:11:00
and choosing to communicate
only through the media.
:11:02
l do feel we must at least
touch on it.
:11:04
As far as l'm concerned
it primarily...
:11:06
involves moral
rather than musical considerations.
:11:09
ln any case be my guest.
:11:11
Now you've been quoted as saying
that your involvement with recording--
:11:13
with media in general indeed
represents the future.
:11:16
- That's correct.
- And conversely the concert stage...
:11:19
the opera house or whatever
represent the past--
:11:22
an aspect of your own past
in particular perhaps...
:11:25
as well as in more general terms
music's past.
:11:27
That's true.
:11:28
l hope you'll forgive me for saying that
these ideas are only partly justified.
:11:32
Also l feel that you
Mr. Gould have forgone...
:11:35
the privilege that is rightfully yours
of communicating with an audience.
:11:40
From a power base?
:11:42
From a setting in which
the naked fact of your humanity...
:11:44
is unedited and unadorned.
:11:47
Couldn't l at least be allowed to
display the tuxedoed fallacy perhaps?
:11:51
Please Mr. Gould we shouldn't allow
this conversation to degenerate.
:11:53
l've tried to pose the question
in all candor and--
:11:57
Well then
l'll try and answer likewise.
:12:00
To me the ideal
audience-to-artist relationship...
:12:04
is a one-to-zero relationship.
:12:07
- That's the moral objection.
- Run that by me again?
:12:10
First l'm not at all happy with words
like "public" and "artist"...
:12:13
or the hierarchical implications
of that kind of terminology.
:12:17
The artist should be
granted anonymity.
:12:20
He should be permitted to operate
in secret as it were...
:12:22
unconcerned with or better still
unaware of the marketplace's demands...
:12:26
which demands given enough indifference
on the part of enough artists...
:12:30
will simply disappear.
:12:32
Given that disappearance the artist
will then abandon his false sense...
:12:36
of public responsibility...
:12:38
and his audience or "public"
will relinquish its...
:12:42
- role of servile dependency.
- And never the twain shall meet.
:12:45
No they'll make contact
but on a much more meaningful level.
:12:48
Well Mr. Gould
l'm well aware that this sort of...
:12:52
idealistic role swapping has
a certain rhetorical flourish.
:12:55
The creative audience concept of which
you've spoken at length elsewhere...
:12:59
has a kind
of McLuhan-esque fascination.