How have standards helped performers and composers of experimental music? I raise this question because I think the question of standards per se is not so interesting: manufacturers will set standards for electronic entertainment devices to create a mass market for their goods. What is perhaps more interesting is how standards work for or against the experimental artist, for whom standards can be enabling or restrictive. One can only assume that forces at work in the music domain apply to the visual arts as well.
- Roger Dannenberg (USA)