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Re: process threads . . . or what have you

>John Zorn's game theory described in Bailey's book sound very interesting
to me.
>Is that the sort of thing you're talking about? Coming up with arbitrary 
>contexts which define various moments during an improv?

Ahh, COBRA! If you haven't played, you're in for a, umm, treat. For those
of you all on the outside, COBRA is a performance game with a set of hand
signals, cards, and hats taht symbolize particular playing cues. Each
player (except a conductor) have an instrument and are on the lookout for
coues from other players. They, too, can offer cues. An uneasy equilibrium
develops after awhile, with most players polarizing into two camps, the
players and the directors. Bill Frissel is a player, Zorn a director. I'm a
player. My friend John is a player. Paul is a director. And so on. The
"music" is often unlistenable to any but the participants, but I've seen
some COBRA performances that were really cool. A Eugene bar used to have a
COBRA night once every two weeks. Fun, but ultimately I learned more about
traffic control than music and went back to other forms of live
improvisational music.

Hasta -> Dr Rico