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Fw: undesired posts and posts of questionable worth




----- Original Message -----
To: <Loopers-Delight@annihilist.com>
Sent: Tuesday, April 25, 2000 6:22 PM
Subject: Re: undesired posts


> Sorry you feel that way but
> I didn't subscribe to Bill Fox's email list.
> I shouldn't have to setup rules to block unsolicited email as a result of
> one list subscription.
>  If many wrote in favour fine they are entitled to their opinion and what
> goes in their inbox.
> I don't consider it unfriendly, it was meant to be assertive not
unfriendly
> and it was my second request.
> Putting the details in the topic is a good idea giving reader's the 
>option
> to read what is of interest or delete.
> See attachment for an example of stuff I can't see the point in sending?
> Steven
>
>
>
> ----- Original Message -----
> From: "Matthias Grob" <matthias@grob.org>
> To: <Loopers-Delight@annihilist.com>
> Sent: Tuesday, April 25, 2000 8:43 AM
> Subject: undesired posts
>
>
> > >Bill Fox,
> > >   Can you unsubscribe me from this spam
> > >
> > >I don't live in USA and I don't want to receive this.
> > >  2nd request.
> > >I suscribed to Kims list BUT not yours.
> > >Steven
> >
> > I find this unfriendly, Steven. We discussed it and many wrote in
> > favour to Bills posting.
> > I dont live in US either and there are many anouncements for shows
> > that I could never go, but I still find it interesting to know whats
> > happening.
> >
> > So I find Petr's apology rather unnecessary:
> >
> > >I am sorry if I was crossed over the line.  I saw announcements of
> various
> > >gigs on the list many times before, so I did it too.  I thought the
line
> is
> > >whether the gig is about looping or not.  If I caused "bad taste" to
> anyone,
> > >I apologize.
> >
> > as someone said: Post what you want, but think well about the subject
> > you put so we can select what we are going to read...
> >
> > no violence
> > Matthias
> >
> >
> >           ---> http://Matthias.Grob.org
> >
> >
>


I was thinking
I was thinking I was thinking I was thinking
We could loop it
I was thinking I was thinking
We could loop it We could loop it
I was thinking I was thinking
We could loop it I was thinking
I was looping We could think it
I was looping  I was looping I was looping
I was loop it I was loop it I was loop it
thinking thinking
looping thinking looping thinking
I was could it I was could it
looping thinking thinking looping
could it could it 
I was could it it was could I
I was loop it thinking thinking
loop it loop it could I could I
thinking looping looping could I could I
think it  think it looping
looping looping
I was thinking
thinking could I
could I think it
looping thinking
thinking could I
could I loop it
thinking thinking
looping looping
think I think I
loop a looping
think a could I 
loop a thinking
I was looping
looping looping
Think a I was
was a thinking
thinking thinking
loop a I was
looping thinking
thinking I was
looping looping
I was looping
thinking thinking
I was
I was I was
loop
I was 
looping
I was
thinking
I was
could I  could I 
thinking 
I was
loop
I
think I 
was
loop
think
ing
I 
was
was
was 
was
 was
 was
  loop
                loop
loop    
                think
I
                was
think
                loop
was       
                I
think           
                loop
could
...             
...             
                ...

jeff

rich wrote:
> 
> >1. graphs
> >    -when I feel limited in a particular piece I'll often work from a 
>graph.
> >for instance, my ambient project used to play a chart of stock market
> >returns over the past 50 years.  very fun!  we would "notate" the graph 
>with
> >colors for moods (blue=sad, red=intense, green=layered, etc) and 
>indicate
> >how long (length of time) each section would roughly take.  some great
> >results with this one.
> 
> I had a couple of interesting performances a few years ago based on this
> idea.  The performance was called Kaballah Clocks and it was a half hour
> piece, based tonally on the 10 'stations' of the mystical Kaballah.  Each
> station has a 'color' associated with it.  Color resonates at a certain
> light frequency, and we associated those (angstrom?) frequencies with Hz
> frequencies of sound, so each 'station' had a tonal drone that we
> improvised within.  Each member of the ensemble had a clock in front of
> them and we played in each 'station' for 3 minutes, and then mutated to 
>the
> next, and to the next, culminating at the top station of the Kaballah,
> associated with Brilliant White light.
> 
> Definitely a noisy piece, but what a crescendo!  We were purely
> improvising, and made no grandiose pretensions about how good the piece 
>was
> going to be.  Afterwards, though, we had people coming up and saying how
> amazing it was, and that they had drifted off into some state of 
>meditation
> during the piece, even though we had not introduced it in any way...it 
>just
> was the end of our set.
> 
> Super fun and musically/experimentally/spiritually rewarding
> 
> rich