9 giugno 2006
h. 9,12
Il tempo della cantina è la storia che agisce su di noi.
Il tempo ordinario è consapevolezza del flusso del tempo.
Il tempo cosciente è conoscere un momento presente, e la sua estensione.
Il tempo creativo è il futuro che torna indietro, attraendoci verso di sé.
h. 13.40
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Alcune parole sono state richieste dal nostro promoter dei Churchscapes (paesaggi sonori da chiesa, n.d.t.) in Estonia, per avvertire un pubblico estone innocente dal pericolo di beep e rumori…
h. 14.28
In risposta ad una richiesta di un promoter spagnolo, giratami da Sidney Smith…
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Una risposta simile, ad una richiesta per Soundscapes ad Istanbul, con questo paragrafo aggiunto…
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Selezione e traduzione Antonio De Honestis
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09.12
Basement time is history acting on us.
Ordinary time is awareness of time-flow.
Conscious time is knowing a present moment, and its extent.
Creative time is the future reaching back, pulling us towards it.
h. 13.40
A few words on Soundscapes have been requested from our Estonian Churchscapes promoter, to alert an innocent Estonian public to the dangers of bleeping & droning…
From The Guitarists School
Soundscape performances, typically, visit several moods and areas of reflection, consideration and personal interest. The performances are part of an ongoing series, serving the aim of finding ways in which the creative intelligence may enter into the act of music , for both musician and audience.
Music is the cup which holds the wine of silence.
Alternatively, music is a quality organised in sound and in time. The quality is ungovernable, the forms of organisation mainly governed by the cultures and societies in which the music appears. The qualitative dimension of Music is an aspect of Creative Intelligence with which, through which, and to which, we may connect and be interconnected. This should not be difficult, as we are already connected. So why is it so hard?
The quantitative dimension of performance, for the professional player, is mediated by commerce and set within the commercial culture. Better, if possible, that performance take place outside that culture. Otherwise, better that performers and audiences drop the demands, expectations and values that accompany the impulses of commerce.
This series is part of a continuing exploration into, firstly, how one might be a musician, professional musician and human being simultaneously; secondly, how music might enter our sorry world, despite all our efforts (mostly unintentional) to keep it out.
Performance is utterly impersonal, yet intimate; and playing music always a privilege.
May we trust the inexpressible benevolence of the Creative Impulse.
Robert Fripp;
Friday 9th. June, 2006
Bredonborough, Worcestershire.
14.28 In response to an enquiry from a Spanish promoter, forwarded by The Sidney Smith…
it is increasingly difficult for Soundscapes to take place within commercial events, which is why currently i am playing in churches & cathedrals in the UK, and estonia in august.
partly, this is the actual space in which the performance takes place. partly, it is the expectations of performance that accompany conventional events – photography, recording, interesting visuals, the artist being entertaining, etc.
neither am i interested in getting in a van and driving around. i know spain, i have driven long distances to performances within spain, and i shall not do so again. being in one place for several days, in the same or different venues, is of greater interest.
at this point, your interest in me has probably come to an end. however, if you have any comments, here i am.
A similar response, to an enquiry for Soundscapes in Instanbul, with this added paragraph…
there is an additional problem: KC being a legendary act in many countries where it never worked, there is a large raft of expectations, excitement, etc., that is quite misplaced for either the person i am, or soundscapes as music.