Many of them have never played together before. Before I end this going through the organizations and their history, I would like to mention that there are many record companies publishing improvised music, solely or for a great part. Some are radical auto-didacts. David Toop for instance has acquired much of his musical education by improvising outdoors. Often, noises and sound structures replace tones and melody phrases in English improvised music.
Radical attitudes concerning instruments can also lead to invention of new instruments.
One could define pluralism as the co-existence of individual elements. Styles and directions interpenetrate, but do not cancel each other. In London I have experienced both that improvised music has its own special public and that people might also come just for curiosity or because time and place suited them. One can view all this as positive effects resulting from a pluralistic attitude of the city. Individuals and groups are themselves, but at the same time they tolerate each other.