Lanier is insisting that we should have more licensure. In order to protect the middle class jobs we need to have licences, permissions, training courses and protections for such jobs.
In short, a return to the medieval economy of guilds.
As a musician, Lanier has been active in the world of new classical music since the late 1970s. He is a pianist and a specialist in many non-western musical instruments, especially the wind and string instruments of Asia. He maintains one of the largest and most varied collections of actively played rare instruments in the world. Lanier has performed with artists as diverse as Philip Glass, Ornette Coleman, George Clinton, Vernon Reid, Terry Riley, Duncan Sheik, Pauline Oliveros, and Stanley Jordan. Recording projects include his acoustic techno duet with Sean Lennon and an album of duets with flautist Robert Dick.
Lanier also writes chamber and orchestral music. Current commissions include an opera that will premiere in Busan, South Korea, and a symphony, Symphony for Amelia, to be premiered by the Bach Festival Society Orchestra and Choir in Winter Park, Florida, in October 2010. Recent commissions include “Earthquake!” a ballet that premiered at the Yerba Buena Center for the Arts in San Francisco in April 2006; “Little Shimmers” for the TroMetrik ensemble, which premiered at ODC in San Francisco in April 2006; “Daredevil” for the ArrayMusic chamber ensemble, which premiered in Toronto in 2006; A concert-length sequence of works for orchestra and virtual worlds (including “Canons for Wroclaw,” “Khaenoncerto,” “The Egg,” and others) celebrating the 1000th birthday of the city of Wroclaw, Poland, premiered in 2000; A triple concerto, “The Navigator Tree,” commissioned by the National Endowment for the Arts and the American Composers Forum, premiered in 2000; and “Mirror/Storm,” a symphony commissioned by the St. Paul Chamber Orchestra, which premiered in 1998. Continental Harmony was a PBS special that documented the development and premiere of “The Navigator Tree” won a CINE Golden Eagle Award.
In 1994, he released the classical music album Instruments of Change on POINT Music/Philips/PolyGram Records. The album has been described as a Western exploration of Asian musical traditions by Stephen Hill on “The Crane Flies West 2″ (episode 357) of Hearts of Space. Lanier is currently working on a book Technology and the Future of the Human Soul, and a music album Proof of Consciousness, in collaboration with Mark Deutsch.
Lanier’s work with Asian instruments can be heard extensively on the soundtrack of Three Seasons (1999), which was the first film ever to win both the Audience and Grand Jury awards at the Sundance Film Festival. He and Mario Grigorov scored a film called The Third Wave, which premiered at Sundance in 2007. He is working with Terry Riley on a collaborative opera to be titled Bastard, the First.
Lanier has also pioneered the use of Virtual Reality in musical stage performance with his band Chromatophoria, which has toured around the world as a headline act in venues such as the Montreux Jazz Festival. He plays virtual instruments and uses real instruments to guide events in virtual worlds. In October 2010, Lanier collaborated with Rollins College and John V. Sinclair’s Bach Festival Choir and Orchestra for his Worldwide Premiere of “Symphony for Amelia.”
Lanier contributed the afterword to Sound Unbound: Sampling Digital Music and Culture (MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky.
I see no evidence at all that Lanier is licenced to compose or perform music. No evidence that he has ever been trained in doing so. Has never sought permission from anybody.
So, why is this man allowed to compete with those professional musicians who have gone through such professional hurdles?
Why does everyone else need to have barriers put in their way to getting a job but not Lanier?