smoliar@vaxa.isi.edu (Stephen Smoliar) (07/20/90)
In article <1290@idunno.Princeton.EDU> eliot@phoenix.Princeton.EDU (Eliot Handelman) writes: > >Check out these radical dudes: > >-- LASKE, OTTO >-- BERNARD, BEL >-- MARSDEN, ALAN >-- LAUZANNA, RAY Trying to draw me out on this one, are you, Eliot? Right now all I want to know is who IS Ray Lauzanna, and why is he saying all these nasty things to me? By his own admission, he seems to lack all qualifications to argue about any form of music theory. Does he represent some new form of post-modern music theory which has escaped both me and the bulletin board system; or is he just some new form of performance art? (Come to think of it, are Eliot Handelman and Steve Smoliar nothing more than performance artists?) ========================================================================= USPS: Stephen Smoliar USC Information Sciences Institute 4676 Admiralty Way Suite 1001 Marina del Rey, California 90292-6695 Internet: smoliar@vaxa.isi.edu "It's only words . . . unless they're true."--David Mamet
eliot@phoenix.Princeton.EDU (Eliot Handelman) (07/20/90)
In article <14367@venera.isi.edu> smoliar@vaxa.isi.edu (Stephen Smoliar) writes: ;In article <1290@idunno.Princeton.EDU> eliot@phoenix.Princeton.EDU (Eliot ;Handelman) writes: ;> ;>Check out these radical dudes: ;> ;>-- LASKE, OTTO ;>-- BERNARD, BEL ;>-- MARSDEN, ALAN ;>-- LAUZANNA, RAY ; ; ;Trying to draw me out on this one, are you, Eliot? Right now all I want to ;know is who IS Ray Lauzanna, and why is he saying all these nasty things to ;me? By his own admission, he seems to lack all qualifications to argue about ;any form of music theory. Does he represent some new form of post-modern music ;theory which has escaped both me and the bulletin board system; or is he just ;some new form of performance art? (Come to think of it, are Eliot Handelman ;and Steve Smoliar nothing more than performance artists?) ; At this point in my career, I'm inclined to just say yes to everything (though I do continue to just say no to conferences). Ray Lauzanna, contrary to his own admissions, is actually a genius of knowledge-based musical engineering, so I've heard (Ray can correct me if I'm wrong) -- I have it from the grapevine that he is Laske's right hand man, responsible for having implemented some of Laske's most advanced ideas, knowledge engineering in reverse and blackboard architectures for composition. The first person to use it was Alan Marsden, who immediately taught it to compose dominant sevenths; Bel, so I've heard, is now acting as his agent and they're getting fat off the royalties.