Universities can encourage experimentation. But at the same time, they have to offer something of value to students too, or at least that’s my feeling. I’m from a science background, so probably see things quite differently. For instance, for me a course has to have a focus. And perhaps some sort of ‘theory’, no matter how abstract on some occasions, behind it?

Isn’t the indulging of one’s own ideas more part of the extra-curricular activities of university? Hence, not easy to assess as part of any sort of degree, with perhaps the exception of a PhD?

I’m not trying to be academically conservative either. I am just trying to understand the interplay of the incredible creativity of contemporary music and the academic sphere. How well do the two integrate? There are probably few people better placed than yourself to judge!

Of course, you are correct that no academic instution could standardize anything about musical experimentation, but don’t they still have to seek out some sort of formalism amongst the delightful, chaotic, anarchy, to teach students??!!

You may recognise the following quote, since you’ve sampled other things the man said in your music…but here is one scientist’s view of things academic

“first figure out why you want the students to learn the subject and what you want them to know, and the method will result more or less by common sense.”

- from the teacher’s perspective, that sentence conveys a depth of information that is nearly unimaginable (imo).

Fascinating. I have a question. I get the impression the people who wrote the book on modern audio recording are almost all self-taught, like yourself (?), or Richard D. James for instance, plus a gazillion others all the way back to Karlheinz Stockhausen. Now, academic institutions are trying to formalise and standardise the knowledge gained in all those years of experimentation. Moreover, it’s fluid, because more and more people are experimenting every day. How are they going about this and how successful are they?

Second question: How does it work as a lecturer without a formal academic qualification (I presume?).

Third question: With your knowledge of the music industry, and pioneering approach to it – that you are also tackling in your essays described in this blog posting – where do you see yourself going post-2012? Professor McSherry maybe?

Good luck, this is great and I’ll follow from time to time. Sorry if my questions reveal the misconceptions of an amateur.