16.36
Un ammontare insensibile di cose su cose ha coperto aspetti positivi che salutano il mio futuro. E sono incoraggiato, da un socio d’affari, a minare le mie creative e felici prospettive sul futuro a intraprendere e portare avanti del lavoro che demolirebbe il mio spirito.
E, se ciò non fosse abbastanza, da una lettera recente ad E.T.
.
Cosa dire di questi tre posti, dove un audience più “classico” risulterebbe quieta attenzione e concentrazione?
1.La Cattedrale di Salisbury;
2.Teatro delle Conferenze, Università di York;
3.Seminario “Sognare la Pace” ad orientamento esoterico, Mountaineers’ Buiding, Seattle.
La Cattedrale di Salisbury, dove i Soundscapes sono stati eseguiti per diversi giorni consecutivi nel 1997 come parte del Festival di Salisbury: il fotografo interruppe verso l’inizio della prima performance, mentre era di fronte al segnale . Quando gli chiesi ? Non diede risposta. Questa fu la fine dell’inizio.
La Conferenza Annuale in Memoria di John Lennon all’Univesità di York (1990): uccisa da un flash durante le domande e risposte. (Questa non fu solo la mia esperienza, ma anche di molti altri).
Il primo Soundscape al Seminario “Sognare la Pace” finì brutalmente dopo 5 minuti, immediatamente dopo il flash.
Così, la risposta veloce alla domanda di Sellak è sì, non ho solo considerato posti più “appropriati” per la performance, ma ci sono andato e ci ho suonato. Il problema non sono, comunque, i posti: è la proporzione delle persone che va in questi posti.
Gente ragionevole, decente come il Sig. Sellak si aspetta che gli altri agiscano ragionevolmente e decentemente pure. Ma relativamente pochi sanno cos’è il comportamento giusto; e solo una piccola porporzione di quelli che sanno hanno la capacità di agire in accordo con la loro conoscenza.
Tecnicamente, questa è la differenza tra .
Selezione e traduzione: Antonio De Honestis
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Friday 4th. February, 2005
……….
16.36 A numbing amount of stuff-stuff has covered positive future-beckoning aspects. And I am being encouraged, by a business associate, to undermine my creative & joyful future-prospects by taking on & driving forward work that would crush my spirit.
And, if that isn’t enough, from a recent ET posting…
Date: Sat, 15 Jan 2005 11:11:21 –0500
From: sallak
Subject: Fripp and the Weariness of Touring
Like several people whose posts Ìve read here on ET, Ìm saddened by Robert Fripp’s dropping-of-large-hints that his days of touring or live public performance might be over. Ìm certainly an enthusiast, and would like to see him perform live again, by himself or under the aegis of a group… Has Mr. Fripp considered venues where a quiet, concentrated audience can be more reasonably expected? Has he considered, as an example, residencies at university schools of music or performing arts establishments? I can think of any number of institutions where classical guitar students might be interested in NST and flat-pick technique. Certainly there are numerous electronic music studios where real-time electro-acoustic performances such as Soundscapes would be welcomed by students and faculty. And venues where a more "classical" audience mindset is the norm will, in all likelihood, result in quiet attention and focus.
How about these three venues, where a more "classical" audience mindset might result in quiet attention & focus?
1. Salisbury Cathedral;
2. Lecture Theatre, York University;
3. "Esoteric"-oriented Dreaming Peace Seminar, Mountaineers’ Building, Seattle.
Salisbury Cathedral, where Soundscapes were performed for several consecutive days in 1997 as part of the Salisbury Festival: the photographer snapped off near the beginning of the first performance, while facing the please no photography sign. When I asked why? he made no answer. That was the end of the beginning.
The PRS Annual John Lennon Memorial Lecture at York University (1990): killed by the flash during Q&A. (This was not only my experience, but also of several others).
The first Soundscape at the Dreaming Peace Seminar ended abruptly after 5 minutes, immediately following the flash.
So, the quick answer to Sallak’s question is yes, I have not only considered more "appropriate" venues for performance, but gone to them & played in them. The problem is not, however, the venues: it is a proportion of the people that go into those venues.
Reasonable, decent people like Mr. Sallak expect other people to act reasonably & decently as well. But relatively few know what is right behaviour; and only a small proportion of those who know have the capacity to act in accordance with their knowledge. Technically, this is the difference between knowing & being.