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2Brend narrows the frame to a self's valuing. It's an open question whether brend can be interpersonal. Not only would you have to apprehend "the other" out-of-role; their enjoyment would not supply the definition for you. (Watching from afar, or overhearing, could be the basis.) It would be phenomenologically stranger than brend, because the whole point of being-in-society is to apprehend people as willful and thematic.
3In Walter DeMaria's loft on Bond Street, NYC.
4La Monte Young, "Lecture 1960." It is also instructive to consult Robert Morris' unpublished complete first submission to An Anthology, ed. La Monte Young; and Robert Morris' letters to La Monte Young. (La Monte Young archive.) A conversation of mine with Richard Maxfield after my February 1961 concerts, at which Simone Forti was present, was also significant. I thought that my elder peers were saying that socialization as such was a bad thing.
5There was a screaming incongruity between Young's demand for newness and his adamant adherence to the label `music'.
6Surviving early documentary evidence is in e.g. the La Monte Young and Jackson MacLow archives. "My Work in Music" (December 1960).
7In 1961 my unwieldy label was "strange culture description."
8There was a 1961 version not published until 1990.
9An unfortunate choice because of the confusion with my generic use of `acognitive culture'.
10generalized to "structure art"
11I also noted that the press release had been parodied in a story by Donald Barthelme. "Marie, Marie, Hold on Tight," The New Yorker, October 12, 1963, pp. 49-51.
12"A Summary of My Results" became the introduction in Blueprint.
13The relevant publications are listed in full in an Appendix.