Schorndorfnovember

by ikreidler

In unserem Opelmietwagen preschen wir südwärts. Detlef bricht den Cosmicstrang für eine Portion Crepuscule. Wir sind uns einig, dass From Brussels with Love eine der besten Compilations überhaupt ist. Bei An Interview with Brian Eno bleiben wir hängen:

„Since most of the decisions in my work are on the basis of Do I like or Don’t I like it rather than some more complicated construction, (..) if I like it than I release it, if I don’t then it stays as another experiment that didn’t come out.”

„I think one of the great failures of the fine art scene (..) is that it created a situation where artists can’t move very easily. I mean, an artist who’s ones defined his style and becomes popular for it, unless he is very very successful, is really constrained to stay within that (..) I’m not against the idea of exploring one format. In depth like that. But I am against the idea of having to explore one format in depth. My interest has always been in… actually in working with novelty of some kind or another. I rather work with novel instruments or with novel approaches to working or with some kind of novelty as the input. When I exhausted the energy one gets from novelty I generally move on. (..) I don’t move on and abandon those things, they do get incorporated. For instance I think you can see a coming together over the last few years between my songs and my discreet music, which started of looking very separated (..) I am not actually out to make a liaison between all this types of music. I don’t mind if they are separate and I don’t mind if they come together.”

„For me the great strength of dilettantism is that it tends to come in from another ankle. It doesn’t always of course, the other way of being a dilettante is just by doing the most pedantic and obvious things. But an intelligent dilettante will not be constrained by the limitations of what’s normally considered possible. He won’t be frightened, he’s got nothing to loose (..) But to maintain a dilettante attitude consciously is also rather suspicious. I guess I passed the dilettante, I decided I am a musician and a composer. (..) I have to take a different approach now to what I am doing.”

„In popular arts the question of tradition is very interesting because most popular work is about 94 percent tradition and about 6 percent innovation. And that seems to be a good kind of ratio as well. I believe that the function of culture that is always overlooked by people who are into the avant-garde and experimental music is not only to innovate but to keep rehearsing and rehashing what exists already. And rock music is a great example of this, you know, there’s always things are being recalled and build back into the structure. And of course what you choose to ignore and what you choose to use again is just as important as a statement as the innovations you make.”

Before and After Science means those two positions: the futuristic which I would call post-science and the primitive pre-science. My feeling also is that the last 200 or 300 years in the West are quite unique historically and culturally. (..) And they seem to be almost an aberration of some kind. (..) I think that the post-science position will bare far more similarities with the pre-science one than with the science position in the middle. Because this is, I guess, what gives rise to all the technological primitivism that one sees now.”

Schorndorf rockt. Die schwäbische Kommune konnte die Nachfrage nach Zugaben, Fanartikeln und postkonzertanem Gespräch locker auf Niveau mit Bochum halten.

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