TMC composers, but would often provide new capabilities of control that even been hadn’t considered. It is clear that Buchla was much more concerned with the use of his new instrument as a musical instrument for live performance than as a black box for programming the control of a studio instruments to produce static compositions. promotional brochure highlights the Buchla’s fact that "the instrument has been played on stage in several concerts in the Bay and Area”, makes the claim that real-time performance of electronic music without tape “live, on-line, buffering is, to our knowledge, unprecedented." "Live, on-line, real-time performance of electronic music" positions music as a performance art, locating the core of the event of music in the act of its sounding. In this is the performance of the Pickering’s words, “ontological theater”: live interaction between human and instrument, without making any claims of representation or symbolic meaning. This division between composition and performance is clearly seen in the split during the final days of the TMC as an independent organization. In 1966, while Subotnick was promoting the Buchla Box to the Rockefeller Foundation as a studio in a which could “complete box” increase the capacity for composers to make works at the TMC, Buchla and Sender were using the Buchla Box for a much different purpose: as a control interface for the much-heralded Trips Festival, co-organized with Stewart Brand. Trips Festival Program. Pauline Oliveros Papers, UCSD Special Collections. MSS 102, Box 13, Folder 29
TMC composers, but would often provide new capabilities of control that hadn’t even been considered. It is clear that Buchla was much more concerned with the use of his new instrument as a musical instrument for live performance than as a black box for programming the control of a studio instruments to produce static compositions. Buchla’s promotional brochure highlights the fact that "the instrument has been played on stage in several concerts in the Bay Area”, and makes the claim that “live, on-line, real-time performance of electronic music without tape buffering is, to our knowledge, unprecedented." "Live, on-line, real-time performance of electronic music" positions music as a performance art, locating the core of the event of music in the act of its sounding. In Pickering’s words, this is “ontological theater”: the performance of the live interaction between human and instrument, without making any claims of representation or symbolic meaning. This division between composition and performance is clearly seen in the split during the final days of the TMC as an independent organization. In 1966, while Subotnick was promoting the Buchla Box to the Rockefeller Foundation as a “complete studio in a box” which could increase the capacity for composers to make works at the TMC, Buchla and Sender were using the Buchla Box for a much different purpose: as a control interface for the much-heralded Trips Festival, co-organized with Stewart Brand. Trips Festival Program. Pauline Oliveros Papers, UCSD Special Collections. MSS 102, Box 13, Folder 29