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- Full Name:
- Milo Fine
- Website:
- https://milofine.com/
Posts by Milo:
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13 Mar 2022 “Her Grace”; new LP by/final voyage with (of?) Teenage Boatpeople
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29 Apr 2021 TRANSCEND the oppressor
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02 Mar 2021 Gutter Cleaners; a video portrait
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26 Jan 2020 Newly released (March 2020) CD: “acceptance of sorrow”
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15 Dec 2019 Return to Homewood Studios
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13 Sep 2019 Stop-gap; a moment for acknowledging
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27 Apr 2019 Solo concert at the University of Alabama (video)
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10 Apr 2019 Charcoal “Celebrating Henry” (video)
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25 Mar 2019 April 9 solo concert at the University of Alabama
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27 Oct 2018 Three Motions in Gmunden (video)
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09 Sep 2018 Austria 2018 aftermath
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15 Jul 2018 To Austria (Vienna and Gmunden) as one of Three Motions & reformARTseven
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07 Feb 2018 “Apophenia”; new CD released in limited edition of 200 copies
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15 Dec 2017 Relevant quotes
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02 Aug 2017 Improjazz (July/August 2017 #237)
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03 Jun 2017 with Book of Sand
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31 Mar 2017 “The Only Dignity Is Oblivion”; solo 3 CD set released in a limited edition of 200 copies
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02 Mar 2017 drum set/percussion & marimba video
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07 Dec 2016 With the reformARTorchestra on LP & Charles Gillett on YouTube
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05 Aug 2016 Additions To YouTube (reformARTwest/Gmunden; reformARTorchestra/Vienna; Teshuvah)
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01 Jun 2016 New Vinyl Available/Return From Germany-Austria
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11 Jan 2016 3 CD set of reformARTwest in Minneapolis published
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06 Dec 2015 Vienna/Minneapolis: Music for Sepp on December 30
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09 Oct 2015 “Le Son Du Grisli” interview
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26 Aug 2015 snippet of “noise”
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18 Aug 2015 reformARTwest aftermath
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23 Jun 2015 reformARTwest on YouTube
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02 May 2015 First Time In North America: Founding Members of Austria’s Reform Art Unit (est. 1965)
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01 Apr 2015 EARLIER OUTBREAKS published
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26 Sep 2014 35 years on
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13 Sep 2014 Recent Site Additions
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26 Jul 2014 Inaugural Events at Studio Toile d’Angles
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20 Apr 2014 A bona fide member
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05 Dec 2013 The Man Who Was Kicked Off The Earth
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07 May 2013 YouTube presence
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31 Oct 2012 Most recent document (with Davu Seru, Paul Metzger and Didier Petit)
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22 Feb 2012 What’s an “o” between fellow travelers? Whose gig was it anyway?
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25 Jan 2012 With Davu Seru/Paul Metzger (& Didier Petit) @ The Black Dog February 21
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18 Jan 2012 With the RAO as part of a multi-media package
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12 Jun 2011 Teenage Boatpeople: First public appearance in 30 years
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23 May 2011 Aftermath: Interfacing With Formal Composition
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23 Apr 2011 The Corner Shoppe launched to sell (mainly) used CDs and DVDs
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05 Oct 2010 In Vienna As Part of the Reform Art Orchestra
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01 Feb 2010 Gratitude
Purchase Recordings
Articles/Interviews
Aesthetics Addenda
Aesthetics
Somewhere along the road a creative man has to make what you might call the Exit Decision. Either he decides he is going to be the kind of artist who accepts the conventional disciplines and practices within the range of established standards to the point of excellence, or else he decides he is going to redefine the discipline and move into new areas where there are no established standards except that related to the courage of taking this decision.
If he chooses the first, he is secure. He may fail, he may be mediocre and he may excel even beyond the achievement of his mentors, but he will be secure with a clear identity and an unconfused situation in his society. All people will know more or less, what he does and what his skill is called. As they say "He is the milkman" or "He is the carpenter" or "He is the electrician", so they will say "He is the painter" and "He is the ballet dancer" and "He is the jazz musician"…
On the other hand, the man making the second choice sacrifices all security. He moves out of convention, so, as far as his professional definition goes, he moves out of society. Few people but him really know how successful he's being. Most people, unsettled as always by the unfamiliar, will resent his disturbing them, his taking money whilst refusing to entertain them, will continually call him charlatan or fool…
The artist is peeling his skin back to achieve sufficient sensitivity to be able to say things right, is thus vulnerable to the ridicule, anger or straight indifference he's likely to suffer. He must then, even though he's operating in a private hermetic area, act as a spokesman and salesman for his own work. Without for a moment changing the nature of what he is attempting to do, he must make it readily and obviously available to everybody…People must tread in his art, stub their toes against it, find it in their pockets or buy it, if they want. And whilst the public acts adversely to his presumptuousness, as they are quite likely to, he must build around himself an invisible protective wall behind which he may safely render himself naked as a new-hatched chick…
Finally, he must love humanity as a whole without ever seeking their love in return. If he gets it, so much the good, but to solicit it would compromise his situation, falsify the evidence he brings back from outside the barriers of convention. He must love humanity because, more than any priest or politician, he is the person who actually is concerned for humanity, not how it behaves or what its right may be, but what it is, what it may become and what it is now possible to do.- Jeff Nuttall (from THE BALD SOPRANO A PORTRAIT OF LOL COXHILL)