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At CHCMC
an Australian experimental
aesthetic emerged ...

Terminal Moraine (1980)

Whether it was a coincidence or shared circumstances, the Clifton Hill Community Music Centre (CHCMC) came about just as punk’s attitude of ‘just do it’ coupled with emerging postmodern sensibilities, which saw audiences and art makers coalescing in spaces that ignored the mainstream’s alternative venues. While CHCMC began as a community oriented music venue, it wasn’t long before new political, philosophical and creative energies revealed new creative pathways that artists could take at CHCMC during its five or so years of activity.

In the late 1970s and early 1980s, a notable shift occurred as institutionalised culture began to lose its dominant grip while universities underwent corporatisation. Concurrently, popular culture, once looked down upon within the arts, was gaining a new legitimacy, recognised as a richly entangled field to explore. For some of us, somewhat unskilled and disillusioned with mainstream music practices, a creative gap opened up that we felt we could fill by exploring music-making, uncovering novel concepts, and experimenting with new methods that embraced our varying levels of competence.

Melbourne is a big music town, and back in the late 70s and early 80s, CHCMC emerged as a space where experiments and shifts in cultural discourse could play-out, performatively and audibly, in the margins of the mainstream, to a small, growing audience. The Centre provided a safe space for emerging artists and temporal art-making outside commercial and academic expectations.

Artworks performed at CHCMC were wide ranging in scope, primarily involving music, but also performance, film, video and installation. These works de-emphasised traditional ideals of craft, expression and musicianship, moreover the artworks often critically commented on the dominant channels of production and cultural framings that were seen as pervasive in mainstream culture. I hope that this site will be used by both researchers and casual listeners to unpack specific works, potentially revealing their significance to experimental art practice in Australia.

It could be argued that at CHCMC, an Australian experimental aesthetic emerged—one that ceased to merely replicate American and European ideas and trends. Instead, expressive forms emerged that reflected local situations and themes and also had room for different approaches. This included the continued expounding of modernist counter-culture methods, but also embraced active deconstructions of what some artists saw as pervasive modernist tropes.

One curiosity from the archive is that the broad Australian accent, more pronounced than today, played a significant role. It served as a catalyst for liberation and expression, exemplified by figures like Chris Mann, Ernie Althoff, and Ralph Traviato. Additionally, there were explorations of Indigenous themes, albeit viewed from colonial-settler perspectives, as seen in the works of Ron Nagorcka and IDA. These themes engaged in polemics primarily discovered, articulated, and expressed through artistic practice rather than conveyed through written texts or curatorial frameworks. Language still had a role to play of course: Warren Burt often spoke at length about his works before he presented them, and Tsk Tsk Tsk had photocopied essays accompanying their performances. But the music always came first, and then, in between and following the performances, appraisals and critiques would take place around the silver tea urn.

As I now see it, CHCMC was a site where postmodernism 1 emerged in Australian art practice, although none of us were familiar with the term at that time. Initially evident among younger performers, including my own generation, this emergence involved both intuitive and deliberate deconstructions of modernist artistic and cultural methods and aesthetics, occasionally challenging the approaches of older CHCMC artists who’s creative pathways were informed by a counter-culture practice that were informed more strongly by modernist methods. Revisiting all the works within this archive today, I find them all intriguing, making it challenging to distinguish between these two creative philosophies, plus, I recognise influences in my own music from older composers like Warren Burt. But I feel it is still worth acknowledging that different creative ontologies, rubbed up against each other at CHCMC and created some creative friction.

My memories of this time are also informed by non-sonic aspects of CHCMC’s creative milieu, which were important back then: what we spoke about, how different people dressed, and the different styles, methods and interests we all brought to CHCMC.

And so, for the keen listener, these recordings capture a dialectic of aesthetics, derived through modern and postmodern creative methods and through framings that were variously expressed through the music, performance, film and video. For example, the slightly older composers tended to experiment with inner musical structures and processes, while us younger composers concerned ourselves with external structures, such as the spectacle of performance.

It was a busy time. New works were being created each week, often in response to what other artists had presented the week before. Themes and ideas were explored directly through the act of making and presenting music, films and performance, with discourses that reflected certain philosophical precedents at the time – Marxism, the French New Wave, semiotics, structuralism. Some artists referenced contemporary American thinkers or experimented with novel musical and sonic concepts and structures, uncovering new aesthetic outcomes: For example, there was the use of multiple cassette recorders by some artists to layer up sounds in a process that gradually transformed simple recorded utterances into dense, distorted, yet evocative forms (Graeme Davis, Plastic Platypus, Ernie Althoff), or the deployment of novel pitch sets (Warren Burt). Some performers applied film theory that, at the time, was being being taught at La Trobe University and at Melbourne State College (Phillip Brophy, Adrian Martin, Robert Goodge Goodge, David Chesworth, Rolando Caputo). Other performer were influenced directly by the artists who performing before them at CHCMC.

All this was taking place within a world that was still analogue, where tapes took time to rewind and where musical works and performances often emerged slowly over long timescapes, and where cheap super-8’s grainy chemically derived images evoked a blurry aesthetic that now appears so quaint and old. Sound Art hadn’t yet emerged as a term or a distinct discipline. There was no internet, mobile phones, nor social media to disseminate what was taking place at CHCMC. Instead, the mainstream and alternative rock press maintained its full control, while public radio stations were just getting a foothold. Some journalists harboured suspicions about CHCMC’s off the grid activities: its motives and critical attitudes. Amongst all this, there was a growing awareness that this world and creative milieu would soon be swamped by the incoming tidal wave of digital technology. It was difficult then to picture how this would affect us and how it would forever transform the fidelity of the mediascape, our methods and our creative pathways.

This rare archive of a nascent experimental music scene was recorded binaurally on cassette by Ernie Althoff – himself a regular performer at CHCMC. It is not a complete record, rather, it reflects Ernie’s personal choices, after-all, no one asked him to make these recordings; he simply took it upon himself to attend performances and make them. Ernie’s own creative work is therefore well represented in these tapes.

Ernie’s cassettes had been silently resting on a shelf for over 40 years until recently when they were transferred and organized into a digital archive for this site The cassette transfers were made by John Campbell who was also a performer at CHCMC (and who initially uncovered the availability of the Organ Factory and its potential as a community space). I have done some restoration work on the recordings including compiling recordings of single events that Ernie spread across several tapes, filling in any available space.

Some artists who were prolific at this time are not well represented in the archive, as they mainly performed electronic music that was considered to be already documented on tape. Warren Burt, a hugely significant artist during this time has relatively few recordings. His prolific output was at the time mainly video and film-based. We have included a separate archive of some of Warren’s work from the 70s that also includes undated CHCMC performances that he recorded. This can be found under the Other link.

This site also includes the distinctive performance season posters designed by Philip Brophy and Ernie Althoff and copies of the New Music magazine (1978–81) edited and published by Philip Brophy and myself that contain reviews of performances followed by discussions with the artists who respond to the reviews. Also included are three earlier publications of The New Music Newspaper (1976–77) edited and published by Warren Burt and Les Gilbert. You will also find photos and ephemera associated with CHCMC. There weren’t many photographs taken at CHCMC, as it was not the done thing as it was considered indulgent to think that one’s contribution should be preserved beyond the performance. In retrospect we are thankful that some photos were taken and recording were made. We are fortunate that photographer and CHCMC performer Jane Joyce took a range of shots that now appear throughout the site, as did members of →↑→. Other photographs are being be added as they come to light.

CHCMC Performers are encouraged to send in information and clarifications and to flesh out their own biogs. If any of you have recordings of CHCMC performances that we have missed then please us know.

David Chesworth


  1. Postmodernism as I define it here, was an intellectual stance or mode of discourse defined by a skepticism toward the grand narratives and ideologies of modernism, as well as opposition to epistemic certainty and the stability of meaning. 

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00:00/
–83)

Clifton Hill
Community Music Centre

An archive of experimental music performances with associated recordings, posters and publications that took place at the Clifton Hill Community Music Centre (CHCMC) 1976 - 1983. The venue was based in an old organ factory in Melbourne and became a space for experimentation in music, sound and other temporal art forms. Play the binaural recordings below while you investigate other parts of the site. (This archive is incomplete)

Audio only
Filter:
all synthesizerprocess musicvoiceImprovisationFilm (super 8 or 16 mm)Video'performance'tape playbackcassette players as performance toolsminimalism/repetitionNew tonality
IndexArtist/sTitleDurationDate
001Redbird15.09.76
002Music for flutes, guitars and cassette recorders20.09.76
003Rubbish band and junk electronic workshop 126.09.76
004Environmental sound installation28.09.76
005Bob & Mal show: songs, jokes and performance art02.10.76
006Rubbish band and junk electronic workshop 210.10.76
007New compositions & improvisations01.05.77
008PLAYPAUSESalon music with Atom Bomb61:1403.05.77
Anecdote

Atom Bomb, a work by Ron Nagorcka employs voice, toy instruments, and cassette recorders. The work uses iterative process of live recording and playing back between two or more cassette players, slowly incorporating previously recorded performance elements, while also gradually layering up the distortions inherent in the equipment and the accumulating ambience of the room.

See also, https://ronnagorcka.bandcamp.com/album/atom-bomb-becomes-folk-art

Greame Davis and Ernie Althoff were other CHCMC artists who often used this process.

009Melbourne autumn festival of organ and harpsichord04.05.77
Anecdote

Through to May 15. Ron Nagorcka had some connection to festival. More information to come.

010Spinning Speakers29.05.77
Anecdote

Some or all of Bill’s performances took place in the downstairs space, where in the case, it was large enough to swing small speaker boxes attached to cables.

011Music by Ron Nagorcka & Warren Burt07.06.77
012PLAYPAUSENew pieces for reeds & piano77:4513.06.77
Anecdote

This recording came from Les’s estate and we’re pretty certain it was from this evening’s concert and probably recorded by Les.

013Music by themselves, LaMonte Young, John Cage, John White20.06.77
014PLAYPAUSECoathanger Event17:0212.11.77
Anecdote

An installation exhibited over the weekend of November 12-13 1977.
The work appears to have been split into two or more areas and offered the visitor several engagements that are discussed in a review by Robin Teese in New Music Newspaper Issue 3 p.7 (see a copy in Ephemera)
One of the works Winds and Circuits used audio derived from handheld metal coat hangers to derive television signals to create electronic visual patterns.
Ros tells us that this recording was derived from an arrangement of metal coat hangers to which thin cables are attached and held in the ears of each user.

015PLAYPAUSEMinimalism84:4105.04.78
Anecdote
  • Poster says: “Tsk Tsk Tsk instruct the unhip squares with an enlightening historical retrospective of their works and sex lives”
  • “one of the most severely minimal performances I’ve ever heard. Merciless. Quite a fine thing, that I can only approve” Warren Burt, New Music Newspaper issue 1 page 14.
016Nice Noise. Our all new format of modern teen music will nuetralize you02.08.78
017Kaboom -our pop play explodes with all the bangs of wartime Hollywood09.08.78
018PLAYPAUSESolo; real time73:5316.08.78
Anecdote

David Tolley was a well-known and highly regarded jazz musician who played acoustic bass and had recently discovered a love for synthesizer - especially its sequencer!
On the cassette recording this work is titled ‘A Certain Survivalism’.

019Salad Music21.08.78
Anecdote

‘and others’

020Presents her electronic music23.08.78
021Solo 2; real time30.08.78
022Plays it againagainagain04.09.78
023Constructed cinema11.09.78
Anecdote

‘Constructed cinema - we drop our music and shine with movie-buff disease’

024Games of chance and other music04.10.78
Anecdote

‘Malcom Tattersall and friends’

025Presents his music, live!11.10.78
Anecdote

A performance on a Saturday afternoon that didn’t appear on the regular poster. Ernie Althoff remembers that it occurred in relation to an Organ Factory clean-up working bee.

027IN18.10.78
Anecdote

Dura Dara and David Tolley

028Three Tape Pieces25.10.78
Anecdote

‘Three tape pieces featuring flute and voice, Chinese gong, computer music.’

029OUT01.11.78
030Pure M.O.R. music. The ultimate synthesis of a. garde and 3AK06.11.78
031Airs itself. 3rd-year composition students go public08.11.78
032Uses up yet more Eveready batteries15.11.78
033Present an evening of wonderful entertainment29.11.78
Anecdote

The Fab Four - John Crawford, Jane Joyce, David Chesworth, Philip Brophy

034More new (& sterile) films from the kids who brought you ‘Contracted Cinema’04.12.78
035PLAYPAUSEA mixed nite13:0806.12.78
Anecdote

Ernie’s contribution to the mixed night

036PLAYPAUSEMexican Divorce51:0128.03.79
037PLAYPAUSEMr Inadequate discovers static in his underpants22:0704.04.79
038PLAYPAUSEFive Duets for Prepared and Treated Guitars22:4304.04.79
Anecdote

Robert and David not yet performing as Essendon Airport.

039The Dave and Phil Duo11.04.79
040Familiar Females Return18.04.79
041no title25.04.79
Anecdote

Two separate performances. It would be great to hear what they presented, but alas…

042With no idea02.05.79
043PLAYPAUSEMr Inadequate and Binary Digit62:5230.05.79
044PLAYPAUSEErnie Althoff & Mr Inadequate20:2730.05.79
Anecdote

Graeme Davis performed the first half (as Mr Inadequate). This recording is of two pieces in the second half by Ernie Althoff who tells us: “The first piece, ‘A whirlwind tour of the great organs of Europe’ is two fingers pressed down on the FF keys of two cassette players loaded with identical cassettes made from the LP record ‘The great organs of Europe’. The second piece at 4:40, ‘March of the Metronomes’ is made with a slanted metronome and two vari-speed cassette players recording and replaying in ways fairly typical of that exploratory time.”

045PLAYPAUSEPlastic Platypus; triumphant return31:3506.06.79
Anecdote

This concert appears to be Ron playing solo rather than the duo with Warren Burt. Warren may have been overseas at the time.

046PLAYPAUSESelf distortion/self destruction46:4413.06.79
047PLAYPAUSESo, You Want To Be a Drummer? & 4 Organ Pieces38:0820.06.79
Anecdote

The night began with a mimed performance by David Chesworth, Rainer Linz and Robert Goodge of Chesworth’s record, Fifty Synthesizer Greats. Listen HERE on Bandcamp. This performance was mimed in the style of TV pop appearances in the day…Countdown etc). This was followed by ‘So You Want To Be a Drummer?’ for live drum machine and tape delay, which begins this recording, followed by a performance of Chesworth’s Four Organ Pieces (found at 17:00 on the recording)

048Nice noise. New & streamlined27.06.79
049PLAYPAUSEAnn Shirley, Robin Teese, Malcolm Tattersall30:5004.07.79
050Presents ‘The Microtones’11.07.79
051PLAYPAUSEA Sonic Investigation of the Trivial70:1018.07.79
Anecdote

This was the first performance of the group Essendon Airport

052John Crawford performance08.08.79
053What I’m doing with your tax dollars this year15.08.79
054PLAYPAUSEMore tedious structuralism70:1122.08.79
055Even more tedious structuralism05.09.79
056PLAYPAUSEWhy I spent my holidays in Germany47:2012.09.79
057PLAYPAUSEAn evening of pleasing sensual music31:4819.09.79
Anecdote

recorded at CHCMC by Ad Hoc

058Why my job at a slick/shit Carlton café has affected my perspective on electronic music26.09.79
Anecdote

The viewer should bare-in-mind that some of the titles of the performances that appear on the posters (and in this archive) were not those of the artists choosing. Performers that had agreed to do a performance on a particular night often didn’t have a title ready, which left the door open for some creative titling from the poster designer.

059PLAYPAUSEShort Bright Ditties and Long Arduous Masterpieces62:4603.10.79
Anecdote

Duo comprising David Chesworth and Philip Brophy playing electric pianos. The first song is an arrangement of a Brian Eno song and the rest are originals by the duo.

060PLAYPAUSESonata for industrial deafness16:5810.10.79
061A Night At The Theatre (A Night of Carlton-esque ideals)24.10.79
062PLAYPAUSEAccentuate the positive…36:5124.10.79
Anecdote

Other voices provided by Ron Nagocka and Graeme Davis? All three would soon form the group I.D.A. that would go on to create many new performance works.

063PLAYPAUSEFour pieces25:5631.10.79
Anecdote

same evening as Graeme Davis

064PLAYPAUSECassettes Are Driving Me Crazy46:4631.10.79
065Returning With More Synthesizer Goodies14.11.79
066PLAYPAUSEI. D. A.87:0021.11.79
Anecdote

First performance of group comprising Ron Nagorcka, Ernie Althoff and Graham Davis. Instrumentation varies but includes cassette players, spoken voice, modified saxophone, didgeridoo (played by Ron) and small instruments made out of found household and industrial objects.

067Texts28.11.79
068PLAYPAUSEThe Gang’s All Here28:3705.12.79
069PLAYPAUSEFortunes Ready Made70:0012.12.79
Anecdote

Group comprising David Chesworth, Mark Pollard, Jon Campbell, Rainer Linz, John Crawford. What is most notable today is hearing how unskilled as musicians we all sounded. It didn’t seem to matter and I think adds a certain endearing quality to the simple music we made, although others might not agree with that assessment.

Anecdote

Many artists, each doing their own thing

071PLAYPAUSEImprovising with Ernie 147:0816.01.80
Anecdote

Poster says: ‘Join in or just listen - it’s your choice. Bring an instrument - low budget, of course.’

072PLAYPAUSEImprovising with Ernie 240.2823.01.80
Anecdote

Improv featuring Ernie Althoff, Robert Goodge, David Chesworth and others.

073More of the same by Chris40:2827.01.80
074Maybe Graeme can throw more light on the subject30.01.80
075Previously Unfinished Bits and Pieces06.02.80
076“Their Way”13.02.80
Anecdote

Featuring Chis Knowles, David Wadleton, James Clayden

077Question Mark20.02.80
Anecdote

written as ‘?’ on the poster

078PLAYPAUSEIf they annoy you, carry on talking67:0727.02.80
Anecdote

Separate performances from David and Chris on Serg synthesizers (Chris is probably playing Serg modular copies made by Julien Driscoll)

079PLAYPAUSELaughing Hands35:3312.03.80
080PLAYPAUSEPromotional concert for 3rd E.P.91:4119.03.80
081PLAYPAUSEFly by night (it’s cheaper)57:4426.03.80
082Two performances - untitled02.04.80
Anecdote

Two artists presenting separate programs. Bruno made performance works and Chris created music on serge modular synthesizers.

083Untitled09.04.80
084PLAYPAUSEI.D.A. give 2/3rds of what they’ve got128:2216.04.80
085Films & things like that23.04.80
086Video work for 2, 3, & 4 monitors30.04.80
Anecdote

including ‘Figures in a Landscape’

087The Threo + Bryce/Phillip/Melissa21.05.80
088PLAYPAUSEMinimalism, Serialism, Music Theatre. A mixed bag.44:0128.05.80
Anecdote

Starts with a group performance on classical instruments by Pollard, Parish, Sample and Gerrard and then is followed by a performance work by Rainer Linz (at 33.27) who, as part of his work, discusses the history of the piano while, with the help of others, the piano is noisily and chaotically moved around the small upstairs performance space.

089Ad Hoc04.06.80
090No cassettes whatsoever11.06.80
Anecdote

I.D.A. often used portable cassette players to record and play back material in their performances, so it was obviously notable that there were actually no cassettes used in this performance.

091Laughing Hands performance18.06.80
092Alone and together. 5 improvisations for familiar and non-familiar instruments25.06.80
Anecdote

Group comprising Ros Bandt, Julie Doyle, Gavin McCarthy, Carolyn Robb

093PLAYPAUSEPaul Schütze with Chris Wyatt45:5202.07.80
Anecdote

I would like to find out more about this performance. It appears that both played together, which was an unusual pairing, but very interesting. Paul is an improvising percussionist who percussively explores a wide variety of instruments and objects, while Chris played live modular synthesisers based on the architecture of the Serge synthesizer.

095PLAYPAUSEDoes Quite a Few Things - Themes & Variations41:1616.07.80
Anecdote

The performance work is titled Themes and Variations and is a rigorous minimalist solo performance based around early plainsong and the solfege system with its seven basic syllables - do, re, mi, fa, sol, la, ti.

096Students from Melbourne State College13.08.80
Anecdote

Melbourne State College trained teachers and is now part Melbourne University. It had some progressive aspects to it in the 70s. Ron Nagorcka taught music there and there was an influential film studies course run by Arthur Cantrill with teachers that included a very young Adrian Martin (film critic and performer at CHCMC). There are no records about what was presented at CHCMC on the night.

097PLAYPAUSENarrative Music + Formula Disco87:4720.08.80
098PLAYPAUSESeven Rare Dreamings58:3627.08.80
099John Crawford03.09.80
100So you thought you knew me!10.09.80
101The Lunatic Fringe17.09.80
102PLAYPAUSE41 aspects of the leisure setting46:5024.09.80
Anecdote

A performance of tape pieces by Paul Schütze from Laughing Hands.

103A short piece24.09.80
104PLAYPAUSEThe Dave & Phil Duo32:5001.10.80
Anecdote

Performing music that was released on their E.P. ‘Dave & Phil Present Themselves’ for the first 10 minutes, then a series of curious vocal pieces.

105Rainer Linz, Jon Campbell, Music 408.10.80
106New and Recent Films15.10.80
107Epic-Monumental-Project; (1) Moods for videotape and stereo sound03.11.80
Anecdote

Following his extensive trip to the USA Warren presented work in a series of Monday evening performances collectively called Epic-Monumental-Project (5 pieces for video, film, voice & electronics)

108PLAYPAUSEWell, why not?36:2405.11.80
109(2) Der Yiddisher Cowboy10.11.80
Anecdote

2] Der Yiddisher cowboy - a film in English in collaboration with Ronald Al Robboy

110performance12.11.80
111(3) If structure is an empty glass17.11.80
112Erotica vs Exotica19.11.80
Anecdote

Percussion work by Paul Schütze.
I’m guessing this is Philip Brophy’s title

113The Strange Effect19.11.80
114(4) Penguins; for film, slides, tape and reader24.11.80
115Herbie Jercher, Chris Babinskas26.11.80
Anecdote

Herbie was initially an accomplished jazz guitarist but has many more interesting strings to pull. His performance had a ‘performative’ aspect to them. I remember an air rifle being fired at a bird cage in one performance.
I think this was the only time Chris performed, as a movement artist.

116(5) 8-8s; 4 pairs in the shape of a piece for computer and electronics01.12.80
117Denise Holmes, Martin Lewis, Nick Stamopoulos + Chris Wyatt03.12.80
Anecdote

Denise Holmes, Martin Lewis, Nick Stamopoulos played music to three films by Robert Vincs. This is discussed in New Music #4 1980

119untitled08.12.80
Anecdote

Two well-known jazz performers who pushed boundaries in different ways. The Barry Veith Big Band was well known in jazz circles. CHCMC performer Herbie Jercher played guitar in the band.

120improvisations15.12.80
Anecdote

Two performances: K.G.B. then Chris, Robert and Ian

121Les Gilbert17.12.80
122Spontaneous consumption; Dream focus; colourless green dreams22.12.80
123Wartime Art24.12.80
Anecdote

A Christmas eve performance!

124Punkline and Contracted Cinema I & II21.01.81
Anecdote

The first season of 1981 was a season of mainly super-8 films made by CHCMC artists and other local makers.

Two separate presentations.
Poster says
Punkline (5 min. 1980 16mm. color. sound)

Contracted Cinema I & II (2 hrs. 1978 super 8. color. silent)
multiple projection

125Gravel pits and other works28.01.81
Anecdote

Two presentations:
Ian Sinclair - Gravel pits; Semi-autobiographical portrait; In his own image.
Warren Burt, Eva Karczag - Intercut; Slow moving in the big city; Computer Dance Video; Requiem; Tide pool Piece.

126Feyers; Zoomfilm & Some films with no titles04.02.81
Anecdote

1981 brought about an increased exploration of film for many artists who also worked in music, painting and drawing.

128Hoddle St suite; Cityscape series18.02.81
Anecdote

Films

129Skin of your eye25.02.81
Anecdote

Film

Anecdote

This recording is of I.D.A.’s contribution to the night.
Occasional benefit concerts were held to raise money for such things as the New Music publication. Other performers on the night were K.G.B., Tsk Tsk Tsk, Laughing Hands, Essendon Airport.

131A non-space & Suddenly I moved18.03.81
132Films …
133Music Video01.04.81
134PLAYPAUSESevered Heads, Ralph Traviato48:1308.04.81
Anecdote

Tom Ellard from Severed Heads (Sydney) sent me a tape of cut-ups to be played on the evening. NB: Ralph Traviati presented too. Les Gilbert also performed on this night.

135PLAYPAUSELes Gilbert performance11:0608.04.81
Anecdote

Les is playing soprano sax here although I’m pretty sure he was not a trained player. This performance occurred the same night at Severed Heads and Ralph Traviati

136Music15.04.81
138The Rock Criticism Show29.04.81
Anecdote

Two performances: The Connotations & Peter and Roxanne

139Landscapes of China & Film: Play Loud06.05.81
Anecdote

Two seperate presentations. Laughing Hand (improvising group); Daniel Scharf (film)

140PLAYPAUSEHigh Altitude Grabs56:0603.06.81
Anecdote

Recorded by Ros on Sony Cassette and mic

141PLAYPAUSEChis Mann94:1310.06.81
Anecdote

Epic spoken word performance by Chris Mann. Chris reads from prepared poetic texts and also improvises. There are also interjections and responses from the audience.

142Videos & Performance17.06.81
Anecdote

Two separate presentations.

143Ros Bandt & Les Gilbert24.06.81
Anecdote

Seperate performances

144Films by Paul Fletcher and Viv Caroll01.07.81
145PLAYPAUSEHaving Fun with Burt and Ernie08.07.81
Anecdote

Title is a play on a famous puppet duo from American children’s TV show Sesame Street.

146The Connotations & Lisa Dethridge15.07.81
Anecdote

Two seperate performances

147Ian Cox & David Chesworth22.07.81
Anecdote

I (David Chesworth) have no idea what I did and whether it was together with Ian Cox or not. Ian and I did present an installation work with texts and sound that was based around pop song titles at the Ewing and George Paton Gallery around this time. More info if it comes to hand!

148John Dunkley Smith12.08.81
149International Music & Technology Conference26.08.81
Anecdote

For just one evening CHCMC became a venue for the International Music & Technology Conference, which was considered by some as something of a coup. Participants listed on the night include Graham Hair, David Dunn, Herb Jercher, Diane Thome, Peter Tahourdin. See the details listed on the poster

150George Huxley, Paul Schutze02.09.81
Anecdote

Three seperate performances occurred on the night. Slave Guitars presented by Peter Tyndall is listed separately

151Slave Guitars02.09.81
152Science is in the galleries, so why isn’t art in the laboratories?07.09.81
Anecdote

The Lunatic Fringe were one of the Little Bands - The Little Bands was a parallel music scene that existed in Fitzroy and then St Kilda at the same time as CHCMC.
Kate Buck was one of the members of Lunatic Fringe. Peter Tyndall (Slave Guitars) was also a member of many Little Band groups.

Click this link for a discussion of the Little Bands by its one time convener, the late Alan Bamford.

There might be a recording of this evening out there somewhere.

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A visual archive (76–83)
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