GG:Dream machines

[Mary Jo Watts <mwatts@rci.rutgers.edu>]

If you're the day-dreamer sort who likes to philosophize about
technology you might be familiar with Ted Nelson's fantastic book _Dream
Machines_ which is joined to his book _Computer Lib_ and is laid out in
magazine style.  I can not recommend this book highly enough-- I put it up on
the sort of reading list which GG and McLuhan should occupy.  It was
written in 1974 and revised in 1987.

Nelson coined the word 'hypertext' in 1965 but this is the book where
he really explains the possibilities.  RE: Gould, here's
Nelson's vision of Hypermusic (from the 1987 selection)-- pure GG!:

		"Music as we know it has a sequence.  There may be
	improvisation, but that is the *performer* in relation to the
	audience.  Improvisation by the *listener* is not ordinarily possible.
		In today's studio recording, dozens of tracks are
	often recorded.  But there is always a final mixdown.
		These things may change dramatically.
		Various new devices (such as CDI, or just today's
	interactive computers) open up the way to *explorable music*,
	wherein the user may branch modulations, rhythms, styles, themes,
	movements, orchestration. An immense new genre beckons.
			   THOUSAND-TRACK MUSIC
		Recordings whose mix is controllable by the listening
	user are now possible.
		Thousand-track branching recordings are imaginable.
	It is as though the listener could wander in an orchestra, first
	hanging out near the brasses, then the violins.
		But carry it further.  New sections, themes and
	melodies could be accessable.  This new genre could be like wandering
	through a forrest of music-- music that never stops, but that changes
	with every movement of the listener through a fantic space.  Whole new
	themes are just over the hill.  And the beginnings of other sounds
	beckon the listener onward...(DM, 66)."

GG certainly conceived of this in his kit concept in the 60's and
wanted to break down the hierarchy of composer/performer/audience but he
was also concerned about the moral implications of leaving certain of
his skills as a performer to the layperson.  I think he compared this
idea to leaving the tune-up of a car to a non-mechanically inclined
person. 

-Mary Jo  

[P.S.  Glad to be back!  I've been quiet because I've been preparing
for my first PhD oral exam on hypertext.  One down three to go...! I
owe many of you e-mail so please bear with me.]