Re: [off list] Re: Attendance Requirement

Subject: Re: [off list] Re: Attendance Requirement
From: Rick (
Date: Sun Jan 30 2005 - 12:22:15 EST

By the way,

Were there many students at the ICMC Miami this year?

It was between USD 295 and USD 595 between early and late registration
for student members and a 60 more at early registration for

As it was international, the air fares turned in at around 500
dollars, and rooms were 100+ a night. Kinda big dosh for students.

Fortunately, the ICMC doesn't require attendance to play your music.



On Sun, 30 Jan 2005 11:45:42 -0500, Dennis Bathory-Kitsz
<> wrote:
> I sent this to Kevin off-list, but he suggested I send it on to the list in
> order to air some of the points.
> At 10:44 PM 1/28/05 -0500, Kevin Austin wrote:
> >How many people would pay the registration fee to go to a conference
> >where few (or none) of the composers are present?
> >What are some of the options given the harsher economic realities.
> Well, my electronic colleague, to save myself embarrassment, I'm sending
> this off-list.
> You've found me at an especially unsympathetic moment. What's in your
> department's dumpster? Unless yours is different from the university
> dumpsters I've dived for supplies, it's a treasure trove of the nearly-new.
> And those academic discounts? Equipment & studios to use? Support staff?
> Months off? Print shops? Sabbaticals? Health insurance? Maybe even pension
> plans?
> This "harsher economic realities" thing is a real class issue.
> And lucre aside, I'd think avoidance of creative inbreeding might be worth
> paying for. Quite a few names I see on published attendance lists turn up
> as names presenting at other conferences and then turn up as names
> presenting at university seminars and doggone if they don't also pop up on
> university faculties (with few dumpster-divers among them).
> On the other hand, we independents are cordoned off from those "harsh"
> (dumpster-free) "economic realities" by our own harsher realities.
> Collaterally, our groundbreaking work becomes invisible and excluded from
> the histories of the artform that are written in academia because we're
> economically de-schmoozed. In truth, even if we document the work ourselves
> (say, on the web, as you've suggested), it's not likely to find itself in
> The Big Book of Really Important Electroacoustic Stuff, is it?
> Okay, back on topic: In my experience, projects that can't economize in
> order to increase their diversity might want to reconsider their existence.
> (The pooled resources of several academic conferences might provide one
> diverse one).
> Alas, not having attended class-barrier conferences, I haven't observed the
> production mechanism first-hand, and so can't offer my skinflint suggestions.
> As I say, you've found me at an especially unsympathetic moment.
> Dennis

Rick Nance
De Montfort University
Leicester, UK

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