... all silent but for the buzzing ...
Royal College of Arts
«I love his use of light» [© 2014 Beth Fox]
What I do most love in the fact of living in London is the inherent and perceptual idea surrounding of what is a traditional London Spring/Summer day: Sun, Parks, Greens, Reds, Yellows, Rainbow of Colours, Sound, Silence, Noise, Pleasure, Satisfaction, Enjoyment, Intercourse, Happiness, Relaxing, Activity, Entertainment, Reading, Openness, Pasture, Action, Born, Reborn, etc. It is like eating an Häagen-Dazs' Strawberry Cheesecake ice cream accompanied by a sweet and rich Riesling while inserting my penis into a female's vagina. Feel and taste an intense, elegant and lavish golden composition arranged for three pieces, through her warm and wet vertical lips.
On the other hand, being inclosed, inside a building on a such day is like having a classic composition being compose, arrange and democratically decide on which pieces to use by an international group of mindless and wannabe individuals that want to be the next big classic music composer. Way to late my friend! At least some centuries way to late! It becomes a cacophony of information. Not music or any other alternative form of auditory communication structured in a particular manner and with a particular intention, but, instead, an incomprehensibility resulting from meaningless and what could have been relevant remarks. It is all silent but for the buzzing.
Presently, being a composer is more of a professional that wants to be able to trendily fit in with a particular group of people, particularly those with years or knowledge (two or three within an academic framework), but with a reduce of experience (from a couple of months to some outside without any relevance project). The more I know them, the less I want to know and will know. It is just like with the Internet: the more time we spend navigating through the net, the less we see and know. I do have/know some people who compose as a profession. And, believe me, those are really pleasant and enjoyable people to be with.
So, in midst all the confusion of an democratically choosing classic piece for 18 instruments the only real choice is to get inside a cubic and drink to forget. To remind me that I'm inside a dreary villa, on a sunny spring day on the South coast of France, that I'm an unzipped zipped file, or an unbuttoned shirt on a delightful Spring/Summer day in London. In there, I will just forget what was meant to be discus; what is concerned with raw states and disappearances, taken from within everyday life sounds and silence - Ryoji Ikeda concerns, by the way.
A traditional Spring day in London is an indistinct space that lies between chatter and silence. Not a bleak visual condition playing on the lighting level ascertain selection of sound compositions working as possible conditions for visual interventions and installations. These days, instead, are hypothetical descriptions of complex structures and dynamics through resonances and reverberations! It is a celebration of life.
On the other hand, being inclosed, inside a building on a such day is like having a classic composition being compose, arrange and democratically decide on which pieces to use by an international group of mindless and wannabe individuals that want to be the next big classic music composer. Way to late my friend! At least some centuries way to late! It becomes a cacophony of information. Not music or any other alternative form of auditory communication structured in a particular manner and with a particular intention, but, instead, an incomprehensibility resulting from meaningless and what could have been relevant remarks. It is all silent but for the buzzing.
Presently, being a composer is more of a professional that wants to be able to trendily fit in with a particular group of people, particularly those with years or knowledge (two or three within an academic framework), but with a reduce of experience (from a couple of months to some outside without any relevance project). The more I know them, the less I want to know and will know. It is just like with the Internet: the more time we spend navigating through the net, the less we see and know. I do have/know some people who compose as a profession. And, believe me, those are really pleasant and enjoyable people to be with.
So, in midst all the confusion of an democratically choosing classic piece for 18 instruments the only real choice is to get inside a cubic and drink to forget. To remind me that I'm inside a dreary villa, on a sunny spring day on the South coast of France, that I'm an unzipped zipped file, or an unbuttoned shirt on a delightful Spring/Summer day in London. In there, I will just forget what was meant to be discus; what is concerned with raw states and disappearances, taken from within everyday life sounds and silence - Ryoji Ikeda concerns, by the way.
A traditional Spring day in London is an indistinct space that lies between chatter and silence. Not a bleak visual condition playing on the lighting level ascertain selection of sound compositions working as possible conditions for visual interventions and installations. These days, instead, are hypothetical descriptions of complex structures and dynamics through resonances and reverberations! It is a celebration of life.
