John Cage\'s disdain for Records was legendary.
A grant recipient in music/Sound from the Foundation for Contemporary Arts, Grubbs has written for The Wire, Bookforum, and.
He is known for cross-disciplinary collaborations with the writers Susan Howe and Rick Moody and the visual artists Anthony Mc Call, Angela Bulloch, and Stephen Prina.
Grubbs was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has appeared on recordings by the Red Krayola, Tony Conrad, Pauline Oliveros, Will Oldham, and Matmos, among other artists.
As a musician, he has released twelve solo albums and appeared on more than 150 commercially released recordings. programs in Performance and Interactive Media Arts and Creative Writing.
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About the Author: David Grubbs is Associate Professor in the Conservatory of Music at Brooklyn College, City University of New York, where he also teaches in the M.
In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices.
Present-day listeners are coming to know that era\'s experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings.
By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources.
How could these proudly evanescent performance practices have been adequately represented on an LP?In their day, few of these works circulated in recorded form.
These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation.
In Records Ruin the Landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording.
He repeatedly spoke of the ways in which recorded music was antithetical to his work.
John Cage\'s disdain for Records was legendary