AND THE GROUP'S

PLAYING UNTIL THAT MEMORY HAS A NEW ASSOCIATION FOR YOU. ALL

MEMORIES NEED NOT NECESSARILY BE PICKED OUT IN ADVANCE, YOU CAN

"FREE ASSOCIATE" TO GET TO THE NEXT MEMORY AS LONG AS YOU MOVE

WITHIN THREE DISCRETE MEMORY SYSTEMS. YOU ARE ENCOURAGED TO

INDULGE ALL EMOTIONAL EXPERIENCE FROM A MEMORY WITHIN

A NARROW SYSTEM.

to wch I replied:

Looking at it some more, does it have to be THREE discrete memory systems? I reckon you have yr reasons for this, but it seems like maybe TWO wd be enuf or even ONE. The latter cd something like:

Pick an event from yr memory. Associate a system w/ it. Play this system, paying attn to both the memory & the group's playing. Stop playing when the group's playing has formed a new association w/ the older memory. A new system can't be gone onto until everyone's stopped playing.

That seems a bit more elegant to me.. but it's yr call.

ALSO, why "Private Phasing"? Do you mean "phasing" in the technical sense that, say, Steve Reich might use it? Or do you mean it in a personal sense as in "a phase I went thru"? Or both?

AND, when you write: "ASSOCIATE ONE SYSTEM WITH EACH" do you mean a pre-existing System or a new one that the System Manager shd create on the spot?

from Johan Nystrom:

Subject: Re: RANKOU!!

Date: September 28, 2008 3:00:23 PM EDT

To: anon@fyi.net

I think this version will work just fine and hopefully, with less confusion.

ALSO, why "Private Phasing"? Do you mean "phasing" in the technical sense that, say, Steve Reich might use it? Or do you mean it in a personal sense as in "a phase I went thru"? Or both?

Both, the idea was to have some overlap with everyone's memories. That's why i picked three discreet ones.

AND, when you write: "ASSOCIATE ONE SYSTEM WITH EACH" do you mean a pre-existing System or a new one that the System Manager shd create on the spot? The latter, and need not be a complex set of rules, but a range of sound/motion/etc. "System" seemed like the most efficicient description.

26. "Say AHHH!dience" (from Johan Nystrom & t,ac):

THIS IS (V)AUDIENCE PARTICIPATORY. All System Managers free-improvise intermittently. Audience members are to choose ONE player each and then ONLY when that player STARTS playing, say "AHHH!" (as when a doctor or dentist asks you to open your mouth wide or when you're expressing understanding or astonishment).

27. "Private Phasing" (from Johan Nystrom):

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Dani Simmonds (inside "Erector Set"); Julian Krishnamurti

307. "HiTEC 025 D"

- tENTATIVELY, a cONVENIENCE: piano, percussion, electronics, WoF; Dani Simmonds: banjo-uke; Julian Krishnamurti: electric bass

- Thursday, September 25, 2008; etc..

- 0:55:23

- on the Internet Archive here: https://archive.org/details/HiTEC025D

- Systems Management (WoF) 00-22

This 25th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, electronics, WoF; Dani Simmonds: banjo-uke; Julian Krishnamurti: electric bass. The group letters don't represent hard & fast membership since the higher the letters, the more they represent newer members &/or people who haven't rehearsed as often as Systems Managers in lower-lettered groups. Also, the smaller the group, the more likelihood of a less rigorous, more free-flowing session. Here, we play Systems 0-22. In the unlikely event that you've been following the evolution of these HiTEC rehearsals, it's easy to spot things like my mistakes in "Octave Butler".

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On September 27th, I sent out this email to propose changes to "Personality Types":

From: anon@fyi.net

Subject: Personality Types

Date: September 27, 2008 11:17:46 AM EDT

SO,

As per discussion at the last 3 rehearsals, I propose changing the "Personality Types" System by making a new personality type for every person in HiTEC. It's requested that each Systems Manager pick 4 sentences from the Personality Types descriptions provided below that they think most accurately describe themselves. These sentences can be from more than one Personality Type. THEN, it's requested that each Systems Manager add 2 more sentences of their own to 'complete' the Personality Type description. Here's my example:

tENTATIVELY, a cONVENIENCE:

Logical, original, creative thinker. Has an exceptional ability to turn theories into solid plans of action. Open-minded and flexible, with a broad range of interests and abilities. Gets very excited about new ideas and projects, but may neglect the routine aspects of life. Considers himself to be a criminally sane Sound Thinker / booed usician / Low Classicist / Thought Collector. Spends much of his life contemplating the significance of his motto: "Anything is Anything".

I arrived at this Personality Type by reading thru the "Personality Types" & picking out "The Protector", "The Scientist", "The Thinker", "The Inspirer", & "The Visionary" as the ones I identified w/ the most. I then picked out 4 sentences from those that best served my purposes: "Logical [etc..]" from "The Thinker", "Has an exceptional [etc..]" from "The Scientist", "Open-minded [etc..]" from "The Inspirer", & "Gets very excited [etc..]" from "The Visionary". Since I had 5 Personality Types chosen but only 4 sentences to select, I didn't choose anything from "The Protector". I also changed the sentence structures in some cases slightly to make them singular [etc..] instead of plural. That sort of thing. THEN, I simplified my voluminous email signature to just choose a few things that I wanted to highlight for this personalized Personality Type.

SO, I'm asking YOU to do a similar thing.

THEN, the NEW, IMPROVED 23. "Personality Types" will consist of self-descriptions of each of the Systems Managers & our 'performing' of it will consist of our starting out as ourselves & then switching to someone else's Personality Type on a conductor's signal.

Sorry if this seems like tedious homework or if it's not to yr liking. HUMOR ME! (pretty please) IT MIGHT BE FUN! Don't be shy! Say positive things about yrself! Feel free to choose sentences that you think other people will choose too (or NOT). After all, we obviously are going to have alotof overlap - that's one of the reasons why we're working on this project together.

tENTATIVELY, a cONVENIENCE:

On Sept 28 I rc'vd the 1st response:

David Bernabo:

Adaptable and laid-back unless a strongly-held value is threatened. Can become very excited about theories and ideas. Excellent ability to understand concepts and apply logic to find solutions. Natural leader, but will follow if they trust existing leaders. Becomes rabidly anxious when theories cannot be executed immediately, but enjoys the settling of ideas over longterm projects. Frequently overextends self.

"The Idealist" - "The Thinker" - "The Visionary" - "The Scientist"

On Sept 29 I got James':

james gyre:

Independent, original, analytical, and determined.

Open-minded and flexible, with a broad range of interests and abilities.

Extremely well-developed senses, and aesthetic appreciation for beauty.

Extremely loyal to their peers, but not usually respectful of laws and rules if they get in the way of getting things done.

a weaver, threading the right action through the right time in the right place with the right people and the proper decorations.

a synergeon, quickly consolidating the paradoxical position.

On Oct 1 I got Dani's &, shortly thereafter, Johan's:

Dani Simmonds:

Enthusiastic, idealistic, and creative. (ENFP). Externally focused, with real concern for how others think and feel. (ENFJ). Likely to be the center of attention in social situations. (ESFP). Enjoy the present moment. (ISFP). Typically underfocused, sometimes hyperfocused, almost never balanced. Particularly fond of nonsense, and sometimes contradictions too.

Johan Nystrom:

Quiet and reserved, interested in how and why things work. Can become very excited about theories and ideas. Living for the moment, loves new experiences. Adaptable and laid-back unless a strongly-held value is threatened. Extremely logical approach but illogical results with a penchant for using things in a manner other than how they were designed. Prone to anacoluthon and fragmentary language, cognitive patterns.

Oct 2 & 9:

"The Jules":

Logical, original, creative thinkers. Extremely well-developed senses, and aesthetic appreciation for beauty. They enjoy people and are stimulating company. Excellent ability to understand concepts and apply logic to find solutions. Loyal to their peers and to their internal value systems, but not overly concerned with respecting laws and rules if they get in the way of getting something done. Usually works best in a nocturnal setting. Work ethic can often be easily derailed by tangential thinking.

Oct 3:

Unfinished Symphonies:

Living for the moment, they love new experiences. Loyal and hard working. Open-minded and flexible, with a broad range of interests and abilities. Not interested in leading or controlling others.

Being a poet is like being a king (but damn it, it takes all my time). Second fellow to board the spaceship.

Oct 3:

Hyla Willis:

Need to live life in accordance with their inner values. Rich inner world of observations about people. Not interested in leading or controlling others. They get very excited about new ideas and projects, but may neglect the more routine aspects of life. Sensitive towards plants, animals, and the disenfranchised. A skeptic with a macabre sense of humor.

Stuart O. Anderson:

Quiet and reserved, interested in how and why things work. Not interested in leading or controlling others. Highly value knowledge, competence, and structure. They get very excited about new ideas and projects, but may neglect the more routine aspects of life. A primarily visual thinker, they often find it frustrating to communicate linguistically or musically. Easily distracted.

Oct 5:

spat cannon:

Mentally quick, and able to see possibilities. Individualistic, having no interest in leading or following others. Excited by new ideas, but bored with details. People-oriented and fun-loving, they make things more fun for others by their enjoyment. A kleptoplagiarist with a short span of attention. spat accepts that answers do not match their questions

Oct 6:

"Kerrith":

Extremely introverted, but forms strong attachments to friends and loved ones. Idealistic, creative, and adventurous, highly ambitious but often unfocused and scattered. Simultaneously egotistical and relentlessly self-critical hidden under a veneer of silence. Skeptical of convention, but a sincere believer in kindness and generosity. Humorous, eclectic and very stubborn. Independent minded and can function as a leader, but also contributes as a team player if included in decision-making.

Oct 11:

joy toujours:

"i do not know therefore i am" reliable to help when truly needed. unreliable to follow through with lesser important plans due to a tendency to overflow the life plate. very excited initially. "whatever" always wins. appreciates the chase as much if not more than the prize. can't focus worth shit. doesn't really care. able to justify anything. scared about that.

Oct 12:

William Wedler:

Have an exceptional ability to turn theories into solid plans of action. Highly value knowledge, competence, and structure. Natural leaders, but will follow if they trust existing leaders. Long-range thinkers. Known as the "Systems Builders", perhaps in part because they possess the unusual trait combination of imagination and reliability. "Masterminds", Independently minded and unconstrained by authority or convention.

Oct 14:

Tony:

Open-minded and flexible, with a broad range of interests and abilities. Well-organized and hard working, works steadily towards identified goals whilst highly valuing knowledge, competence and logic. Extremely well-developed senses, and aesthetic appreciation for beauty. Enjoys staying at home and adventure...equally! Sensitive empathizer with the heart of a flicker-loving Mamma's boy.

Oct 19:

Jonathan Brodsky:

Quiet and reserved, interested in how and why things work. Does not like conflict, and not likely to do things which may generate conflict. Highly value structure and logic. Interested in potential competence rather than kinetic competence. Gets very excited about new ideas and projects, but may neglect the routine aspects of life. Interested in intuition, ecstatic about analysis.

Oct 20:

Ben Harris:

Quiet and reserved, interested in how and why things work. Individualistic, having no interest in leading or following others. Adaptable and laid-back unless a strongly-held value is threatened. Can usually accomplish any task once they have set their mind to it. Increasingly obsessive. Has a tendency to procrastinate.

Oct 20:

Erok, "The Procrastinator":

Friendly, inquisitive, and independent. A "jack (or jill)" of all trades, master of none. Living for the moment, they love new experiences. Are loyal, but tend to be distracted easily because they are too embroiled in their own ideas. Dependable and will almost always follow through, but only after much prodding or certain failure. Tends to frustrate others because they can be hard to work with, but are remorseful and empathetic.

Oct 24:

Kenny Haney:

Able to do almost anything that interests them. Likely to be individualistic, rather than leading or following. Open-minded and flexible, with a broad range of interests and abilities. They get very excited about new ideas and projects, but may neglect the more routine aspects of life. Has short attention span and prone to procrastination. They are watching me.

Oct 25:

Ben Opie:

Leadership: equally comfortable with a leader or support role; however, will take a leader role given a lack of leadership otherwise. Disorganized. Bad procrastinator. Moderately wide range of interests; even within his studied field, tends to have broad ranging interests rather than a single particular specialty. Modestly friendly and warm, but not especially sociable; dislikes (bordering on phobic) large crowds; prefers the company of just a few friends. Depending on mood, can be extremely patient to easily agitated and impatient.

Nov 5:

Roger Dannenberg:

Logical, original, creative thinker. Can become very excited about theories and ideas. Highly values knowledge, competence and logic. Quiet and reserved, hard to get to know well. Interested in how and why things work. Believes strongly in fairness and equality.

[Anacoluthon

From Wikipedia, the free encyclopedia

An anacoluthon is a rhetorical device that can be loosely defined as a change of syntax within a sentence. More specifically, anacoluthons (or "anacolutha") are created when a sentence abruptly changes from one structure to another. Grammatically, anacoluthon is an error; however, in rhetoric it is a figure that shows excitement, confusion, or laziness. In poetics it is sometimes used in dramatic monologues and in verse drama. In prose, anacoluthon is often used in stream of consciousness writing, such as that of James Joyce, because it is characteristic of informal human thought.

In its most restrictive meaning, anacoluthon requires that the introductory elements of a sentence lack a proper object or complement. For example, if the beginning of a sentence sets up a subject and verb, but then the sentence changes its structure so that no direct object is given, the result is anacoluthon. Essentially, it requires a change of subject or verb from the stated to an implied term. The sentence must be "without completion" (literally what "anacoluthon" means). A sentence that lacks a head, that supplies instead the complement or object without subject, is anapodoton.

As a figure, anacoluthon directs a reader's attention, especially in poetry, to the syntax itself and highlights the mechanics of the meaning rather than the object of the meaning. It can, therefore, be a distancing technique in some poetry.

Examples

? Agreements entered into when three states of facts exists - are they to be maintained regardless of changing conditions? (John George Diefenbaker)

? Had ye been there - for what could that have done? (John Milton in Lycidas)

William Shakespeare uses anacoluthon in his history plays such as in this (Henry V IV iii 346-6):

? "Rather proclaim it, Westmoreland, through my host,

That he which hath no stomach to this fight,

Let him depart."

Additionally, Conrad Aiken's Rimbaud and Verlaine has an extended anacoluthon as it discusses anacoluthon:

? "Discussing, between moves, iamb and spondee

Anacoluthon and the open vowel

God the great peacock with his angel peacocks

And his dependent peacocks the bright stars..."]

308. "HiTEC 026 E"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Stuart Anderson: Small Nondo; Joy: acoustic guitar; Ben Opie: Bb clarinet, thingamagoop (from kit), vibres

- shot Sunday, September 28, 2008; edited December 11, 2008

- 1:18:06

- on my onesownthoughts YouTube channel here: https://youtu.be/6OPfaeUoVY0

- Systems Management 1, 2, 20, 18, 21-23, 14, 1+14, 2+14, 3+14

*********************************************************************************************

During the HiTEC026E rehearsal on September 28, I proposed to Ben that DICTATOR be replaced by Bypass - w/ Bypass being something like the following:

28. "Bypass":

A Systems Manager can either place the WoF on 28 or it can land there in the course of an uncontrolled spin. When this happens, the Bypass SM then proceeds to point to the desired number on the WoF that they want Managed w/o spinning the WoF. This is to both Bypass the 'randomness' of the WoF & to eliminate the WoF's sound. Bypass ends when the WoF is spun again.

*********************************************************************************************

This 26th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Stuart Anderson: Small Nondo; Joy: acoustic guitar; Ben Opie: Bb clarinet, thingamagoop (from kit), vibres. This is another lengthier document thanks to me finding 80+ minute mini-dv tapes. As with many of the rehearsals, this could be said to be an exercise in interabilities since some of the players had vast experience & skills & others didn't. This is where "Bypass" & "DICTATOR" are discussed.

*********************************************************************************************

On September 30, I finally looked up "Thought Experiments" on the internet in order to make more correct reference to them than I have so far & I mutated some of them into these:

29. Avicenna's "Floating Systems Manager":

["Floating Man" thought experiment

While he was imprisoned in the castle of Fardajan near Hamadhan, Avicenna described the earliest known thought experiment, now famously known as the "Floating Man" thought experiment, to demonstrate human self-awareness and the substantiality of the soul. He referred to the living human intelligence, particularly the active intellect, which he believed to be the hypostasis by which God communicates truth to the human mind and imparts order and intelligibility to nature. His "Floating Man" thought experiment tells its readers to imagine themselves suspended in the air, isolated from all sensations, which includes no sensory contact with even their own bodies. He argues that, in this scenario, one would still have self-consciousness. He thus concludes that the idea of the self is not logically dependent on any physical thing, and that the soul should not be seen in relative terms, but as a primary given, a substance. This idea was in contrast with Muslim theologians including Mu'tazili and Ash'ari? ones. Avicenna summarized his thought experiment as follows:

"Most people and many of the speculative theologians have thought that the human being is this body and that everyone refers to it when saying 'I'. This is a false belief, as we shall show."

"The one among us must imagine himself as though he is created all at once and created perfect, but that his sight has been veiled from observing external things, and that he is created falling in the air or the void in a manner where he would not encounter air resistance, requiring him to feel, and that his limbs are separated from each other so that they neither meet nor touch. He must then reflect as to whether he will affirm the existence of his self."

"He will not doubt his affirming his self existing, but with this he will not affirm any limb from among his organs, no internal organ, whether heart or brain and no external thing. Rather, he would be affirming his self without affirming it for length, breadth, and depth."

"Hence the one who affirms has a means to be alerted to the existence of his soul as something other than the body - indeed, other than body - and to his being directly acquainted with [this existence] and aware of it."

Later Muslim philosophers and theologians such as Suhrawardi and Nas?r al-D?n al-T?s? attempted to further develop this idea.[52] This argument was then later refined and simplified by René Descartes in epistemic terms when he stated: "I can abstract from the supposition of all external things, but not from the supposition of my own consciousness."[53] There's another viewpoint that Descartes's quotation is a misunderstanding when he said "I think, therefore I am." On the basis of Avicenna's discussion, a human knows himself without any internal or external effect and before any thought and if somebody tries to prove himself on the basis of an effect like his own consciousness, then he is just misleading himself.[52]]

Imagine yrself floating detached from all sensory input. Manage this System as if you're sending out signals to control bodily parts that you're unable to feel but in full confidence that you're a perfect self-contained soul not needing physicality for self-identification.

Brain-In-A-Vat

Decide that you're a brain-in-a-vat instead of a brain-in-a-skull & that your perceptions of what's happening in the current Systems Management session are programmed perceptions rather than 'real' ones. Adapt yr Management to what you then think is the most likely 'reality'.

Infinite Monkey Theorem

Perform isolated notes in an attempt to be 'random' in relation to yr fellow Systems Managers. Stop playing when you're fairly sure you hear a combination that you've heard before - such as a fragment of Mozart or whatever.

from Stuart Anderson:

Subject: System Idea

Date: September 30, 2008 10:44:13 PM EDT

To: anon@fyi.net

Wheel Turing:

One System Manager becomes the Processor. The Processor executes a Program of their own choosing. A Program is a function mapping the State of the other system managers (i.e. sounds, positions, etc) to one of a limited set of Actions. The Actions that the Processor may take are: { Move Wheel 1 Step Left, Move Wheel 1 Step Right, Point at X (where X is a defined function of the current System State), Terminate }. The other system managers must play in accorance to whatever number is currently selected by the Wheel. If a System Manager is Pointed at by the Processor, they must stand if they are sitting and and sit if they are standing.

For e.g. the Processor could choose a program as follows:

If the average volume of standing players increases, move the wheel left.

If the average tempo increases, move the wheel right.

If a player decreases tempo, point at them.

The system ends when the Processor Terminates, or concludes that the system will not Terminate in a finite/reasonable amount of time.

The idea is that this brings us through a large number of systems very quickly, spending maybe only 5 or 10 seconds on each one.

Stuart & I discussed this via email wch lead to this:

On Oct 1, 2008, at 12:23 AM, Stuart O Anderson wrote:

"Wheel Turing" => Alan Turing (and, more specifically, his work on the halting problem),

Ok, I know a bit about Turing - I read his bio & watched a relevant movie about Enigma & I reference him in my math/humor bk "Paradigm Shift Knuckle Sandwich" - but I don't know the "halting problem".

and also the process of 'Truing' a bicycle wheel (which involves spinning it repeatedly at short intervals).

Wch I also, of course, know about.

Here's an attempt at simplification:

Ok, it's somewhat easier to follow in this form. I'll interpolate my criticisms in it.

One System Manager becomes the "Processor" for the duration of this system. The Processor's job is to first choose several secret rules they will follow for the duration of the system, spin the wheel once, and then follow their secret rules precisely until the system ends. The rules the Processor follows must have the form "If I observe X then I will do Y".

A bit too similar to "IFF" but not overwhelmingly so.

Each rule's observation, X, must be something that all the system managers can observe (i.e. "An increase in the average volume" or "that the Wheel is on an odd number" are OK, while "An increase in my heart rate" is not).

I like this aspect of it since I prefer that such things be something that the (v)audience can figure out.

Additionally, the actions the Processor can take, Y, are limited to one of the following:

1. Turn the wheel one notch clockwise

2. Turn the wheel one notch counterclockwise

I both like & dislike this. The problem for me is that in the final Systems Management structure there's already built in the possibility of 3 Systems being Managed: the one that the WoF's on, the one that the previous number subtracted from the current number wd be, & the one that the previous number plus the current number wd be. As w/ the similarity of this System to "IFF", this is a little close for comfort BUT not too close.

3. Halt the system (i.e. stop being the Processor and spin the wheel again)

4. Point at a System Manager

The choice of which System Manager to point at must also be selected by a secret rule of the Processor's choosing. I.E. (If I observe a System Manager stop playing then I will point at that System Manager", or "If I observe myself turning the wheel, I will point at the system manager playing the loudest", and so forth). These rules can not include any randomness or choice on the part of the Processor - i.e.the same observation should lead to exactly the same action every time the observation is made.

System Managers who are not the Processor must play in accorance

typo: accordance

with whatever system is currently displayed on the wheel. Additionally, if the Processor points at a System Manager, that System Manager must stand, if they are sitting, and sit, if they are standing.

Wheel Turing continues until the Processor makes an observation that triggers a Halt, or the Processor decides that the system will not Halt in a reasonable amount of time.

I think maybe this shd be just simplified to: Wheel Turing continues until the Processor spins the WoF - it seems to me that the Processor has enuf going on & doesn't need the extra complication of having something to observe wch brings a halt UNLESS the halt can ONLY come about under those conditions. But, it's yr call.

A basic set of rules for the Processor might be:

-If I observe everyone standing, I will Halt -If I observe that the wheel has been on a number larger than the number of people standing for more than 10 seconds, I will move the wheel clockwise -If I observe that the wheel has been on a number smaller than the number of people standing for more than 10 seconds, I will move the wheel counterclockwise -If I observe a System Manager sitting and playing very loudly, I will point at them

Ok, my overall criticism is that speeding thru the individual systems may make the systems function in a way that doesn't bring out the qualities that they're most important for. EG: Persisting Resisting shd develop over time or it's just a matter of people playing however until, in this case, the Processor initiates a change again. As such, Persisting resisting won't really be being played.

ALSO, 1 of my next tasks is to simplify all the Systems descriptions to just one paragraph to make a slide from so that all the Systems can be read easily by (v)audience members. That means dramatically simplifying "Birds", eg, & this one. The Systems Mangers will still have longer descriptions to consult on paper. It'll be a bit of a problem to simplify this one. All in all, though, I'm all for it. I want to rewrite everything & print out the instructions completely anew on pink paper as a 'final' form not to be confused w/ the in-progress blue paper. This is going to take some doing.

Stuart

A Program is a function mapping the State of the other system managers (i.e. sounds, positions, etc) to one of a limited set of Actions. The Actions that the Processor may take are: { Move Wheel 1 Step Left, Move Wheel 1 Step Right, Point at X (where X is a defined function of the current System State), Terminate }. The other system managers must play in accorance to whatever number is currently selected by the Wheel. If a System Manager is Pointed at by the Processor, they must stand if they are sitting and and sit if they are standing.

For e.g. the Processor could choose a program as follows:

If the average volume of standing players increases, move the wheel left.

If the average tempo increases, move the wheel right.

If a player decreases tempo, point at them.

The system ends when the Processor Terminates, or concludes that the system will not Terminate in a finite/reasonable amount of time.

The idea is that this brings us through a large number of systems very quickly, spending maybe only 5 or 10 seconds on each one.

Can you make this shorter & simplify the language so that it's more generic & not scientific?

311. "HiTEC 027 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion; James Gyre: Erector Set, sampler; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: Bb clarinet, thingamagoop (from kit); Julian Krishnamurti: electric bass

- shot Thursday, October 2, 2008; edit finished December 25, 2008

- 1:05:28

- on the Internet Archive here: https://archive.org/details/HiTEC027C

- Systems Management 24, 26, 27, 29, 30, 31

This 27th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; James Gyre: Erector Set, sampler; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: Bb clarinet, thingamagoop (from kit); Julian Krishnamurti: electric bass. Thanks to the introduction of a new System, 0024. "Escape Tunnel", we start off playing more obviously synchronized than usual. 025. "Say AHHH!dience" is also introduced - as is 027. "Private Phasing". 029. "Avicenna's 'Floating Systems Manager'" is tried out as was 030. "Brain-in-A-Vat". These 2 are more 'classic' thought experiments & were of the Systems that I enjoyed the most. The "Avicenna's 'Floating Systems Manager'" post-System discussion is interesting to me but a bit hard to hear because of James's compulsive drumming while other people are talking. We almost make it to 031. "Infinite Monkey Theorem", another 'classic' thought experiment but the tape runs out before we do. It won't be long before the entire Systems Management is created & rehearsals can start in earnest. By now, our premier performance has been arranged for January 9, 2009, at the New Hazlett Theater.

*********************************************************************************************

From: anon@fyi.net

Subject: Re: System Idea

Date: October 4, 2008 11:18:35 AM EDT

To: Stuart Anderson

On Oct 3, 2008, at 2:53 PM, Stuart O Anderson wrote:

Re: The Halting Problem

The Halting Problem asks: Is it possible to write a program that takes

as its input any computer program and produces as its output an

indication of whether the program will halt (i.e. finish, exit,

shutdown, terminate). Turing showed that such a program cannot exist.

Fascinating! That's hard for me to believe!

Re: Similarity to IFF

I agree - the design of the system is intended to make the "Processor"

play the role of a "Turing Machine" a mathematical abstraction

computationally equivalent to any other computer. Legend has it that

when Turing was developing the Turing Machine idea he had friends and

family sit around with bits of paper and pretend to be his machine.

In an approximate sense, this system turns the Orchestra into a single

computer that can carry out any possible algorithm.

I like that. It reminds me of my trying to turn the orchestra

into a single effect thru "Echo" (& generally failing!).

Re: Observations being visible to the (v)audience and other System Managers

It's good that the audience will be able to try to figure out what's

going on. I'd intended the rule about observations being visible to

everyone to allow other Systems Managers to try to infer the rules of

the system and thus 'hack' the processor to get them to do what they

want.

Yep, I like that too. That's an ideal advanced stage.

I hope we can get there!

Re: Turn the wheel 1 notch actions

I am open to changing these actions. In a Turing Machine the actions

are limited to 'move 1 step left' and 'move 1 step right' - so this

was my attempt to mimic that - if you can think of some other action

that's like this but works better for the players, then I'm open to

the change.

Let's keep it as is. I like the Turing Machine referentiality.

I think maybe this shd be just simplified to: Wheel Turing continues

until the Processor spins the WoF - it seems to me that the

Processor has enuf going on & doesn't need the extra complication

of having something to observe wch brings a halt UNLESS

the halt can ONLY come about under those conditions.

But, it's yr call.

Having the processor try to decide if the system will ever Halt is nice because it references Turing's halting theorem. It doesn't need to be there though.

Well, now, that I understand the Halting Problem reference I agree that it shd stay.

32. "Wheel Turing" (from Stuart Anderson):

One System Manager becomes the "Processor" for the duration of this system. The Processor's job is to first choose several secret rules they will follow for the duration of the system, spin the wheel once, and then follow their secret rules precisely until the system ends. The rules the Processor follows must have the form "If I observe X then I will do Y". Each rule's observation, X, must be something that all the system managers can observe (i.e. "An increase in the average volume" or "that the Wheel is on an odd number" are OK, while "An increase in my heart rate" is not). Additionally, the actions the Processor can take, Y, are limited to one of the following:

1. Turn the wheel one notch clockwise

2. Turn the wheel one notch counterclockwise

3. Halt the system (i.e. stop being the Processor and spin the wheel again)

4. Point at a System Manager

The choice of which System Manager to point at must also be selected by a secret rule of the Processor's choosing. I.E. (If I observe a System Manager stop playing then I will point at that System Manager", or "If I observe myself turning the wheel, I will point at the system manager playing the loudest", and so forth). These rules can not include any randomness or choice on the part of the Processor - i.e. the same observation should lead to exactly the same action every time the observation is made.

System Managers who are not the Processor must play in accorance with whatever system is currently displayed on the wheel. Additionally, if the Processor points at a System Manager, that System Manager must stand, if they are sitting, and sit, if they are standing. Wheel Turing continues until the Processor makes an observation that triggers a Halt, or the Processor decides that the system will not Halt in a reasonable amount of time.

A basic set of rules for the Processor might be:

-If I observe everyone standing, I will Halt

-If I observe that the wheel has been on a number larger than the number of people standing for more than 10 seconds, I will move the wheel clockwise

-If I observe that the wheel has been on a number smaller than the number of people standing for more than 10 seconds, I will move the wheel counterclockwise -If I observe a System Manager sitting and playing very loudly, I will point at them

"SOMNAMBULIST" (from Ben Opie):

SOMNAMBULIST is an unnumbered system. A player can become a somnambulist if that player believes nobody is paying attention to him (or simply wishes to do so). The somnambulist makes the motions of playing but makes no intentional sound. Movements in general should be slow and smooth.

If another player or players spot a somnambulist, they must wave their hands around and call out "Wake Up!" The somnambulist then returns to a waking state and continues to participate as before.

Stuart O, Anderson (inside "Erector Set"); Unfinished Symphonies

312. "HiTEC 028 F"

- tENTATIVELY, a cONVENIENCE: piano; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; Stuart Anderson: Erector Set; Erok: vibres

- shot Sunday, October 5, 2008; edit finished December 27, 2008

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/op9JufolGFY

- Systems Management 24, 26, 27, 29, 30, 31, 32

This 28th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; Stuart Anderson: Erector Set; Erok: vibres. The same new Systems as were introduced in the last session 3 days before. Not only is the 'camerawork' even more limited than usual but there's plenty of inter-Systems conversation irrelevant to the rehearsing of the Systems. In other words, this document may be even more boring to the non-fanatical researcher than some of the others that I've uploaded. - but somewhere in the world, this movie will be exactly what someone's searching for. Fortunately, the shot does change. Otherwise, I find this session too along the lines of Toy-Throwing-at-the OK-Nursery-School. One irrelevant thing I find interesting is that I tell a story about a visionary experience I had that I wouldn't've remembered at this late date otherwise & I can't remember who the woman involved was.

David Bernabo

A still from Tony Balko's Systems Management directed camerawork

313. "HiTEC 029 A"

- tENTATIVELY, a cONVENIENCE: piano, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Spat Cannon: acoustic bass; Tony Balko: camcorder, vibres

- shot Monday, October 6, 2008; edit finished December 28, 2008

- 0:35:20

- on the Internet Archive here: https://archive.org/details/HiTEC029A

- Systems Management 24, 26, 27, 29, 30, 31, 32
This 29th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Spat Cannon: acoustic bass; Tony Balko: camcorder, vibres. The same new Systems as were introduced in the last 2 sessions: 024. "Escape Tunnel", 026. "Say AHHH!dience", "Private Phasing", "Avicenna's Floating Systems Manager", "Brain-In-A-Vat", & "Infinite Monkey Theorem". 032. "Wheel Turing" is also played for the 1st time. This brings the number of numbered Systems up to the maximum amount on the WiFI (Wheel of Fortune). There may still need to be 3 more of Ben Opie's meta-Systems before the complete set is reached that we played at our 1st public event. By November or December of 2009 even more Systems were added but by then about 1/3rd of the group had dropped out & probably not everyone left even bothered to thoroughly learn the new bits. But I'm getting ahead of myself. Tony Balko's hand-held camerawork is a relief from the tripod shots of most of the previous sessions. It's not clear to me whether he's shooting in accordance with the Systems or not (but I think he probably is). Whatever is happening, the camerawork is extremely erratic & fumbling sounds often dominate. Nonetheless, I don't think this necessarily detracts from the quality of the session because I think the musicianship is high.

314. "HiTEC 030 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, vibres; James Gyre: percussion; Kenny Haney: bass clarinet, piano; Roger Dannenberg: trumpet; Julian Krishnamurti: electric bass, percussion

- shot Thursday, October 16, 2008; edit probably finished shortly thereafter

- burned to DVD-R December 28, 2008

- 1:05:17

- on my onesownthoughts YouTube channel here: https://youtu.be/qvtF8UmLyuw

- Systems Management (WoF) 00-32

This 30th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, vibres; James Gyre: percussion; Kenny Haney: bass clarinet, piano; Roger Dannenberg: trumpet; Julian Krishnamurti: electric bass, percussion. I went off & did other things for most of the time while this was being dumped into my computer to make it into something I could upload. As such, I don't have much to say about this session's particular qualities may be. It's Systems Management 0-32 - in other words, all Systems places on the WoF (Wheel of Fortune) are filled & we play in response to what the WoF picks for us. The tripod shot only shows Julian on bass (until the very end) which is probably somewhat ironic because he may've been the person present to've least caught on to the Thought Experiment aspect of this project. As such, this movie shows him jamming & one has to listen to the other unshown players to get more of an idea of what's being striven for beyond the jam.

315. "HiTEC 031 F"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: acoustic guitar; Stuart Anderson: recorder; Andrea (Unfinished Symphonies' sister): listener, WoF spinner

- shot Sunday, October 19, 2008; edit finished December 30, 2008

- 0:46:51

- on the Internet Archive here: https://archive.org/details/HiTEC031F

- Systems Management 24, 26, 29-32, Systems Management (WoF) 00-32

This 31st incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: acoustic guitar; Stuart Anderson: recorder; Andrea (Unfinished Symphonies' sister): listener, WoF spinner. There were probably quite a few sessions that were 'painful' for tENT as ones in which progress seemed slow or in which things happened that tENT really would've preferred not happen. One might say that this was one of them. For completeness's sake, this is uploaded along with all the other HiTEC documents. Perhaps the best thing about this one is Stuart's explaining his "Wheel Turing" System. The WoF has effects on it again.

from left-to-right: Jonathan Brodsky; Kerrith Livengood; Ben Harris

316. "HiTEC 032 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Erok: trombone

- shot Monday, October 20, 2008; edit finished December 31, 2008

- 1:05:29

- on my onesownthoughts YouTube channel here: https://youtu.be/WAwvVSEyasY

- Systems Management 24-27, 29-32

This 32nd incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Erok: trombone This begins with what might be my favorite realization of "Escape Tunnel". This is followed by "Equilibrium", possibly for the 1st time, I'm not sure. Usually, it's meant to be managed within a complete session context. Here we just play free form a little 1st & then transform into "Equilibrium". I like this one too. "Say AHHH!dience" turns out special too because 4 Systems Managers choose Erok to AHHH! to while the remaining 2 Systems Managers are 'neglected'. The result is that the trombone acquires a chorus. "Avicenna's Floating Systems Manager" is a good groaning & moaning exercise. Alas, this is yet-another session where the camcorder is on a tripod & stays in one position only where half of the Systems Managers don't show until the shot changes at the very end.

304. "HiTEC 033 Z"

- Alberto Almarza's "WorldsWithinWorlds" class at the Mattress Factory

- tENTATIVELY, a cONVENIENCE: mouth instruments, voice; Kimi Hanauer: percussion; George Cessna: percussion; Rashawn Haley: percussion; Hanna Madelyn Landesberg: percussion; Dawn Davis: percussion

- Alberto Almarza: teacher, camcorder

- Saturday, October 25, 2008; etc..

- 0:57:11

- on the Internet Archive here: https://archive.org/details/HiTEC033Z

- Systems Management 1,2,5,15, Systems Management 5,1,15,2

This 33rd incarnation doesn't really fall into the category of an actual subset of HiTEC. My friend Alberto Almarza, who eventually had HiTEC play all 3 nights of his "Visionary Arts Festival", invited me to lecture as part of his "Worlds Within Worlds" class at the Mattress Factory, a fantastic Pittsburgh installation museum. Ever eager to expand HiTEC to keep it lively, I brought small sound-producing objects & taught the 5 teenage students how to Manage some of the Systems. I invited them to attend our premier public presentation at the New Hazlett Theater on January 9, 2009, but as far as I know none of them attended so perhaps they weren't very moved by my teaching. Given this possibility, I don't list the students here in case they would be less than enthusiastic about my doing so. I find my introductory comments explaining why I was trying to create an orchestra outside of the norms for doing so to be valuable. Some people may be amused to hear me perform Frank Zappa's "King Kong" on kazoo. Whether the students mutated or not after this class is unknown to me. Thanks to Alberto for his hand-held camerawork. As everyone knows, my pedagogical method has now set the standard.

Spat Cannon

tENTATIVELY, a cONVENIENCE

317. "HiTEC 034 E"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Spat Cannon: acoustic bass; Ben Opie: soprano sax; Erok: vibres

- shot Sunday, October 26, 2008; edit finished January 1, 2009

- 1:05:31

- on my onesownthoughts YouTube channel here: https://youtu.be/oh8Xjiuz2mg

- Systems Management 19, 7, 11, 14, 14+1, 14+1+2, 14+2, 21, 25, 32, 30+31

This 34th incarnation has me fresh from teaching a small class of teenagers the 'HiTEC Way' the day before. This quartet consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Spat Cannon: acoustic bass; Ben Opie: soprano sax; Erok: vibres. By now, the small group rehearsals were fairly routine affairs consisting of trying to teach Systems Managers newer Systems. One highlight is tENT playing inside the piano during "Equilibrium". t,ac starts with an Ebow, doomed to failure.

320. "HiTEC 035 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; James Gyre: Erector Set; Tony Balko: (SM) camcorder (projected); Dani Simmonds: banjo-uke, processor; Joy: acoustic guitar

- shot Thursday, October 30, 2008; edit finished February 13, 2009

- 47:41

- on the Internet Archive here: https://archive.org/details/HiTEC035C

- Systems Management 19-22, 25, Systems Management 1-32 (WoF)

This 35th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; James Gyre: Erector Set; Tony Balko: (SM) camcorder (projected); Dani Simmonds: banjo-uke, processor; Joy: acoustic guitar. This was probably the 1st time where the Systems Managers got to see how Tony Balko was Managing the Systems with his camerawork because his output was projected onto a screen. This meant that the other Systems Managers could hypothetically interact with it as they could with each other. Tony also started using in-camera effects. As such, this is more visually interesting than most or all of the HiTEC documents that led up to it.

322. "HiTEC 036 A & F"

- tENTATIVELY, a cONVENIENCE: piano, percussion, WoF spinner, Designator, editing, titling; Johan Nystrom: amplified percussion, vibres, Sheepdog; Kerrith Livengood: flute; Jonathan Brodsky: monome ; Dani Simmonds: banjo-uke; William Wedler: Erector Set, Designator; Spat Cannon: acoustic bass

- shot Monday, November 3, 2008; edit finished February 17, 2009

- 1:08:18

- on my onesownthoughts YouTube channel here: https://youtu.be/c7cIl-vckqk

- Systems Management 19, 17 (Patterns), Systems Management 1-32 (WoF)

This 36th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, WoF spinner, Designator, editing, titling; Johan Nystrom: amplified percussion, vibres, Sheepdog; Kerrith Livengood: flute; Jonathan Brodsky: monome ; Dani Simmonds: banjo-uke; William Wedler: Erector Set, Designator; Spat Cannon: acoustic bass. This marks the addition of another layer of decision making that involves having a designated spinner, affinity groups & designators for those AGs. I shot with 2 static cameras & in the edit I present both shots next to each other. This was the most complicated session yet. Some of the problems that it creates get resolved in other sessions. At this point I'm still thinking in terms of possibly using slides but this gets eventually improved by software designed by Roger Dannenberg. "SOMNAMBULIST", a meta-System, is tried out for the 1st time & "Sheepdog" is tried out for what might be only the 2nd or 3rd time. Some of my favorite HiTEC audio came from this session.

323. "HiTEC 037 G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; Unfinished Symphonies: electronic keyboard; Jules: SK-1

- shot Thursday, November 13, 2008; edit finished February 19, 2009

- 1:05:28

- on the Internet Archive here: https://archive.org/details/HiTEC037G

- Systems Management 1,2,3,4,5,12

This 37th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; Unfinished Symphonies: electronic keyboard; Jules Levine: SK-1. Jules, a friend of Unfinished Symphonies, was the 1st new try-out to come along who only plays one sessions since, maybe, J. Tracy Mortimore on August 18th. As I recall, Jules falls asleep during the audition although that doesn't show here. At any rate, he dropped out. Since this session was created especially for Jules it's very basic. This was the only session where there were only keyboardists. Another session followed this one, HiTEC 038 C, for which Unfinished Symphonies stayed. There were 40 people who played with us over 20 months but only 24 who made it past one rehearsal. .

309. "HiTEC 038 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Kenny Haney: bass clarinet, balloons; Ben Opie: Bb clarinet, thingamagoop (from kit); Tony Balko: Systems Management camcorder; Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Melissa St. Pierre: spinner

- shot Thursday, November 13, 2008; edit finished December 14, 2008

- 0:42:52

- on my onesownthoughts YouTube channel here: https://youtu.be/h_mLectZC94

- Systems Management 1-32 (WoF)

This 38th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion; Kenny Haney: bass clarinet, balloons; Ben Opie: Bb clarinet, thingamagoop (from kit); Tony Balko: Systems Management camcorder; Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Melissa St. Pierre: spinner. This was Melissa's 1st rehearsal with us. Ordinarily, she plays prepared piano but in HiTEC she switched to the much more logistically manageable toy piano that she got from Ben Opie. This was the 2nd rehearsal I'd had this day, the 1st one had been a try-out of someone who had to be at work when the preferred rehearsal time was. There were 40 people who played with us over 20 months but only 24 who made it past one rehearsal. This is possibly the 1st rehearsal where all of Systems Management 0-32 was tried in addition to having Tony Balko shooting following the Systems. At least 3 of the unnumbered meta-Systems were also at play. Tony's camerawork was projected so that the other Systems Managers could interact with it. Tony also used in-camera effects. There's even some debriefing to explain what's been happening.

305. "HiTEC 039 'Full' Group"

- tENTATIVELY, a cONVENIENCE: grand piano, effected WoF; Johan Nystrom: extended percussion amplified thru electric guitar; Hyla Willis: erhu; Ben Harris: violin; Dave Bernabo: acoustic guitar, homemade kracklebox made by dave kuzy; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass; James Gyre: drum kit; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: alto sax, thingamgoop (from kit); Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: percussion; Joy: acoustic guitar; Erok: trombone; Melissa St. Pierre: amplified toy piano

- Sunday, November 16, 2008; etc..

- 1:22:50

- on the Internet Archive here: https://archive.org/details/HiTEC039full

- Systems Management 0-32 (WoF + voting)

This 39th incarnation consisted of: tENTATIVELY, a cONVENIENCE: grand piano, effected WoF; Johan Nystrom: extended percussion amplified thru electric guitar; Hyla Willis: erhu; Ben Harris: violin; Dave Bernabo: acoustic guitar, homemade kracklebox made by dave kuzy; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass; James Gyre: drum kit; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: alto sax, thingamgoop (from kit); Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: percussion; Joy: acoustic guitar; Erok: trombone; Melissa St. Pierre: amplified toy piano. This was the largest rehearsal yet with 19 Systems Managers. Various crawl text explications run throughout the document many things much more understandable than they would be otherwise. tENT's edit is the most sophisticated yet but there's not much to be done to correct the non-attendance of the cameraperson & the malfunctioning of one of the cameras. Making matters even worse there's the typo of "toally" instead of "totally" & something like "get" where it shouldn't be ("to get accentuate the cacophony"). Despite these problems, this is a fantastic rehearsal & is the closest yet to what t,ac had been striving for for 4 months now. If anyone can follow what's going on they might find it to be a source of some perverse intellectual hilarity. By this point, tENT more or less had all the complicated procedures memorized. This isn't a feat likely to be duplicated anytime soon.

324. "HiTEC 040 A"

- tENTATIVELY, a cONVENIENCE: piano, editing, titling; Johan Nystrom: balloons, vibres; Hyla Willis: erhu, Jamaican bean, small noisemaker; Jonathan Brodsky: monome with mabalhabla software, electric guitar

- shot Monday, November 17, 2008; edit finished February 22, 2009

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/kWvAr1MHHcQ

- Systems Management 17, 23(2)-26, 12(2), 27, 29, 30

This has Johan's hilarious "Brain-In-A-Vat" explanation wch is, unfortunately, not on the vaudeo.

This 40th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, editing, titling; Johan Nystrom: balloons, vibres; Hyla Willis: erhu, Jamaican bean, small noisemaker; Jonathan Brodsky: monome with mabalhabla software, electric guitar. Just another basic rehearsal where Systems are gone over that seem to be the least understood by those present. The camera is in a fixed position & has a narrow range but every player shows at least a little bit from time-to-time. tENT's recitation of his memory for "Private Phasing" got some laughs. "Avicenna's Floating Systems Manager" produces even more than its typical wackiness too.

325. "HiTEC 041 F"

- tENTATIVELY, a cONVENIENCE: Spinner, Processor, editing, titling; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: electric guitar; Stuart Anderson: vibres; Erok: trombone; Roger Dannenberg: trumpet

- shot Sunday, November 23, 2008; edit finished February 26, 2009

- 1:03:29

- on the Internet Archive here: https://archive.org/details/HiTEC041F

- Systems Management WoF (w/ voting)

This 41st incarnation consisted of: tENTATIVELY, a cONVENIENCE: Spinner, Processor, editing, titling; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: electric guitar; Stuart Anderson: vibres; Erok: trombone; Roger Dannenberg: trumpet WoF (Wheel of Fortune). This is the session where Roger proposes developing the "SysMan" software - something that ultimately helped immensely! tENT is just conducting the session rather than playing himself. As such, the shot has him centered next to the WoF (Wheel of Fortune).

from left-to-right: Mike Tamburo; Missi St .Pierre

326. "HiTEC 042 G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, titling; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet

- shot Monday, November 24, 2008; edit finished March 2, 2009

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/EGZhm7VuAyw

- Systems Management 1, 2, 3, 4, 5, 15, Somnambulist, SM5,1,15,2,3, 7, 8, 9, 10

This 42nd incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, titling; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet. The addition of Mike Tamburo is probably the most significant aspect of HiTEC 042 G although Missi St Pierre is still fairly new too. By this point, tENT would've been very tired of explaining Systems Management over & over again but it was necessary if new participants were to continue to be added. Fortunately, in sessions like this, the players were a pleasure to work with & having the instrumentation be piano, banjo-uke, trumpet, toy piano, & hammered dulcimer was refreshingly unusual.

Ben Opie given the "Mirror" treatment by Tony Balko

327. "HiTEC 043 C & G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, Spinner; James Gyre: Erector Set; Kenny Haney: bass clarinet; Ben Opie: soprano sax, thingamagoop (from kit), percussion; Tony Balko: SM camcorder; Julian Krishnamurti: electric bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion

- shot Tuesday, November 25, 2008; edit finished March 5, 2009

- 1:21:27

- on the Internet Archive here: https://archive.org/details/HiTEC43CG

- Systems 11, 12, 14, 16, 17, Systems Management 0-17 (WoF)

This 43rd incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, Spinner; James Gyre: Erector Set; Kenny Haney: bass clarinet; Ben Opie: soprano sax, thingamagoop (from kit), percussion; Tony Balko: SM camcorder; Julian Krishnamurti: electric bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion. This was part of a crash course for Melissa St Pierre & Mike Tamburo, 2 recently joined Systems Managers. I'd requested that everyone play 8 rehearsals before our 1st big public event, in this case our scheduled premier on January 9, 2009, at the New Hazlett Theater. Melissa had already practiced on November 13, 16, & 24. Mike had rehearsed on the 24th. They both went on to rehearse on December 1 & 7 & January 8, 2009. Melissa rehearsed on December 11 & 29. Mike rehearsed on December 15. That meant that Missi met the 8 rehearsal request & that Mike only rehearsed 5 times. They were both good musicians & they both played the premier performance but I doubt that Mike was truly ready for it yet. Alas, one thing that I noticed right away is that the crawl text explanation for "Algebra 101" has a typo: "multiplcation" instead of "multiplication" (or something like that). Since I reused these titles that probably means that the same mistake is repeated in every use of the title. Oh, well. Tony Balko provided Systems-Management-determined camerawork - which means that the shots aren't meant to function primarily as documentary. Instead, Tony makes his camerawork decisions based on the Systems - so he might do something like use a shot of a light as one unit in "Red Room" & of a keyboard as the 2nd one. Tony's shooting is projected to a screen so that players can respond to it. Tony starts off the 1st part of "Comfort Zone" using the in-camera mirror effect.

328. "HiTEC 044 A & G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camcorder, titling; David Bernabo: acoustic guitar; Jonathan Brodsky: monome; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion, voice; Stuart Anderson: organ, camcorder

- shot Monday, December 1, 2008; edit finished March 7, 2009

- 1:22:47

- on my onesownthoughts YouTube channel here: https://youtu.be/6OXXONcpKXg

- Systems 19-30

This 44th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camcorder, titling; David Bernabo: acoustic guitar; Jonathan Brodsky: monome; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion, voice; Stuart Anderson: organ, camcorder. This continues the crash course for recent members Mike Tamburo & Missi St Pierre. The camera stays on a tripod for almost the entire time. tENT shifts its position to feature everyone, one by one, but himself. Stuart takes it over near the end & follows tENT as he enacts one his more demonstrative "Brain-In-A-Vat" experiments.

310. "HiTEC 045 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: Joy: acoustic guitar; Unfinished Symphonies: electronic keyboard; William Wedler: percussion; Erok: trombone; Stuart Anderson: recorder; Roger Dannenberg: trumpet, flugelhorn; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Julian Krishnamurti: electric bass [app. 20 minutes into recording]; Mike Tamburo: hammered dulcimer; Ben Harris: violin; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Hyla Willis: erhu, small noisemaker(s); Kenny Haney: bass clarinet; Ben Opie: Turkish clarinet in G, soprano sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano

- Sunday, December 7, 2008; edit finished December 22, 2008

- 1:11:32

- on the Internet Archive here: https://archive.org/details/HiTEC045full

- Systems Management 00-32 (WoF)

This 45th was the 3rd of the 'Full' Group incarnations (the full group never actually played together at once) & consisted of: Joy: acoustic guitar; Unfinished Symphonies: electronic keyboard; William Wedler: percussion; Erok: trombone; Stuart Anderson: recorder; Roger Dannenberg: trumpet, flugelhorn; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Julian Krishnamurti: electric bass [app. 20 minutes into recording]; Mike Tamburo: hammered dulcimer; Ben Harris: violin; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Hyla Willis: erhu, small noisemaker(s); Kenny Haney: bass clarinet; Ben Opie: Turkish clarinet in G, soprano sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano - 19 Systems Managers. As I recall, almost 10 & 1/2 years later, this was one of my favorite sessions. I might've even made more extra copies than usual of the DVD-R from it to give away as a sample of the Magnum Opus. Once again, since Tony Balko is providing Systems Management driven camerawork, the hand-held camera is extremely erratic & fluctuates between chaos & interestingly framed shots. For tENT, these CMU rehearsals were fabulous because there was room for many people to play together & because tENT could play a lovely grand piano. Tony uses the "wave" in-camera effect. tENT can be seen walking around the room using unexplained hand-signals to try to "Tele-Communicate" a mood. A static camera is aimed at the top of the WoF (Wheel of Fortune) to enable documentary knowledge of what Systems is being activated when. When a title suggests, perhaps around 32 minutes, that "Birds" might've been suggested it seems more likely that "Avian Flu" was the choice. It's from shortly after this point that a 19:43 portion was taken for inclusion in tENTATIVELY, a cONVENIENCE's "1975-2015" CD. tENT is often heard providing calculated harmonic progressions in an apparent attempt to provide a stable background to the hectic foreground.

Missi St. Pierre

329. "HiTEC 046 C & G"

- tENTATIVELY, a cONVENIENCE: non-SM camcorder, Spinner; Kenny Haney: Bb clarinet, Spinner, Processor; Roger Dannenberg: trumpet, percussion; Julian Krishnamurti: electric bass, percussion, piano; Melissa St. Pierre: toy piano

- shot Thursday, December 11, 2008; edit finished March 14, 2009

- 1:17:35

- on my onesownthoughts YouTube channel here: https://youtu.be/CZCS6cnaQis

- Systems Management 00-32 (WoF) (w/o voting or Sheepdog)

This 46th incarnation consisted of: tENTATIVELY, a cONVENIENCE: non-SM camcorder, Spinner; Kenny Haney: Bb clarinet, Spinner, Processor; Roger Dannenberg: trumpet, percussion; Julian Krishnamurti: electric bass, percussion, piano; Melissa St. Pierre: toy piano. Since tENT did the camerawork (non-Systems Management), this document has informative shots that show playing technique, close-ups of the WoF (Wheel of Fortune) numbers, & other details of the session that are ordinarily not consistently present in footage where the camera's on a tripod & where the camerawork is determined by following the relevant System. While such a technique is conventional, it's valuable for the purposes of documenting the overall HiTEC project. Unfortunately, disc freezes abound in the DVD-R that this was uploaded from. Some effort has been made to remove them from around 13:00 but the success is only partial. At approximately 37 minutes there's a typo in the crawl title: "strcuturing" instead of "structuring". Oops! Kenny is particularly on top of things because he has to be the processor for "Wheel Turing" & he also takes the initiative to signal section changes in "Comfort Zone". Atypically for his participation in HiTEC, Kenny plays Bb clarinet here instead of bass clarinet.

330. "HiTEC 047 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, oboe, camera, titling; Johan Nystrom: electronics, vibres; Hyla Willis: erhu, Jamaican bean; David Bernabo: acoustic guitar, percussion; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass, percussion; Mike Tamburo: hammered dulcimer, percussion

- shot Monday, December 15, 2008; edit finished March 19, 2009

- 1:22:50

- on the Internet Archive here: https://archive.org/details/HiTEC047A

- Systems Management 00-32 (WoF)

This 47th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, oboe, camera, titling; Johan Nystrom: electronics, vibres; Hyla Willis: erhu, Jamaican bean; David Bernabo: acoustic guitar, percussion; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass, percussion; Mike Tamburo: hammered dulcimer, percussion. The camera is on a tripod again but tENT moves the shot more often than usual to try to show everyone. One thing about all of these documents is that tENT didn't always do the post-shooting editing & titling until several months after they were shot. This was shot December 15, 2008, but not finished as a movie until March 19, 2009, 3 months later. As such, my attempts to explain things are based on deduction & not-too-fresh memories. I like this session, partially just because of Johan's experimenting with using his cell-phone to activate interference in a radio whose output goes to a mixer. There's plenty happening that shows that this is a spirited & inspired session - such as Mike Tamburo bowing his hair during "Subtlety Olympics". For tENT, one of the best things about these HiTEC movie documents is that it enables non-participants to witness the processes & decision-making that the Systems Managers have to go through before they/we produce what might seem like unstructured cacophony to the undiscerning perceiver. One thing that I hope is clear is that THESE PEOPLE ARE HAVING FUN.

331. "HiTEC 048 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: James Gyre: drum set; Joy: electric guitar w/ nylon strings; Unfinished Symphonies: electronic keyboard; William Wedler: Experiment 1, percussion; Erok: trombone; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; David Bernabo: melodica, percussion, homemade kracklebox made by dave kuzy; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Kenny Haney: bass clarinet; Ben Opie: tenor sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano, editing, titling

- shot Sunday, December 21, 2008; edit finished March 28, 2009

- 1:24:46

- on my onesownthoughts YouTube channel here: https://youtu.be/MnanNTyY7yo

- Systems Management 00-32 (WoF)

This 48th incarnation was the 4th 'full group' rehearsal & consisted of: James Gyre: drum set; Joy: electric guitar w/ nylon strings; Unfinished Symphonies: electronic keyboard; William Wedler: Experiment 1, percussion; Erok: trombone; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; David Bernabo: melodica, percussion, homemade kracklebox made by dave kuzy; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Kenny Haney: bass clarinet; Ben Opie: tenor sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano, editing, titling. - 15 of the 22 Systems Managers, a somewhat disappointing turn-out. This one begins with wipes & flashy titles meant to spoof the jamming that James Gyre & Unfinished Symphonies were doing before the HiTEC session began. One broken camcorder is on a wide-angle shot on a tripod. This marks the introduction of the 'costume', towels with head-holes cut out - a different type of towel for each of the 4 Affinity Groups. Tony Balko is providing Systems Manager camerawork. Both shots are presented side-by-side. There's a typo almost immediately. Tony's camerawork shows both in the left rectangle & in the right one as projected onto a screen. Something strange happens about an hour into this where a crawl titled scene is interrupted by a title identifying Jonathan. Technically, this is quite strange because if the crawl title itself had actually been interrupted it would've been complete & twice as fast on either side of the edit. Any way that I can imagine this happening make no sense. All in all, this is one of the most lackadaisical & sloppily crazed sessions.

332. "HiTEC 049 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camera, editing, titling; Hyla Willis: erhu, percussion, voice; Jonathan Brodsky: monome; Melissa St. Pierre: toy piano; Roger Dannenberg: trumpet, SysMan software

- shot Monday, December 29, 2008; edit finished April 2, 2009

- 1:05:26

- on the Internet Archive here: https://archive.org/details/HiTEC049A

- Systems Management 0-32 (w/ SysMan software for the 1st time)

This 49th incarnation consisted of: tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camera, editing, titling; Hyla Willis: erhu, percussion, voice; Jonathan Brodsky: monome; Melissa St. Pierre: toy piano; Roger Dannenberg: trumpet, SysMan software. This marks the 1st use of the SysMan software developed by Roger Dannenberg to provide a more efficient alternative to the slide projections that I was originally imagining for showing what the available Systems were to be Managed after a spin of the WoF (Wheel of Fortune). This was enormously helpful & freed tENT from a responsibility for performing somewhat complex calculations on the fly in addition to everything else he had to do. Not helping documentation is that the broken tripod I was using at the time was unable to be sufficiently tightened. Still, this is a 2 camera shoot & both shots are presented side-by-side so all is not lost. Fortunately, tENT changes the camera position of the only one he has access to (the broken tripod is out-of-reach) so different details are available. There are a few DVD-R freezes to make matters worse. tENT talks about how the lighting & projections will work at the upcoming New Hazlett Theater presentation. Near the end, the Personality Types projections are shown for the 1st time at a rehearsal.

PRESS

The press was good to us during the era in which we performed live. The 1st article was a big one in one of Pittsburgh's 2 daily papers, The Pittsburgh Post-Gazette, written by Manny Theiner, a very dedicated concert organizer, music promoter, & publisher. The scan below is of the article followed by my comments on the same:

333. "HiTEC 050 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, titling; Tony Balko: Systems Management camcorder; Ben Opie: tenor sax, electronics; Kenny Haney: bass clarinet; Dani Simmonds: banjo-uke, harmonica; Roger Dannenberg: trumpet, flugelhorn; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1

- shot Thursday, January 8, 2009; edit finished April 8, 2009

- 1:22:48

- on my onesownthoughts YouTube channel here: https://youtu.be/7CpcMSnch90

- Systems Management 0-32 (w/ software working properly for the 1st time)

This 50th incarnation was the 5th 'full' group & consisted of: tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, titling; Tony Balko: Systems Management camcorder; Ben Opie: tenor sax, electronics; Kenny Haney: bass clarinet; Dani Simmonds: banjo-uke, harmonica; Roger Dannenberg: trumpet, flugelhorn; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1. This was the rehearsal in the New Hazlett Theater the night before our premier performance. This document finally gives a good introductory glimpse at what tENT has been working toward for the previous 6 months. The SCALE is finally visible. Alas, not all the Systems Managers are visible in the static shot but Tony's hand-held camera shows the missing people from time-to-time. The theater sound person wanted to do a sound check but ItENT rushed into having the whole group play. This is the 1st document where the SysMan projection can be seen close to properly (actually cropped at the top). tENT was exhausted because by the time anyone else from HiTEC showed he'd already put in 8 hours of setting up. As such, he makes mistakes left, right, & center. The crawl titles explain the compounded mistakes in detail. We eventually get on track. Despite this being the 1st time that all the elements were tried out at once under correct technical conditions & despite tENT's being insanely overworked, as usual, this went surprisingly well. Stuart's Personality Type text panel is seen & credits him with playing "robotic zither", an instrument he never made. Stuart wasn't present. The chaos & the elaborate & labyrinthian procedures that're gone through to arrive at its particular manifestation is mind-boggling. Careful attention will reveal far more strangeness than the word "chaos" might suggest. The complexity of the sound is a sound person's nightmare but Dave, of the New Hazlett, handles it very professionally. Tony's mirrored feedback is especially psychedelic & Kenny's bicycle pump sound is probably mysterious. Alas, DVD-R drop-outs proliferate as do freezes.

brochure designed by: tENTATIVELY, a cONVENIENCE

editing complexity from: tENTATIVELY, a cONVENIENCE

319. "HiTEC 051 - New Hazlett Theater"

- tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, etc..; Tony Balko: camcorder; Ben Opie - reeds, electronics; Kenny Haney: clarinets, balloons ; Spat Cannon: upright acoustic bass; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Unfinished Symphonies: electronic keyboard; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1; Erok: trombone; Stuart Anderson: laptop; James Gyre: drums

- moving cameras: Blissy Ann Higgs, Bill Daniel, Ashley Brickman

- shot Friday, January 9, 2009; edit finished February 4, 2009

- high-definition hard-drive & mini-dv -> mini-DV & DVD-R

- 1:38:42

click here to check out the beginning of this

click here to check out an excerpt from the raw soft focus Hi-Def footage of this

- the complete gig is on the Internet Archive here: https://archive.org/details/HiTEC051full

- complete version also on my onesownthoughts YouTube channel here: https://youtu.be/lc20DsVW718

- Systems Management 0-32 (1st time before an audience)

This 51st incarnation was the 1st public 'full' group presentation & consisted of: tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, etc..; Tony Balko: camcorder; Ben Opie - reeds, electronics; Kenny Haney: clarinets, balloons ; Spat Cannon: upright acoustic bass; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Unfinished Symphonies: electronic keyboard; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1; Erok: trombone; Stuart Anderson: laptop; James Gyre: drums - the largest gathering of HiTEC Systems Managers yet: 20! This performance was made possible by the director of the New Hazlett, Sara Radelet, who had previously witnessed & supported a performance of tENTATIVELY, a cONVENIENCE's called "CircumSubstantial Playing & Blindfolded Tourism" that had been supported by the Mattress Factory when she'd been a curator (or some such) there. There were 3 non-Systems-Management moving camera people there in addition to Tony Balko's Systems Management camerawork: Blissy Ann Higgs, Bill Daniel, Ashley Brickmanwhatever moment the Systems Managers were at. The New Hazlett provided a HiDef static camera set a good enough distance back to show the complete stage. Alas, this was slightly out-of-focus the whole time. I remember there being a total of 8 cameras. Roger placed, at tENT's request, an overhead camera in the catwalks pointing down. There must've been 2 other static camcorders. All work not otherwise credited (except for that done by New Hazlett Theater personnel) was probably done by tENT - such as all of the graphics work. Thanks to the good publicity work of the New Hazlett staff, there was an audience of 120 people even though it was snowing outside. For anyone who's witnessed a sampling of the rehearsals that led up to this moment, it might be astonishing that this all pulls together as 'perfectly' as it does. Inspired by the Beatles supposedly having women & girls in their audiences throw their panties on stage in a gesture of sexual abandon, tENT had plants in the (v)audience (both make & female) throw their underwear on stage as if HiTEC were inspiring lust. In the crowd are people that wouldn't be likely to ever attend another event of tENT's again but they seemed to enjoy this one. High production values help. Joy refused to wear an Affinity Group towel & Missi cut hers down to a small triangular bib. tENT believes that this was the greatest UNCERT (Uncertainty Concert) of ALL TIME! This movie was published as part of the HiTEC Systems Management book published by Encyclopedia Destructica.

PRESS

The 1st concert series that came largely out of the HiTEC pool of players was Johan Nystrom's "why are". Here's an article about the series + a list of the concerts:

Sometime around this era, Mike Tamburo, a HiTEC Systems Manager, had a feature article about himself in the Pittsburgh City Paper but he didn't mention HiTEC so I don't include it here.

052H - Sunday, April 19, 2009

- Systems Management 1-5

049tENTATIVELY, a cONVENIENCE: piano, percussion

015Unfinished Symphonies: recorder, chromatic harmonica

012Hyla Willis: erhu, percussion, voice

001Red Bob: Erector Set

001Nick Painter: electronics

001Doug Cronin: Phillipines mouth harp (45 minutes late - not on recording)

001Josh Beyer: cello

001Mike Kasunic: synthesizer

poster design: tENTATIVELY, a cONVENIENCE

334. a. "HiTE Club PREMIER"

- April 26, 2009

- starring joy toujours; Tony Blowad; tENTATIVELY, a cONVENIENCE

- 1:31:51

- on the Internet Archive here: https://archive.org/details/HiTEclub1

I've been uploading, in chronological order, all movie documents relevant to my small orchestra, HiTEC (Histrionic Thought Experiment Cooperative). So far, that's been 50 movies that led up to & included the elaborate document of HiTEC's 1st big public performance at the New Hazlett Theater on January 9, 2009. That presentation was well-received by a reasonably large audience. As such, I was asked by the director of the theater, Sara Radelet, if I'd like to curate a monthly series of events in the lobby of the theater in an attempt to get theater-goers to stay after the main show as over & spend money at the bar. Other people were also asked to curate their own nights. Since I decided to take a break from HiTEC rehearsals it seemed like a good time to try a different angle. Given that there were 22 people in the group & that most or all of them had other projects I decided to ask HiTEC members to present these other projects in the context of the "HiTE Club". The hope was that they'd get more exposure at the theater & maybe future gigs there AND that everyone in HiTEC would attend in support of their fellow players. Alas, the HiTEC members didn't support each other AND none of the lobby events, not just the ones I curated, kept the theater-goers from leaving as soon as the main show was over. Nonetheless, I stuck it out for 4 events - longer, apparently, than the other curators. The 1st of these was on April 26, 2009.

In the meantime, there wasn't another HiTEC rehearsal after the January 9th gig until April 19, 2009. Five new members were tried out, 3 of them stayed. The next rehearsal, HiTEC 053 H, was mainly for those 3 new members. Apparently, I decided to not make a movie, initially, at least, of going through the basics with the new folks as long as the rehearsals were in my house. As such, the next HiTEC movie made was of a full group rehearsal including the 3 new Systems Managers & 12 of the older ones. Several people had dropped out in the meantime: Missi St. Pierre, Erok, & Stuart Anderson at a minimum.

For this HiTEC Club PREMIER, Joy Toujours performed a solo set; "Tony Blowad", David Bernabo's free-improvising trio, performed; & I presented my Guitarists Anonymous Withdrawal Aids with the assistance of Joy & David. Missi St. Pierre provided technical assistance & a between-set playlist. The purpose of these events wasn't to promote a particular type of music but was more to showcase the variety of musics played by HiTEC members.

b. "HiTE Club PREMIER" (YouTube version)

- 09:46

- on my onesownthoughtsYouTube channel here: https://youtu.be/XU6AnSa4v0s

My chamber orchestra, HiTEC (Histrionic Thought Experiment Cooperative) premiered at the New Hazlett Theater on January 9, 2009EV. After this, I was asked to curate a 'music' series in the lobby of the New Hazlett on the 4th Sunday of most months. I decided to call this series "HiTE Club - the (M)Usic Club for Histrionic Thought Experimenters & their fellow travelers". This name is, of course, a take-off of "Nite Club", "Fight Club", "HiTEC lub", "Hite Report", etc.. The purpose of this club is to give HiTEC Systems Managers a chance to present the other groups that they play in - thereby promoting them & keeping HiTEC activity going between hard-to-get-gigs-for-a-25-piece-group. HiTE Club premiered on Sunday, April 26, '09. joy toujours opened, Tony Blowad followed, & my own Guitarists Anonymous provided both of them (& other guitarists in the (v)audience) with ever-so-necessary therapy to try to help them withdraw from their insidious guitar addictions. Missi St. Pierre provided tech support.

053H - Sunday, May 3, 2009

- Systems Management 6-15

050tENTATIVELY, a cONVENIENCE: piano, percussion

013Hyla Willis: erhu, percussion, voice

002Red Bob: Erector Set

002Josh Beyer: cello

002Mike Kasunic: synthesizer

*********************************************************************************************

from Ben Opie, May 5, 2009:

SPEEDER (or ANTI-RETARD or whatever): A SPEEDER makes every attempt to increase the pace of the performance. A player may choose to become a SPEEDER at any time. The SPEEDER does not necessarily need to play fast, but must be the first or second player (in the entire ensemble) to begin playing when a new system is established (even anticipating the next system), must be the first or second to quit, and should encourage the wheel spinner to spin on a more frequent basis (or take charge of the WoF for him/herself). Once a player becomes a SPEEDER, the player must remain so until: (1) they are not the first or second player in and out; (2) in their haste, anticipate a strategy incorrectly; (3) another player notices their state of agitation and verbally tells the SPEEDER to "Calm down"; (4) STAMPING AND CLAPPING is called.

MUTE OBSERVER: A player may choose to become a MUTE OBSERVER (MO) at the beginning of any system (except STAMPING AND CLAPPING), as often during the performance as desired. The MO sits silently for the length of a system and simply watches another player. If the observed player notices they are being watched, the observed player must stop and point to him/herself, to inquire if they are being observed. If the MO nods in agreement, then the observed player must also become a MO, watching another player. Any MO must share their observations of the player(s) watched if DEBRIEFING is called later in the performance. In the event that so many players become MOs that the performance comes to a standstill, the players should attempt to maintain the silence/stillness AS LONG AS POSSIBLE.

335. "HiTEC 054 'Full' Group"

- Clockwise w/ tENTATIVELY, a cONVENIENCE @ 12 O'Clock:

- tENTATIVELY, a cONVENIENCE: grand piano; joy toujours: guitar; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Julian Krishnamurti: electric bass, erhu; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke, krackle box; Josh Beyer: cello; Red Bob: drums; Mike Kasunic: synthesizer; Mike Tamburo: hammered dulcimer, pipe xylophone, melodica; David Bernabo: acoustic guitar, percussion; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; James Gyre: darbouka, drum machine; Ben Opie: Bb clarinet; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice

- shot Sunday, May 10, 2009; edit finished May 16, 2009

- 1:22:50

- on my onesownthoughts YouTube channel here: https://youtu.be/On9c0e4pN2k

- Systems Management 16-20, SPEEDER, MUTE OBSERVER, SM0-20+SP+MO

This 54th incarnation was the 6th 'full group' playing & consisted of: tENTATIVELY, a cONVENIENCE: grand piano; joy toujours: guitar; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Julian Krishnamurti: electric bass, erhu; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke, krackle box; Josh Beyer: cello; Red Bob: drums; Mike Kasunic: synthesizer; Mike Tamburo: hammered dulcimer, pipe xylophone, melodica; David Bernabo: acoustic guitar, percussion; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; James Gyre: darbouka, drum machine; Ben Opie: Bb clarinet; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice - 18 of the 22 Systems Managers. We're back to the CMU practice room that's large enough to accommodate us (thanks to Ben Opie) & Josh, Bob,& Mike are new members who've only had a chance to rehearse twice before at tENT's house. As such, this is a rehearsal without the larger-scale elements: there's no WoF (Wheel of Fortune), there's no projected Systems-Managed-determined video. Since the PREMIER at the New Hazlett on January 9, 2009, there's been a rest period & rehearsals didn't start up again until April 19. There's only one camcorder that's not wide-angle enough to show everyone in a static shot & there's no person dedicated just to camera so tENT takes on the responsibility to change the shot when he's not busy otherwise. Kerrith Livengood's "Sheepdog" has outlasted Kerrith (she doesn't reappear again until HiTEC 062 & the final HiTEC Club, her only reappearance) & gets developed further with Red Bob as the volunteer Sheepdog. This is the premier rehearsal of 2 new meta-Systems from Ben: "SPEEDER" & "MUTE OBSERVER".

055H - Sunday, May 17, 2009

- Systems Management 21-30

052tENTATIVELY, a cONVENIENCE: electronics

015Hyla Willis: erhu, percussion, voice

004Red Bob: Erector Set

004Josh Beyer: cello, circuit-bent toy

014Spat Cannon: vibres, vibra-slap

056H - Sunday, May 24, 2009

- Systems Management 31, 32, 21-24

053tENTATIVELY, a cONVENIENCE: electronics

016Hyla Willis: erhu, percussion

005Red Bob: Erector Set

005Josh Beyer: cello, circuit-bent toy

017Unfinished Symphonies: electronic keyboard

015Roger Dannenberg: trumpet, piano

004Mike Kasunic: synthesizer

338. "HiTEC 057 H"

- tENTATIVELY, a cONVENIENCE: electronics, titling; Bob Jungkunz: Erector Set; Josh Beyer: cello, circuit-bent toy; Mike Kasunic: synthesizer; Tony Balko: SM camcorder, percussion

- shot Sunday, May 31, 2009; edit finished June 5, 2009

- 46:07

- on the Internet Archive here: https://archive.org/details/HiTEC057H

- SPEEDER, MUTE OBSERVER, Systems Management 25-30, SM0-32

This 57th incarnation consisted of: tENTATIVELY, a cONVENIENCE: electronics, titling; Bob Jungkunz: Erector Set; Josh Beyer: cello, circuit-bent toy; Mike Kasunic: synthesizer; Tony Balko: SM camcorder, percussion. This was the 6th rehearsal for Bob & Josh & the 5th one for Mike. It was also the 1st one where they got to see what visual element Tony's Systems Management camerawork brought to things. Because the membership has changed so frequently, tENT has had to teach the material to new people over & over again from scratch. This got to be extremely tedious for him so he deiced to not make a movie of HiTECs 052, 053, 055, & 056. To try to temper that tedium for himself, tENT is only playing electronics here instead of the more usual piano. This is also because there won't be a piano at the next gig. tENT bought a device to enable Tony to send his video signal by radio signal to the projector so that he can have more mobility, previously he'd had to be hard-wired. The next public event has been scheduled for June 12, 2009, at a much smaller & more awkward warehouse venue so all rehearsals are geared to trying to get people prepped for that. Tony breaks stuff that was expensive for tENT to buy & it never gets fixed. Fiend.

339. "HiTEC 058 'Full' Group"

- tENTATIVELY, a cONVENIENCE: grand piano, electronics; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Mike Kasunic: synthesizer; Julian Krishnamurti: electric bass, ukelele; Dani Simmonds: ukelele, krackle box, harmonica; Spat Cannon: acoustic bass; Josh Beyer: cello; Jonathan Brodsky: monome with mabalhabla softwar; Ben Harris: violin; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice; Ben Opie: alto clarinet, C-Melody sax, grand piano, recorder

- shot Sunday, June 7, 2009

- 1:22:37

- on my onesownthoughts YouTube channel here: https://youtu.be/bN44OkFaXhU

- Systems Management 0-32 (w/ new meta-systems)

The movie of this 58th incarnation wasn't listed on my "Complete Movieography" so I had to add it there once I discovered this in the process of uploading the HiTEC movies. HiTEC 058 'Full' Group consisted of: tENTATIVELY, a cONVENIENCE: grand piano, electronics; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Mike Kasunic: synthesizer; Julian Krishnamurti: electric bass, ukelele; Dani Simmonds: ukelele, krackle box, harmonica; Spat Cannon: acoustic bass; Josh Beyer: cello; Jonathan Brodsky: monome with mabalhabla softwar; Ben Harris: violin; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice; Ben Opie: alto clarinet, C-Melody sax, grand piano, recorder - This was the smallest 'Full' Group rehearsal yet with only 13 Systems Managers present. To give an idea of the experience differences between the players at this point: this was tENT's 55th session & Mike Kasunic's 6th. 35mm slides are used instead of the SysMan software because Roger wasn't there with his computer. This was the last HiTEC rehearsal before our 2nd big public gig scheduled for June 12, 2009, as part of Ian Page's "The End of Television" event at "The Nerve" warehouse gallery. The Systems Managers now have their full 'costumes' with HiTEC silk-screens. Unfortunately, this movie is marred by DVD-R freezes which tENT has taken primitive, but not very successful efforts to minimize.

poster design & silk-screening: tENTATIVELY, a cONVENIENCE

340. a. "The End of Television"

Clockwise from Wheel-of-Fortune: Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: electronics, voice; Ben Opie: saxes, Thingamagoop; Kenny Haney: Bb clarinet; James Gyre: darbouka, drum set, flute; Spat Cannon: acoustic bass; Dani Simmonds: ukelele, small banjo, harmonica, darbouka, electronics; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Josh Beyer: cello; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Hyla Willis: amplified erhu; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer, Crowned Eternal, melodica; David Bernabo: electric guitar; William Wedler: Experiment 1; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Red Bob Jungkunz: drums; Mike Kasunic: synthesizer, flute, percussion

- mostly shot Friday, June 12, 2009; edit finished June 30, 2009

- 1:58:35

- on the Internet Archive here: https://archive.org/details/HiTEC059full

- on my onesownthoughts YouTube channel here: https://youtu.be/RjzBIOt863Y

This 59th incarnation was the 2nd big production & the membership consisted of: Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: electronics, voice; Ben Opie: saxes, Thingamagoop; Kenny Haney: Bb clarinet; James Gyre: darbouka, drum set, flute; Spat Cannon: acoustic bass; Dani Simmonds: ukelele, small banjo, harmonica, darbouka, electronics; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Josh Beyer: cello; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Hyla Willis: amplified erhu; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer, Crowned Eternal, melodica; David Bernabo: electric guitar; William Wedler: Experiment 1; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Red Bob Jungkunz: drums; Mike Kasunic: synthesizer, flute, percussion - A spectacular 21 participants! Since tENT had already made the document of the January 9, 2009, Systems Management at the New Hazlett Theater in a highly explanatory way, this document is much more 'let loose' & revels in the largely unexplained chaos. Nonetheless, it's framed by interviews that counterbalance that somewhat. Two other groups were on the bill: Sound/Unsound Trio (Pittsburgh) & Valentine Trio (Chicago). The whole event was organized by Ian Page who started broadcasting it on channel 5 analog TV at the time that analog broadcasters officially switched over to digital. tENT put an incredible amount of work into making this document visually stimulating. The documentation of HiTEC presentations went downhill after this.

b. "Stanley Cup FINAL 2009" (for YouTube)

- 10:30

c. "Stanley Cup FINAL 2009" (revised for YouTube)

- 9:38

- on my onesownthoughts YouTube channel here: https://youtu.be/dsncOO-sql0

- Systems Management 0-32 (+ all METASYSTEMS to date)

341. "HiTE Club 2" (for YouTube)

- June 28, 2009

- starring: Unfinished Symphonies; Alpaca Beretta; The SB

- 09:28

- on my onesownthoughts YouTube channel here: https://youtu.be/jjPUzn3md3c

My chamber orchestra, HiTEC (Histrionic Thought Experiment Cooperative) premiered at the New Hazlett Theater on January 9, 2009EV. After this, I was asked to curate a 'music' series in the lobby of the New Hazlett on the 4th Sunday of most months. I decided to call this series "HiTE Club - the (M)Usic Club for Histrionic Thought Experimenters & their fellow travelers". This name is, of course, a take-off of "Nite Club", "Fight Club", "HiTEC lub", "Hite Report", etc.. The purpose of this club is to give HiTEC Systems Managers a chance to present the other groups that they play in - thereby promoting them & keeping HiTEC activity going between hard-to-get-gigs-for-a-25-piece-group. This 2nd HiTE Club was on Sunday, June 28th, '09. Unfinished Symphonies opened w/ his "Building the Tower", I followed w/ a screening of "Quasi-Documentary of TESTES-3 End of Library K&M Series", Alpaca Beretta was next, & Pittsburgh's The SB finished it off. Given that this HiTE Club was happening in the wake of a theater piece, the conditions were far from ideal: the staff wdn't turn the lights down - therefore my movie was barely visible & I only tokenly document it here (it's presented in the full YouTube version on this same channel), the post-theater crowd were mostly talking & ignoring us. Nevertheless, there were some funny moments &, in the spirit of documenting the entire series (wch might not last longer!), here it is.

HiTEC (Histrionic Thought Experiment Cooperative) "Systems Management"

In the summer of 2009, tENT designed the HiTEC book & Encylopedia Destructica published it. ED was an artist's book publisher in Pittsburgh that did an excellent job of putting together such things. The book used $11,56 worth of materials & took an hour apiece to assemble. tENT & ED sold them at materials cost to Systems Managers (including tENT) & for $15 to the general public. This absurdly cheap price was decided on by tENT because he wanted them to be affordable for 'people like himself': i.e.: for people with very little money. Clicking on the above link takes the reader to a webpage especially for this book. Clicking on either of the following 2 links takes the reader to a movie which begins with footage of the books being made:

- on the Internet Archive here: https://archive.org/details/HiTEC06163VAF

- on my onesownthoughts YouTube channel here: https://youtu.be/FJ62djkqQ88

342. "HiTEC 060 'Full' Group"

- Clockwise w/ Wheel-of-Fortune @ 12 O'Clock: James Gyre: drum set [left early]; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Josh Beyer: Baribanjolo; Red Bob Jungkunz: drums; Ben Harris: violin; Ben Opie: alto sax; Kenny Haney: clarinets; tENTATIVELY, a cONVENIENCE: grand piano

- shot Sunday, August 2, 2009; edit finished August 19, 2009

- 1:07:18

- on my onesownthoughts YouTube channel here: https://youtu.be/nuw2QIDy568

- Systems Management 0-32 (+ all METASYSTEMS to date)

This 60th incarnation was a rehearsal for the 3rd big production & the attendees were: James Gyre: drum set [left early]; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Josh Beyer: Baribanjolo; Red Bob Jungkunz: drums; Ben Harris: violin; Ben Opie: alto sax; Kenny Haney: clarinets; tENTATIVELY, a cONVENIENCE: grand piano - 9 Systems Managers!! The most pathetically ill-attended 'Full' Group rehearsal yet. Even though it was obvious that people still didn't have the score memorized or even had anything but a superficial understanding of what was going on, many people obviously felt like they didn't 'need to practice'. This was the beginning of a protracted end of the group. This rehearsal was on August 2nd, 2009, & we had 3 back-to-back gigs scheduled for the upcoming weekend: Friday, August 7th to Sunday, August 9th, 2009, as part of the Visionary Arts Festival. The advantage of only having 9 players is that I could fit them all in the limited wide-angle of the single camera shot. All in all, not a bad rehearsal. Too bad it's a but flawed by DVD-R freezes.

PRESS

HiTEC presented "Systems Management" at all 3 nights of Alberto Almarza's "Visionary Arts Festival". This attracted some promotional press:

McBlare

344. a. "HiTEC @ the VAF" ('full' version)

- 061-FULL-GROUP(18) - Friday, August 7, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: Johan Nystrom: extended percussion, camera; Mike Tamburo: hammered dulcimer, clarinet, amplified string & contact mic; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; joy toujours: trombone; Mike Kasunic: electronics; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; James Gyre: drum set; Spat Cannon: acoustic bass; Dani Simmonds: ukulele, electronics; Josh Beyer: Baribanjolo; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- Systems Management 0-32 (+ all METASYSTEMS to date)

Alberto Almarza had previously invited tENT to guest lecture in his "Worlds Within Worlds" class at the Mattress Factory. He'd also shot footage of HiTEC's performance as part of "The End of Television" organized by Ian Page. Even more extraordinarily, he invited HiTEC to play as the twilight act for every night of the Visionary Arts Festival that he was the founder & organizer of. The 1st document of HiTEC's big premier at the New Hazlett has copious explanations of what's happening & features the entire UNCERT (Uncertainty Concert). The 2nd document of HiTEC's big 2nd gig at "The End of Television" is visually somewhat disruptive of discursive content but more or less features the whole gig. This next document in the series combines more edited 'highlights' version of all 3 of the nights interspersed with other footage of the VAF. tENT's editing decisions were made in hopes that people might someday ACTUALLY WANT TO WITNESS ALL OF THEM instead of just skimming over one or the other. tENT's editing also presents increasingly sophisticated technique. Johan Nystrom, who had moved away to Philadelphia, came back especially for HiTEC 061. This movie also shows the HiTEC books being made. The audience members who were sitting outside the pavilion missed most of the visuals.

- 062-FULL-GROUP(17) - Saturday, August 8, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: [masked] Kerrith Livengood: electric guitar, etc..; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard, tambourine; joy toujours: violin; Red Bob Jungkunz: drums; Mike Kasunic: electric guitar; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; Spat Cannon: acoustic bass [had to leave slightly before the end]; Dani Simmonds: tenor guitar, electronics; Josh Beyer: acoustic guitar; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- Systems Management 0-32 (+ all METASYSTEMS to date)

- 063-FULL-GROUP(15) - Sunday, August 9, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: Ben Harris: violin; Mike Tamburo: hammered dulcimer, clarinet, amplified string & contact mic; Jonathan Brodsky: monome with mabalhabla software; Unfinished Symphonies: electronic keyboard; joy toujours: violin, amplified toy stuffed animal; Red Bob Jungkunz: drums; Mike Kasunic: electric guitar; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; James Gyre: drum set; Spat Cannon: acoustic bass; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished September 3, 2009

- 3:35:58

b. "HiTEC @ the VAF" (1 disc version)

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished mid September, 2009

- 1:45:00

- on the Internet Archive here: https://archive.org/details/HiTEC06163VAF

- on my onesownthoughts YouTube channel here: https://youtu.be/FJ62djkqQ88

c. "HiTEC @ the VAF" (short version) [broken into 3 parts (slightly edited further) for YouTube]

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished mid September, 2009

- 28:00

HiTEC @ the VAF: Day 1

- on my onesownthoughts YouTube channel here: https://youtu.be/VlInVCCK4Ro

HiTEC @ the VAF: Day 2

- on my onesownthoughts YouTube channel here: https://youtu.be/YT06HpEcNj0

HiTEC @ the VAF: Day 3

- on my onesownthoughts YouTube channel here: https://youtu.be/YT06HpEcNj0

- Systems Management 0-32 (+ all METASYSTEMS to date)

343. "HiTE Club 3" (for YouTube)

- starring: DJ Hatesyou; Mike Tamburo; Shambolish

- shot Sunday, August 23, 2009; edit finished August 25, 2009

- 09:55

- on my onesownthoughts YouTube channel here: https://youtu.be/aT0FHGllolM

My chamber orchestra, HiTEC (Histrionic Thought Experiment Cooperative) premiered at the New Hazlett Theater on January 9, 2009EV. After this, I was asked to curate a 'music' series in the lobby of the New Hazlett on the 4th Sunday of most months. I decided to call this series "HiTE Club - the (M)Usic Club for Histrionic Thought Experimenters & their fellow travelers". This name is, of course, a take-off of "Nite Club", "Fight Club", "HiTEC lub", "Hite Report", etc.. The purpose of this club is to give HiTEC Systems Managers a chance to present the other groups that they play in - thereby promoting them & keeping HiTEC activity going between hard-to-get-gigs-for-a-25-piece-group. This 3rd HiTE Club was on Sunday, August 23rd, '09. The evening began w/ DJ Hatesyou's "Beating a Dead Beat" - a 4 turntable sound collage mixing beat writers w/ vinyl from HiTEC members - including at least 2 LPs of mine, a single by one of joy toujour's groups, & a single by Ben Opie's Water Shed 5tet, & David Bernabo's latest LP. Mike Tamburo played a solo on his invention The Crowned Eternal & then a long solo on the Hammered Dulcimer. The nite concluded w/ a set by Shambolish - Alberto Almarza, Jonathan Brodsky, & Bill Bernstein.

346. a. "HiTE Club FINAL"

- starring: Capgun Quartet (Richard Dannenberg, Jeff Stringer, Jay Matula, Roger Dannenberg), Ben Harris, & Kerrith Livengood

- shot Sunday, September 27, 2009; edit finished October 10, 2009

- 56:00

- on the Internet Archive here: https://archive.org/details/HiTEclub4

For this HiTEC Club FINAL, Roger Dannenberg's group, Capgun Quartet (Richard Dannenberg, Jeff Stringer, Jay Matula, Roger Dannenberg). Ben Harris, & Kerrith Livengood also provided performances of their work. tENT's tripod experiments were unintentionally noisy & sometimes a bit too distracting but there are some good overhead moments. The purpose of these events wasn't to promote a particular type of music but was more to showcase the variety of musics played by HiTEC members.

b. "HiTE Club FINAL" (for YouTube)

- 09:47

- on my onesownthoughts YouTube channel here: https://youtu.be/eqBXLTzZhAs

HiTE Club, the Club for Histrionic Thought Experimenters & their fellow travelers was somewhat of a disaster from the perspective of attracting an audience. There were only 4 & this, the last one, had the 6 musicians, myself, another member of HiTEC, & 3 people associated w/ the New Hazlett Theater & that was basically that. NONETHELESS, I think it was an interesting music series & kudos are especially due to all who participated. SPECIAL KUDOS go to those who participated in this FINAL one b/c they played wonderfully ANYWAY despite the small attendance.

Shane James trying out Mimi Jong's erhu

347. a. "HiTEC 064 I"

- tENTATIVELY, a cONVENIENCE: ASR-X Resampler, Pitchrider Pitch-to-MIDI converter, K1m wave table synthesizer (1st day w/o my programmed voices - they're all lost due to battery death), DX27S algorithm synthesizer, TX81Z FM tone generator synthesizer, small Chinese gong, 2 Chinese hand-held cymbals, 'lion's roar', chain, ratchet, corrugated tube, Zydeco tie, voice, whistling, etc..; Gina Ketter: viola, bowed electric guitar (unamplified); Roger Dannenberg: trumpet, piano; Mimi Jong: erhu, vibraphone, kalimba, voice; Hugh Watkins: kalimba, berrimbao, bottles, all sorts penny whistle, strummed CDs, stones, whistling, voice; Shane James: putatara (conch-shell trumpet), karaka manu (karaka = a particular type of tree, manu = birds; ie: a bird attractor), poi [Poiawhiowhio] (Twirled on a string, this instrument imitates various bird songs depending on size and shape of gourds and holes in them. The string inside also vibrates as gourd spins.), putangitangi, nguru (small nose flute), pounamu (jade rock percussion), beer bottle, koauau (small flute w/ 3 holes - similar to an ocarina), korero maori (Maori speech &/or chanting), whistling, putorino (trumpet/flute); Buddy Nutt: ukulele, slide didjeridoo, musical saw, Tibetan gong, Bb trumpet, slide whistle; Liz Hammond (Ukulizzy): ukulele, coronet (w/ & w/o mutes), slide whistle

- shot on Sunday, October 4, 2009; edit finished October 20, 2009

- 1:03:03

- on the Internet Archive here: https://archive.org/details/HiTEC064I

This 64th incarnation was yet-another excursion into a different area. The "I" designation for the group indicates another new group of players. I was installing a Whales exhibit at a Natural History Museum & the crew who had brought the exhibit from New Zealand included Shane James who had brought traditional Maori instruments with him. I asked Shane to come to my house to give a demonstration of the instruments & to play with some friends: tENTATIVELY, a cONVENIENCE: ASR-X Resampler, Pitchrider Pitch-to-MIDI converter, K1m wave table synthesizer (1st day w/o programmed voices - they're all lost due to battery death), DX27S algorithm synthesizer, TX81Z FM tone generator synthesizer, small Chinese gong, 2 Chinese hand-held cymbals, 'lion's roar', chain, ratchet, corrugated tube, Zydeco tie, voice, whistling, etc..; Gina Ketter: viola, bowed electric guitar (unamplified); Roger Dannenberg: trumpet, piano; Mimi Jong: erhu, vibraphone, kalimba, voice; Hugh Watkins: kalimba, berrimbao, bottles, all sorts penny whistle, strummed CDs, stones, whistling, voice; Shane James: putatara (conch-shell trumpet), karaka manu (karaka = a particular type of tree, manu = birds; ie: a bird attractor), poi [Poiawhiowhio] (Twirled on a string, this instrument imitates various bird songs depending on size and shape of gourds and holes in them. The string inside also vibrates as gourd spins.), putangitangi, nguru (small nose flute), pounamu (jade rock percussion), beer bottle, koauau (small flute w/ 3 holes - similar to an ocarina), korero maori (Maori speech &/or chanting), whistling, putorino (trumpet/flute); Buddy Nutt: ukulele, slide didjeridoo, musical saw, Tibetan gong, Bb trumpet, slide whistle; Liz Hammond (Ukulizzy): ukulele, coronet (w/ & w/o mutes), slide whistle. Hugh & Buddy were coworkers at the museum. Gina & Mimi were friends of Hugh's & Liz was friends with Buddy. "Avicenna's Floating Maori" was, of course, a variation on HiTEC's "Avicenna's Floating Systems Manager" & that system was used very loosely to guide what was ultimately a free-form session. This happened on October 4, 2009..

b. "Avicenna's Floating Maori" (for YouTube)

- edit finished October 21, 2009

- 10:01

- on my onesownthoughts YouTube channel here: https://youtu.be/gPOFMfbtRmc

From September to October, 2009, I helped install a Whales exhibit at the Carnegie Museum of Natural History. This exhibit came from New Zealand & 4 New Zealanders came w/ it to supervise the install. One of the most interesting aspects of this job for me was that the exhibit techs underwent a ceremony in wch we were instructed in the protocols for proper treatment of the whale skeletons & such-like as sacred objects - as conceived by Maori culture. Shane James blew a Putatara (conch-shell trumpet) & recited a text in "te reo" (the language spoken by the Maori) & explained things to the techs before we were allowed to handle the objects. This lead to the 64th HiTEC session wch was preceded by Shane explaining the Maori instruments that he's made. Then we realized a HiTEC System entitled "Avicenna's Floating Systems Manager". Making this session even more exciting was that I got to work w/ some particularly fine Pittsburgh musicians that I'd never had a chance to play w/ before. The internationality of the instruments was exceptional.

348. a. "Systems & Processes 1 (HiTEC 065 Y)"

- the documentary of tENTATIVELY, a cONVENIENCE's "Systems & Processes" lecture created as an introduction to a series of HiTEC & Systems Management related workshops

- involving CMU Professor Jon Rubin & the 15 students in his concept class

- shot on Wednesday, October 28, 2009; edit finished early November, 2009

- 2:03:13

- on the Internet Archive here: https://archive.org/details/HiTEC065Y

- on my onesownthoughts YouTube channel: https://youtu.be/8mmBXJNSuZs

b. "Systems & Processes 1 (HiTEC 065 Y)" (for DVD)

- mainly different from the above b/c the end discussion is cut out to make the file small enuf for DVD

- 1:49:28

"HiTEC 065 Y - Systems & Processes I": HiTEC (Histrionic Thought Experiment Cooperative) started out as a group of musicians & dancers invited by tENTATIVELY, a cONVENIENCE to try to collectively conduct thought experiments in an attempt to create a group product that wouldn't be based on specific physical instructions. Initially, 53 people were solicited as of Monday, August 25, 2008, & possibly 33 declined (most by just not replying) or dropped out; & 22 were left participating. Over the 20 months of HiTEC's existence, there were 40 participants. No more than 21 ever played together at once. 11 of those 40 only rehearsed w/ us once & then dropped out. The 2 dancers, Ilona Auth (4 rehearsals), & Margaret Campbell (3 rehearsals) never performed live w/ us. That left 24 'hard-core' participants. tENT tried to make this project ever-changing enough to keep it stimulating while preserving the somewhat difficult to learn skeleton of the Systems Management Thought Experiments. The 1st time that HiTEC branched out into an educational situation was when Alberto Almarza had tENT guest lecture to his "Worlds within Worlds" art class at the Mattress Factory installation museum. That was numbered HiTEC 033 Z - with the letters starting from the end of the alphabet. That's why this is "Y" because this is another educational situation.

SO, this 65th incarnation was yet-another excursion into a different area. tENT was asked to teach 4 classes to art students at Carnegie Mellon University by the professor for the class, artist Jon Rubin. The subject was "Systems & Processes", something central to HiTEC. tENT's 1st of the 4 classes provided an historical & philosophical background to what was to follow in the ensuing other 3 classes. Each of those has its own separate movie & will also be uploaded. The emphasis here is partially on CAS: Complex Adaptive Systems, a key concept. There are 2 versions of this movie. The version presented here is the longest of the 2 & had to be cobbled together from the shorter DVD-R version with the final 13:55 taken from the version on mini-dv. The mini-dv has drop-outs but it's not tooooooo bad.

349. "Systems & Processes 2 (HiTEC 066 Y)"

- involving CMU Professor Jon Rubin & the 15 students in his concept class (minus 1 or 2)

- shot on Monday, November 2, 2009; edit finished early November, 2009

- 1:02:32

- on my onesownthoughts YouTube channel here: https://youtu.be/NNaRMpCKy4Q

- on the Internet Archive here: https://archive.org/details/HiTEC066Y

- Systems Management 01, 09, 10, 16, 20 + Robotic, Blinking, Object Exchange, Gesture Expansion, etc..

SO, this 66th incarnation was a continuation of 065 Y. tENT was asked to teach 4 classes to art students at Carnegie Mellon University by the professor for the class, artist Jon Rubin. The subject was "Systems & Processes", something central to HiTEC. tENT's 2nd of the 4 classes picked up from the historical & philosophical background of the previous class to try to engage the students in more direct participation by asking them to Manage HiTEC Systems. The students seem somewhat reserved about engaging in the proposed processes but there is some subtle engagement. Since these are artists instead of musicians, tENT encourages people to participate with whatever simple means are at their disposal. Therefore, one student musses her hair as one of her 2 actions during "Red Room", another drops a book on the table, Jon Rubin raises a water bottle, etc. The students seem to watch each other not so much to see what other people are imagining but more to see what 'acceptable' parameters of behavior might be. This inhibition diminishes with each successive session. This class took place on November 2, 2009. This document is shorter than the other relevant ones because tENT ran out of mini-dv tape.

Joy Toujours

Josh Beyer

Hyla Willis

tENTATIVELY, a cONVENIENCE

tENT's percussion array

350. a. "Systems & Processes 3 (HiTEC 067 Y)"

- involving CMU Professor Jon Rubin & 6 students in his concept class + joy toujours, Josh Beyer, & Hyla Willis - special credit to Spencer Diaz & Laurie Shapiro

- shot on Wednesday, November 4, 2009; edit finished November 20, 2009

- 2:21:38

- the whole thing is on the Internet Archive here: https://archive.org/details/HiTEC067Y

- & on my onesownthoughts YouTube channel here: https://youtu.be/kePdIilUbX0

SO, this 67th incarnation was a continuation of 065 & 066 Y. tENT was asked to teach 4 classes to art students at Carnegie Mellon University by the professor for the class, artist Jon Rubin. The subject was "Systems & Processes", something central to HiTEC. tENT's 2nd of the 4 classes picked up from the historical & philosophical background of the previous class to try to engage the students in more direct participation by asking them to Manage HiTEC Systems. This 3rd class has only about half the students in attendance. tENT is joined by 3 other HiTEC Systems Managers: Hyla Willis, who brought her Erhu; Joy Toujours, who brought his violin; & Josh Beyer, who brought his cello. tENT brought in a multitude of small easily played percussion instruments to give the students objects to manipulate. People were also encouraged to document the actions of the class with their own cell-phones & to share this footage to help make the document collective. The students who were left after the attrition process of the 2 previous classes were the ones who provided the impetus for shaping the final class's product. Even though there was some struggle for the class to comprehend what was happening & for tENT to adequately address their questions some communication seems to've been achieved. Hyla let the students play her erhu. Eventually, the class goes to a student center for a sort of dry run application of what's been learned so far in a guerrilla playfare situation. This class took place on November 4, 2009.

b. "Systems & Processes 3 (HiTEC 067 Y)"

- the 1st attempt to edit it down short enuf to fit in the final edit of all 4 classes together in DVD length

- 48:30

c. "Robotic" (for YouTube)

- this is just the above-named section from "Systems & Processes 3 (HiTEC 067 Y)"

- 6:57

- on my onesownthoughts YouTube channel here: https://youtu.be/DkZjJ1ePIos

I've been a guest presenter, or 'schoolteacher', (very) off & on since 1981. My 1st foray into this context is quasi-documented in my "Paper Dolls in Dava's Class" movie that's online here @ YouTube. Since then, I've covered a variety of ground. What's probably most interesting, for me at least, about this is that I never particularly enjoyed being a student myself. Maybe that's part of why I have so much fun teaching - it's my opportunity to do things MY way. I was invited to teach 4 classes on "Systems & Processes". This movie is a brief excerpt from the 3rd of these classes. The university concept class art students were encouraged to create 'thought experiments' to be manifested physically. This movie presents one of these being acted out. I think the participants do an excellent job of entering into the spirit of the thing. Given that this is an offshoot continuation of the HiTEC (Histrionic Thought Experiment Cooperative) project, I consider this to be an excerpt from HiTEC 067 Group Y's Systems Management.

Unfinished Symphonies

Spencer Diaz on left

Unfinished Symphonies

tENTATIVELY, a cONVENIENCE

Jon Rubin

351. a. "Systems & Processes 4 (HiTEC 068 Y)"

- involving CMU Professor Jon Rubin & 15 students in his concept class + Unfinished Symphonies & Hyla Willis - special credit to Spencer Diaz

- shot on Monday, November 9, 2009; edit finished November 24, 2009

- 1:59:03

- on my onesownthoughts YouTube channel here: https://youtu.be/wy2_Fd-RiTY

= on the Internet Archive here: https://archive.org/details/HiTEC068Y

SO, this 68th incarnation was the culmination of the previous 3 classes. tENT was asked to teach 4 classes to art students at Carnegie Mellon University by the professor for the class, artist Jon Rubin. The subject was "Systems & Processes", something central to HiTEC. tENT's 2nd of the 4 classes picked up from the historical & philosophical background of the previous class to try to engage the students in more direct participation by asking them to Manage HiTEC Systems. The 3rd class involved performing these new student created Systems in both the classroom & at a university center. This 4th class had most of the students in attendance for the 1st time since the 1st class. tENT is joined by 2 other HiTEC Systems Managers: Hyla Willis, who brought her Erhu; & Unfinished Symphonies. tENT brought in a multitude of small easily played percussion instruments to give the students objects to manipulate. Students tried out their own systems in the classroom, created somewhat in a HiTEC-inspired way. Eventually, the class goes to the university center to give a more serious attempt at applying these in a public situation without informing non-participants that this is happening. This, of course, creates a situation in which the public suddenly finds themselves surrounded by mysterious behaviors that're obviously understood by some people & not by others. This is a more calculated version of what is a common unplanned situation: a situation in which subcultural 'norms' are unknowns to non-members of the subculture. From the UC the class move to the tennis courts. Eventually, we reconvened in the classroom where we debriefed. People who hadn't attended preceding classes obviously had even less of a clue about what was going on than those who had gone to the effort of learning. While there was probably some confusion & boredom there was eventually a fair amount of laughter so at least that much was accomplished. tENT upped the challenge ante considerably but, then, what else was he there for if not that? As tENT explains near the end: "I was talking about Structured Improvisation as a Complex Adaptive System &, for me, the purpose of things like this is to increase my ability to make realtime decisions, & to increase my memory, & increase my spontaneity, & increase my alertness, etc, etc - increase any kind of quality that has to do with my environment around me" "& also just to stimulate you & to be more alert & inspired." This class took place on November 9, 2009.

b. "Systems & Processes 4 (HiTEC 068 Y)" (DVD version)

- the "getting back" section of the above was removed

- 1:50:39

352. "Systems & Processes 1-4 (HiTEC 065-068 Y)"

- involving CMU Professor Jon Rubin & 15 students in his concept class + Hyla Willis, joy toujours, Josh Beyer, & Unfinished Symphonies

- special credit to Spencer Diaz & Lauri Shapiro

- CMU footage shot on October 28, November 2, 5, & 9, 2009; edit finished November 27, 2009

- 1:48:35

PRESS

The Pittsburgh City Paper published a large Year in Review article about 2009 & HiTEC was right in there with the Steelers, Pittsburgh's incredibly popular football team:

I include the above article about "Project 53", from the same issue, because its founder, Joy Toujours, was another HiTEC Systems Manager.

As HiTEC was nearing its end, some of its members were still basking in prominence. The following article features Mike Kasunic, a HiTEC Systems Manager, as the cover figure for the "Lab Notes" article. He doesn't mention HiTEC but, thank you, Melissa St, Pierre, also featured, does:

355. "HiTEC 069 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; William Wedler: percussion; joy toujours: violin; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; Gina Ketter: 5 string electric violin; Bob Jungkunz: percussion; Kerrith Livengood: alto flute; Jonathan Brodsky: laptop; Spencer Diaz: camcorder; Kenny Haney: bass clarinet; Ben Opie: soprano sax

- shot Sunday, February 21, 2010; edit finished March 21, 2010

- 44:34

- on the Internet Archive here: https://archive.org/details/HiTEC069full

"HiTEC 069 'Full' Group": HiTEC (Histrionic Thought Experiment Cooperative) started out as a group of musicians & dancers invited by tENTATIVELY, a cONVENIENCE to try to collectively conduct thought experiments in an attempt to create a group product that wouldn't be based on specific physical instructions. Initially, 53 people were solicited as of Monday, August 25, 2008, & possibly 33 declined (most by just not replying) or dropped out; & 22 were left participating. Over the 20 months of HiTEC's existence, there were 40 participants. No more than 21 ever played together at once. 11 of those 40 only rehearsed w/ us once & then dropped out. The 2 dancers, Ilona Auth (4 rehearsals), & Margaret Campbell (3 rehearsals) never performed live w/ us. That left 24 'hard-core' participants. tENT tried to make this project ever-changing enough to keep it stimulating while preserving the somewhat difficult to learn skeleton of the Systems Management Thought Experiments. After 19 months, various off-shoot situations had occurred such as the "Avicenna's Floating Maori" session & 5 classes taught by tENT using HiTEC techniques.

This 69th incarnation was the 1st one that wasn't an off-shoot session since HiTEC played their last set at the Visionary Arts Festival on August 9, 2009. Given that HiTEC 069 took place on February 28, 2010, that meant that there had been almost 7 months since the last rehearsal. The reason for the long hiatus was the lack of available venues to play at. Only 10 of the previous pool of 22 players attended this rehearsal: tENTATIVELY, a cONVENIENCE: grand piano, percussion; William Wedler: percussion; joy toujours: violin; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; Bob Jungkunz: percussion; Kerrith Livengood: alto flute; Jonathan Brodsky: laptop; Kenny Haney: bass clarinet; & Ben Opie: soprano sax. Gina Ketter, on 5 string electric violin, had been added from the "Floating Maori" session. Spencer Diaz, camcorder, had been added from the 4 "Systems & Processes" classes that tENT taught at CMU the previous October & November. This rehearsal, & the next 2, were in preparation for what turned out to be HiTEC's final performance - scheduled for CMU's Kresge Theater on March 13, 2010. This performance date was during Spring Break because that was a window of opportunity time. tENT had wanted to recruit more "Systems & Processes" students so he was introducing Systems developed in those 4 classes as an incentive - & for the sake of having new material to stimulate the older players. However, the students were leaving during Spring Break or just not willing to participate so only Spencer joined. There wasn't time to teach the older material to the 2 newbies so a compromise situation had to be reached. This was truly the beginning of the end because of the loss &/or apathy of so many Systems Managers & because of the lack of time for training newer people & because of the very small audience for the last performance.

Bob Jungkunz on left

356. "HiTEC 070 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Spat Cannon: acoustic bass; Unfinished Symphonies: recorders; Hyla Willis: erhu; Spencer Diaz: camcorder; Bob Jungkunz: percussion; Kenny Haney: bass clarinet; Ben Opie: Max patches on laptop, percussion

- shot Sunday, February 28, 2010; edit finished March, 2010

- 35:23

- on my onesownthoughts YouTube channel here: https://youtu.be/W_CBPsGvmsc

This 70th incarnation was the 2nd one of the last-gasp version of the group cobbled together for an upcoming performance, that turned out to be the last, scheduled for CMU's Kresge Theatre on March 13, 2010. Only 7 of the previous pool of 22 players attended this rehearsal: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Spat Cannon: acoustic bass; Unfinished Symphonies: recorders; Hyla Willis: erhu; Bob Jungkunz: percussion; Kenny Haney: bass clarinet; Ben Opie: Max patches on laptop, percussion. Spencer Diaz, camcorder, had been added from the 4 "Systems & Processes" classes that tENT taught at CMU the previous October & November. The Kresge Theatre performance date was during Spring Break because that was a window of opportunity time. tENT had wanted to recruit more "Systems & Processes" students so he was introducing Systems developed in those 4 classes as an incentive - & for the sake of having new material to stimulate the older players. However, the students were leaving during Spring Break or just not willing to participate so only Spencer joined. There wasn't time to teach the older material to Spencer so a compromise situation had to be reached. This was truly the beginning of the end because of the loss &/or apathy of so many Systems Managers & because of the lack of time for training newer people & because of the very small audience for the last performance. At about 8 minutes in 2 different crawl texts are superimposed on the bottom because tENT was cranking out the documents using pre-fabricated titles & forgot to shift one of the crawl titles to the top so the superimposition didn't occur. In other words, this was a mistake that tENT didn't catch until the editable document had been deleted.

Ben Opie

tENTATIVELY, a cONVENIENCE

357. "HiTEC 071 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Julian Krishnamurti: electric bass; Ben Opie: Bb clarinet, theremin + effects; Kenny Haney: bass clarinet, can; Tony Balko: camcorder; Jonathan Brodsky: laptop; Spat Cannon: acoustic bass; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard

- shot Sunday, March 7, 2010; edit finished April 2, 2010

- 48:24

- on the Internet Archive here: https://archive.org/details/HiTEC071full

This 71st incarnation was the 3rd & last rehearsal of the last-gasp version of the group cobbled together for an upcoming performance, that also turned out to be the last, scheduled for CMU's Kresge Theater on March 13, 2010. Only 11 of the previous pool of 22 players attended this rehearsal: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Julian Krishnamurti: electric bass; Ben Opie: Bb clarinet, theremin + effects; Kenny Haney: bass clarinet, can; Tony Balko: camcorder; Jonathan Brodsky: laptop; Spat Cannon: acoustic bass; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard. Neither of the 2 new quasi-Systems Managers, Gina Ketter & Spencer Diaz, attended. The Kresge Theater performance date was during Spring Break because that was a window of opportunity time. HiTEC was ending for various reasons: lack of performance opportunities, probable lack of long-term interest by the Systems Managers, in ability to make any money. This rehearsal took place in the Kresge Theater with Systems Managers in the 2 balconies but without the larger projection screen used on the actual performance night.

Hyla Willis

Jonathan Brodsky, David Bernabo, Kerrith Livengood

359. "HiTEC 072 - FINAL GIG"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion, remote-control electronics, SysMan, Wheel-of-Fortune; Julian Krishnamurti: electric bass; Spat Cannon: acoustic bass; Ben Opie: alto sax, Thingamagoop, Max patches on laptop, rattle; Hyla Willis: amplified erhu; Kenny Haney: bass clarinet, Bb clarinet; Tony Balko: camcorder; Jonathan Brodsky: laptop; David Bernabo: melodica, percussion; Kerrith Livengood: alto flute, percussion; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard; Gina Ketter: viola; Spencer Diaz: camcorder

- additional cameras: Greg Pierce, Morgan Cahn

- shot Saturday, March 13, 2010; edit finished May 31, 2010

- 1:44:35

- raw high-definition footage of Kerrith Livengood's "Sheepdog" shot by Morgan Cahn on YouTube - w/ Ben Opie as the Sheepdog

- on my onesownthoughts YouTube channel here: https://youtu.be/9oYIc09Zxk4

- An excerpt from this edited version of HiTEC's FINAL GIG that includes "Infinite Monkey Theorem", 'SOMNAMBULIST", "Saboteur", "Bypass", "Birds", & "Affinity Groups" (+ 1 typo - can you find it?).

- on my onesownthoughts YouTube channel here: https://youtu.be/o2jILMegKug

- full gig on my onesownthoughts YouTube channel here: https://youtu.be/FmiAklaJt3I

- also on the Internet Archive here: https://archive.org/details/HiTEC072FINAL

This 72nd & FINAL incarnation was our Systems Management at CMU's Kresge Theater on March 13, 2010. Only 14 of the previous pool of 22 players + 2 new people who'd had minimal & inadequate training: tENTATIVELY, a cONVENIENCE: grand piano, percussion, remote-control electronics, SysMan, Wheel-of-Fortune; Julian Krishnamurti: electric bass; Spat Cannon: acoustic bass; Ben Opie: alto sax, Thingamagoop, Max patches on laptop, rattle; Hyla Willis: amplified erhu; Kenny Haney: bass clarinet, Bb clarinet; Tony Balko: camcorder; Jonathan Brodsky: laptop; David Bernabo: melodica, percussion; Kerrith Livengood: alto flute, percussion; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard; Gina Ketter: viola; Spencer Diaz: camcorder. David Bernabo hadn't attended any of the recent rehearsals & didn't necessarily know the new material. Gina Ketter had only attended one rehearsal so she was just asked to wander in the theater playing ONLY on the Systems she had rehearsed. Spencer Diaz was similarly restricted. The Kresge Hall performance date was during Spring Break because that was a window of opportunity time. HiTEC was ending for various reasons: lack of performance opportunities, probable lack of long-term interest by the Systems Managers, in ability to make any money. This took place in the Kresge Hall with Systems Managers in the 2 balconies & with a large projection screen for SysMan. As I recall, the 16 Systems Managers outnumbered the 14 (v)audience members. Greg Pierce & Morgan Cahn augmented Tony Blako's & Spender Diaz's camerawork. Ilona Auth was kind enough to collect money at the door & to rubber-stamp people's hands with one of tENT's stamps that reads: "When Money's God Poor People are the Human Sacrifices". Unfortunately, tENT fell off of a chair onto the edge of the stage & bounced to the floor cracking several ribs in the process. This was incredibly painful but tENT put on the show anyway. This took 10 weeks to heal. As with all of the main HiTEC movies, the style of this is different. In some respects, this is the straightest documentary of the lot.

360. a. "Infinite Monkey Theorem"

- using footage from HiTECs 28F, 29A, 31F, 32A, 46C&G, 47A, 49A, 51-FULL, 58-FULL, 59-FULL, 60-FULL, 61-FULL, 62-FULL, 63-FULL, 70-FULL, 72-FULL

- approximately 52 people in 6 locations were involved in the making of this

- shot between October 5, 2008 & March 13, 2010; edit finished July 1, 2010

- 1:12:56

- on the Internet Archive here: https://archive.org/details/InfiniteMonkeyTheorem_201905

"Infinite Monkey Theorem" is System 31 in HiTEC's "Systems Management". HiTEC is an acronym for "Histrionic Thought Experiment Cooperative" which I (tENTATIVELY, a cONVENIENCE) founded in July, 2008, & which ended in March, 2010. The purpose of HiTEC was to try to get a sizeable group of people to simultaneously conduct thought experiments & to produce a collective sound/action as a result. This movie is made from HiTEC realizations of "Infinite Monkey Theorem", the instruction for which is as follows:

31. "Infinite Monkey Theorem"(Aristotle / tENTATIVELY, a cONVENIENCE):

b. "Infinite Monkey Theorem" (condensed version for YouTube)

- using only footage from HiTECs 28F, 29A, 31F, 32A, 46C&G, 49A, 58-FULL, 70-FULL, 72-FULL

- edit finished July 2, 2010

- 9:30

- on my onesownthoughts YouTube channel here: https://youtu.be/bBCrl5L8stQ

System Management 31. "Infinite Monkey Theorem"(Aristotle / tENTATIVELY, a cONVENIENCE): "Perform isolated notes in an attempt to be 'random' in relation to yr fellow Systems Managers. Stop playing when you're fairly sure you hear a combination that you've heard before - such as a fragment of Mozart or whatever. If you DO decide such a thing, call out the name (or some other reference) to the piece heard." What interests me here is the interplay between attempting to produce 'random' behavior SIMULTANEOUSLY w/ trying to find a pre-existing pattern in its collective combination. This short version for YouTube is an encapsulation of a feature-length movie.

c. "Narrative" (performance version)

- edit finished July 4, 2010

- 18:21

Systems Management

00. "Stamping & Clapping"

01. "Red Room"

02. "Persisting Resisting"

03. "Octave Butler"

04. "Read Players (for Johan Nystrom)"

05. "Birds (for Michael Pestel)"

06. "Saboteur"

07. "Cheaper Imitation"

08. "Concerto"

09. "Population Control"

10. "Tele-Communications"

11. "Algebra 101"

12. "Comfort Zone 3"

13. "Affinity Groups"

14. "Echo"

15. "Avian Flu"

16. "IFF"

17. "Patterns"

18. "Debriefing"

19. "Sheepdog"

20. "Subtlety Olympics"

21. "Yourself"

22. "Getting It Out Of Your"

23. "Personality Types"

24. "Escape Tunnel"

25. "Equilibrium"

26. "Say AHHH!dience"

27. "Private Phasing"

28. "Bypass"

29. "Avicenna's 'Floating Systems Manager'"

30. "Brain-In-A-Vat"

31. "Infinite Monkey Theorem"

32. "Wheel Turing"

unnumbered meta-systems:

"RETARD"

"DICTATOR"

"SOMNAMBULIST"

"SPEEDER"

"MUTE OBSERVER"

00. "Stamping & Clapping"(tENTATIVELY, a cONVENIENCE): This is how sessions begin. All players stamp their feet & clap their hands in unison as if impatiently waiting for the playing to start. This is also the DEFAULT. Any player at any time can start "Stamping & Clapping" wch is the signal for the other players to stop doing whatever they're doing & to join in unison. This default wipes out all pre-existing numerical sequences EXCEPT FOR META-SYSTEMS (like "Birds") so that when the Wheel of Fortune spins next the 1st number will be one not subject to mathematical operations b/c all preceding numbers are effectively 'erased' by ZERO. "Stamping & Clapping" can be used as a desperate measure to pull players back together again.

01. "Red Room"(tENTATIVELY, a cONVENIENCE): Each player chooses 2 units of sound as their only vocabulary. These units can be distinguished in any way. No unit can be played in approximately the same relational circumstance twice - ie: If player 1 plays unit 1 immediately following another player's unit 2 then player 1 must avoid having that sequence occur again. The player stops whenever they feel like it or when all such relational possibilities are exhausted.

02. "Persisting Resisting"(tENTATIVELY, a cONVENIENCE): Play in accordance w/ a system w/o telling the other player(s) what the system is. If you make a mistake, either stop playing & stay stopped until everyone else is done OR play according to a 2nd system for a 'satisfactory' length of time. What constitutes 'satisfactory' is determined by yr own criteria. Then return to the 1st system UNLESS you make a mistake during the 2nd system in wch case a 3rd system is to be followed for a 'satisfactory' length of time - after wch the 2nd system is reverted to UNLESS.. etc, etc.. From each system one either moves one system forward or one backward. If a player thinks another player has stopped they can end but they cannot restart (even if they're wrong about the other player stopping).

03. "Octave Butler"(tENTATIVELY, a cONVENIENCE): Play in accordance w/ a system staying w/in one octave. Switch to a different octave everytime you make a mistake - eliminating every octave that you make a mistake in. Stop when you've played all octaves available to you. If octaves aren't applicable to yr sound-producing situation, use an alternate limitation that you consider to be analogous.

04. "Read Players (for Johan Nystrom)"(tENTATIVELY, a cONVENIENCE): Pick another player as yr score using typical graphic notation criteria: In other words: Decide on a method for reading the player - such as left-to-right, top-to-bottom - or by treating the player/score as a field that one can scan 'randomly', etc; Choose qualities of the player/score to represent metaphors/analogies to instructions for yr playing: EG: color = 'warmth', texture = texture (a rough sweater = soft scraping sounds; a suppurating wound = dripping sounds, etc), height = pitch, size = duration, size = volume. That sort of thing. Stop playing when you've performed the entire player/score.

05. "Birds (for Michael Pestel)"(tENTATIVELY, a cONVENIENCE): Choose 1 or more short phrases that you'll play throughout the entire session. These phrases, once chosen can only change in a very subtle theme-&-variation way. EG: yr phrase might be: "too-wee" wch you can then repeat in fairly quick succession as "too-wee, too-wee, too-wee" or as "too-wee, too-wee, too". There shd always be a longer pause between the playing of the phrases then the length of the playing of the phrases itself. SO, if playing the phrases takes 2 seconds, there shd be a pause longer than 2 seconds between them - preferably AT LEAST 4 seconds. The phrases can be much more complicated IFF (if & only if) THE PLAYER can remember them & not make mistakes (if mistakes are made, it's not a 'disaster', the player shd just then try their best to minimize the mistakes in the future by simplifying their phrase vocabulary & sequence). Here's an example of a more complex possibility: "wheep, wheep-wheep-wheep, wheedle-eep, qwawp!" wch cd then be varied as "wheep, wheep-wheep-wheep-wheep, qwawp!" &/or "wheep, wheep-wheep-wheep, wheedle-eep wheedle-eep, qwawp!" etc..

06. "Saboteur" (Ben Opie): SABOTEUR is a meta-system. A performer can secretly choose to become a saboteur. A saboteur follows all directions but makes occasional, intentional "mistakes" (including not acknowledging real mistakes). If another player believes to have discovered a saboteur, that person can call out the saboteur with the accusatory gesture of pointing to the player accused. If this happens, the saboteur must immediately stop being a saboteur for the rest of the session (unless the WoF spins to "06" - see more below) and remain inactive for two systems (the remainder of the one they're in the midst of & the following one). If the person calling out the saboteur is incorrect, then that player must remain silent for the remainder of the system they're in the midst of & the one following.

If SABOTEUR comes up on the WoF, all saboteurs must discontinue for the remainder of the session, while other non-saboteur players may choose to become a saboteur mid-performance.

07. "Cheaper Imitation" (Ben Opie):

Each player may imitate another (or not).

If a player believes the person they are imitating has changed direction because of the imitation, that player must stop, initiate a new idea, or find another person to imitate.

08. "Concerto"(tENTATIVELY, a cONVENIENCE):

09. "Population Control" (Johan Nystrom):

10. "Tele-Communications"(tENTATIVELY, a cONVENIENCE):

11. "Algebra 101"(tENTATIVELY, a cONVENIENCE):

a + b = c OR a - b = c OR a x b = c OR a ÷ b = c

Every player mentally designates 1 player as "a" & another as "b" & then attempts to create a "c" based on that. Only 1 procedure shd be picked per playing - ie: ONLY addition or only subtraction, etc.. The attempted result cd be something as obvious as (in the case of the addition) imitating both of their actions at the same time by, eg, combining a bass clarinetist w/ a tap dancer by tapping one's toe & heel while playing in a bass clarinet range &/OR by imagining the 2 players' DNA combined to create a 'Test-Tube Systems Manager', etc.. Multiplication cd yield a more energetic version of the preceding. Subtraction might mean taking away the notes of 1 player from the notes of another, etc.. - w/ division being a more extreme reduction.

12. "Comfort Zone 3" (tENTATIVELY, a cONVENIENCE & James Gyre):

Free improvise in a sensitive manner that makes you feel like you're 'playing w/' yr fellow Systems Managers. At a dramatic & obvious signal from a self-appointed conductor, play a solo piece that was influential on yr development. At a 2nd signal from the same conductor, play fragments of the same solo in an attempt to create a Klangfarbenmedlodie montage of influences w/ the other Managers.

13. "Affinity Groups"(tENTATIVELY, a cONVENIENCE):

14. "Echo"(tENTATIVELY, a cONVENIENCE):

15. "Avian Flu" (Johan Nystrom):

If the player is feeling suicidal toward their call, they can choose to move on to the late stage of infection, and should begin playing only their sickly bird call (instead of whatever system they're in), but much louder and faster.

Other players can "vaccinate" late stage sick birds by flapping one arm & pointing at the late stage sickly Bird. Be sure to do this in a way that's not confused w/ accusing someone of being a saboteur. Sick birds then flap both wings, are cured, & resume their healthy calls. Birds who aren't cured die & can no longer play their call for the rest of the session.

16. "IFF" (tENTATIVELY, a cONVENIENCE & Ben Opie):

"IFF" = "if & only if". Before any player plays they mentally create a condition external to themselves & their system wch has to be met for them to play. EG: Player 1 may decide in advance that they'll only play in a certain way for 10 seconds IFF Player 2 plays quietly by themselves for at least 5 seconds. Player 1 might also decide that they'll play in a different certain way IFF all players other than Player 2 play simultaneously. This creates the immediate problem of who plays 1st & under what conditions. Therefore, it's advisable that at least 1 player decides on an "IFF" that doesn't necessarily revolve around other people's playing - such as: "I'll play IFF an earthquake doesn't happen" or "I'll play IFF I'm taking the risk that it's highly likely everyone around me will play shortly after I start."

17. "Patterns" (tENTATIVELY, a cONVENIENCE)

Create a pattern & play it 3 times. Create another DRAMATICALLY DIFFERENT pattern & play that 3 times. Either stop playing after you've run out of dramatically different ideas OR after a minimum of 5 patterns.

18. "Debriefing"(tENTATIVELY, a cONVENIENCE):

Discuss what you did when you managed the last system. Every Systems Manager shd have something to say - the more detailed the better.

19. "Sheepdog" (Kerrith Livengood):

20. "Subtlety Olympics"(tENTATIVELY, a cONVENIENCE):

Compete w/ each other to try to be the subtlest Systems Manager. This can be manifested by playing extremely softly or by initiating long processes that take time for them to become obvious, etc.. A self-designated 'judge' will bestow a 'medal' on the Manager that they decide is the most subtle. That 'winner' then becomes the 'judge' if the "Subtlety Olympics" occurs again in the same session.

21. "Yourself" (Ben Opie):

22. "Getting It Out Of Your"(tENTATIVELY, a cONVENIENCE):

23. "Personality Types 2"

(Myers-Briggs / tENTATIVELY, a cONVENIENCE / each Systems Manager):

Begin by playing in yr own "Personality Type". Self-consciously structure yr playing around that type while thinking that it might be healthy for you to try one of the other types. Eventually switch to the other when a conductor makes a sweeping gesture meant to designate change. See Personality Types list & descriptions below.

tENTATIVELY, a cONVENIENCE:

the significance of his motto: "Anything is Anything".

David Bernabo:

"The Idealist" - "The Thinker" - "The Visionary" - "The Scientist"

james gyre:

Independent, original, analytical, and determined. Open-minded and flexible, with a broad range of interests and abilities. Extremely well-developed senses, and aesthetic appreciation for beauty. Extremely loyal to his peers, but not usually respectful of laws and rules if they get in the way of getting things done. a weaver, threading the right action through the right time in the right place with the right people and the proper decorations. a synergeon, quickly consolidating the paradoxical position.

Dani Simmonds:

Johan Nystrom:

Quiet and reserved, interested in how and why things work. Can become very excited

about theories and ideas. Living for the moment, loves new experiences. Adaptable

and laid-back unless a strongly-held value is threatened. Extremely logical approach

but illogical results with a penchant for using things in a manner other than how

they were designed. Prone to anacoluthon and fragmentary language, cognitive

patterns.

"The Jules":

Unfinished Symphonies:

Living for the moment, they love new experiences. Loyal and hard working. Open-minded and flexible, with a broad range of interests and abilities. Not interested in leading or controlling others.

Being a poet is like being a king (but damn it, it takes all my time). Second fellow to board the spaceship.

Hyla Willis:

Stuart O. Anderson:

spat cannon:

"Kerrith":

joy toujours:

William Wedler:

Have an exceptional ability to turn theories into solid plans of action. Highly value knowledge, competence, and structure. Natural leaders, but will follow if they trust existing leaders. Long-range thinkers. Known as the "Systems Builders", perhaps in part because they possess the unusual trait combination of imagination andreliability. "Masterminds", Independently minded and unconstrained by authority or convention.

Tony:

Jonathan Brodsky:

Ben Harris:

Erok, "The Procrastinator":

Kenny Haney:

Ben Opie:

Roger Dannenberg:

24. "Escape Tunnel" (tENTATIVELY, a cONVENIENCE & Kenny Haney):

25. "Equilibrium" (tENTATIVELY, a cONVENIENCE & Kenny Haney):

26. "Say AHHH!dience" (Johan Nystrom & tENTATIVELY, a cONVENIENCE)

27. "Private Phasing" (Johan Nystrom):

28. "Bypass"(tENTATIVELY, a cONVENIENCE):

29. "Avicenna's 'Floating Systems Manager'"

(Avicenna / tENTATIVELY, a cONVENIENCE):

30. "Brain-In-A-Vat"(Descartes / tENTATIVELY, a cONVENIENCE):

31. "Infinite Monkey Theorem"(Aristotle / tENTATIVELY, a cONVENIENCE):

32. "Wheel Turing" (Stuart Anderson):

One System Manager becomes the "Processor" for the duration of this

system. The Processor's job is to first choose several secret rules

they will follow for the duration of the system, spin the wheel once,

and then follow their secret rules precisely until the system ends.

The rules the Processor follows must have the form "If I observe X

then I will do Y". Each rule's observation, X, must be something that

all the system managers can observe (i.e. "An increase in the average

volume" or "that the Wheel is on an odd number" are OK, while "An

increase in my heart rate" is not). Additionally, the actions the

Processor can take, Y, are limited to one of the following:

1. Turn the wheel one notch clockwise

2. Turn the wheel one notch counterclockwise

3. Halt the system (i.e. stop being the Processor and spin the wheel again)

4. Point at a System Manager

The choice of which System Manager to point at must also be selected

by a secret rule of the Processor's choosing. I.E. (If I observe a

System Manager stop playing then I will point at that System Manager",

or "If I observe myself turning the wheel, I will point at the system

manager playing the loudest", and so forth). These rules can not

include any randomness or choice on the part of the Processor - i.e.

the same observation should lead to exactly the same action every time

the observation is made.

System Managers who are not the Processor must play in accordance with

whatever system is currently displayed on the wheel. Additionally, if

the Processor points at a System Manager, that System Manager must

stand, if they are sitting, and sit, if they are standing.

Wheel Turing continues until the Processor makes an observation that

triggers a Halt, or the Processor decides that the system will not

Halt in a reasonable amount of time.

A basic set of rules for the Processor might be:

-If I observe everyone standing, I will Halt

-If I observe that the wheel has been on a number larger than the

number of people standing for more than 10 seconds, I will move the

wheel clockwise

-If I observe that the wheel has been on a number smaller than the

number of people standing for more than 10 seconds, I will move the

wheel counterclockwise

-If I observe a System Manager sitting and playing very loudly, I will

point at them

RETARD (Ben Opie):

DICTATOR (from Ben Opie)

DICTATOR is an unnumbered system. One time per performance only, a single player may choose to become a DICTATOR. This happens when the player walks to the center (if possible) or otherwise calls attn to themselves thru waving their arms & begins conducting everyone using gestures & non-word sounds OR Managing SOLO.

Dictatorship ends when either (a) the Dictator steps down willingly by spinning the WoF, or (b) the group as a whole stands and "deposes" the Dictator. In either case, the former Dictator must remain completely inactive for the next two systems.

"SOMNAMBULIST" (from Ben Opie):

If another player or players spot a somnambulist, they must wave their hands around and call out "Wake Up!" The somnambulist then returns to a waking state and continues to participate as before.

"SPEEDER" (from Ben Opie):

A SPEEDER makes every attempt to increase the pace of the performance. A player may choose to become a SPEEDER at any time. The SPEEDER does not necessarily need to play fast, but must be the first or second player (in the entire ensemble) to begin playing when a new system is established (even anticipating the next system), must be the first or second to quit, and should encourage the wheel spinner to spin on a more frequent basis (or take charge of the WoF for him/herself). Once a player becomes a SPEEDER, the player must remain so until: (1) they are not the first or second player in and out; (2) in their haste, anticipate a strategy incorrectly; (3) another player notices their state of agitation and verbally tells the SPEEDER to "Calm down"; (4) STAMPING AND CLAPPING is called.

"MUTE OBSERVER" (from Ben Opie):

A player may choose to become a MUTE OBSERVER (MO) at the beginning of any system (except STAMPING AND CLAPPING), as often during the performance as desired. The MO sits silently for the length of a system and simply watches another player. If the observed player notices they are being watched, the observed player must stop and point to him/herself, to inquire if they are being observed. If the MO nods in agreement, then the observed player must also become a MO, watching another player. Any MO must share their observations of the player(s) watched if DEBRIEFING is called later in the performance. In the event that so many players become MOs that the performance comes to a standstill, the players should attempt to maintain the silence/stillness AS LONG AS POSSIBLE.

tENTATIVELY, a cONVENIENCE

idioideo at verizon dot net

to the tENTATIVELY, a cONVENIENCE Anti-Neoism page

to the tENTATIVELY, a cONVENIENCE Audiography page

to the tENTATIVELY, a cONVENIENCE Bibliography page

to my "Blaster" Al Ackerman index

to the tENTATIVELY, a cONVENIENCE Books page

to the tENTATIVELY, a cONVENIENCE BYOC page

to the tENTATIVELY, a cONVENIENCE Censored or Rejected page

to the tENTATIVELY, a cONVENIENCE Collaborations page

to the tENTATIVELY, a cONVENIENCE (d) compositions page

to Amir-ul Kafirs' Facebook page