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Hi, good to see this thread developing. I'm just as keen on other contemporary models from music / sound composition. Agreed, the oldies but goodies die hard, but what are the implications for syntax and language composition of the mis-named 'free music' - let's say Derek Bailey playing along to jungle on the radio in his kitchen, or Lee Perry's dub, or John Butcher and Evan Parker and Peter Brotzmann's sax improvisations or AMM and Jim O'Rourke, or Pauline Oliveros' Deep Listening Band, or Ornette Coleman's harmelodics, or Saynho Namchilak overtones and Shelley Hirsch's rapid dialectical shifts, or Iva Bittova and Stevie Wishhart??? Sometime it's too easy to reach for known and more documented conventions of form - part of Allen's point on Tjanting I feel. Those who were part of the discussion around Schwitters' 'Ur-Sonata' on wr-eye-tings last year will heave a sigh at the arguments around 'progressivities' of 'classic' form. Do formal constraints become embodied and codified into habit? What is the liminality of any formal constraints, either practiced or clocked in others works, in one's writing processes? What part do the arbitrary whim, constructed destiny, utopian projection, romantic neologism, lyrical distemper, habit formations, conscious allusion, willful neglect, perverse intent, false trails, cunning reference, welcome mistakes, unwelcome mistakes and so on play in the balance of decisions informing compositional process? just burbling love and love cris %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%