Another remastered classic � Forever Changes � has been on my car CD the last couple of days. The role of the acoustic guitar is more noticeable � also the links to Bryter Later. Smart writing round the guitar with instrumental colouration eg from brass and strings. I was moved to get it by the recent Wire review of the live recreation in London � very positive.

FC was recorded in Autum 67. Another acquisition was recorded about 6 months earlier � John Coltrane�s last concert. Here the review had been misleading and the suggestion was that the sound quality plus the fact that the master was ailing meant that it was not a very worthwhile venture. I think this is wrong completely. There is no lack of energy or conviction anywhere in the band. The recording is not perfect but it probably sounds as good as if you had been there and anyway there is reinforcement between the nature of the music and the way it is recorded.

A new critical term � diaspora. A disapora occurs when a culture is (usually forcibly) spread over a wider geographical area. But it is being extended to other rapid diffusions. So it I think it is fair to talk of Chicago Blue Diaspora � as including parts of London and Birmingham in the early 60s, probably parts of Germany as well, almost certainly those parts of New York where harsh electric blues was beginning to catch on.

Issues about reinterpretation and metaphoric development arise in a diaspora I think. � when one form � its articulation and perception is mediated through a separate set of cultural understandings and practices. So for example Chicago Blues is mediated through modern jazz and Mingus in the UK � also through a complimentary set of preservationist understandings.

The whole point about this period is that media, trade liberalisation and physical movement accelerate diasporisation out of small innovative groups in many parts of the world. This marks the difference between this period and the avant garde burst 60 years earlier when the diffusion mechanisms were so much less well developed. So social conditions favour disaporisation � and briefly the artistic avant garde and its values get ahead of the market. (Eg Robin meets Nick in Aix, Nick meets Keith and Mick in Morocco.)

The market under capitalism is obviously a diffusion mechanism � but within that content is framed in a particular way and (some would say) contained.

You might say that in this period the idea of Form undergoes diasporisation. That�s how at St Martins Richard Long ends up constructing country walks as sculpture. A sculpture up to that point had been concentrated in one place. Long gives it extension but less duration. Many other examples of the formal reconfiguration could be chosen � indeed this kind of reconfiguration is on the path from Fluxus to Conceptual Art.

For a period these ways of thinking and artistic practices outstripped the power of media, brand and image to colonise. But of course there was what Hegel would call the Aufhebung. I am coming to view that Aufhebung as the germ of postmodernism.

Dave Crosby says somewhere that Wall Street looked at Woodstock and said � hey there�s a market. You might also point to Stanford University and the evolution of psychographics out of demographics and the early realisation of the Right that they could repackage their core ideas in terms of the ethos of self-determination and freedom.

Economists for a long while got away with using GDP as a proxy for human welfare. They have noew started to win Nobel Prizes for work which examines the implications of the disjunction between economic indicators and perceived well-being � much richer but no more happy.

Simom Schama writes in today�s Guardian about the history of the quarrel between Old Europe and the New World. Impatience seems to feature quite a lot.

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