--- Heiko Recktenwald
<[EMAIL PROTECTED]> wrote:
> Remember listening to Thoreau reading
> all night long, which was
> kind of "boring". Maybe you have to have some
> "willingness to like", you
> must bring with you some sympathy etc for the
> man, his work. Or it will
> not work.
Yes, Thoreau (at 12 hours long!) and Satie
"Vexations" as mentioned earlier. I suppose
sympathy is one way, but often Cage was seen as
the circus oddity: "the old punk zen guy" I heard
someone call him...the ONE that everyone had
heard about but never saw.
Those that went to "Empty Words" (thoreau
reading...) who knew what to expect would usually
surrender themselves to the idea/sound of
non-judgement and being open to the eventualities
of their environment. It's not easy for many/most
(?) folks.
> Remember having walked once
> thru an exhibition asking myself what shit I
> once liked, Ben Vautier etc.
> Same with music, for example Live/Evil of Miles
> Davis. Maybe there isnt
> "objectiv" art, depends on moods etc..
I'm never really sure if the change in attitude
over the years is based on accumulations of ideas
and the art/music is compared to what you now
know
or
if it's a disappointment that it didn't continue
to impress EVEN under continually changing
environments.
With "Live/Evil", for example, I found it
exciting/daring/inventive etc right after it came
out - then with it's CD release a little less so.
Items like these seem to make you say, "Well,
just THINK of the time when it was released...It
WAS really something!" (2001: A Space Odyssey or
Metropolis may be cinematic examples), but I find
musical examples like Stockhausen's "Hymnen" or
Pierre Henry's "Apocalypse de Jean" that still
smack my brain the same way as 30+ years ago.
(Does anyone remember when the Superman movie was
released and people said that it was worth going
just to see the opening credits?)
what you
> do yourself, how you can
> live with the art or not, dont know..
I try to approach what I sense without
preconceptions (as much as possible) and if I'm
bothered by it, I try to see if I can use it. If
I'm delighted by it, I generally don't want to
know why. Why did I break down in uncontrollable
tears looking at Shirin Neshat's work at the
Whitney? I don't know. But what I'm particularly
fascinated by is that I can't remember doing that
in probably decades, so something was there. (I
think the technical term for this is "The
Stendahl Effect" - the sudden onset of sobbing or
emotionalism in the presence of "great" art.
Rod
=====
http://rostasi.8m.com
http://members.aol.com/HuntJerry/index.htm
"(oboe) was for opium...A movement was a pound, sixteen bars in a movement...He'd
(call me and) say 'I want six bars of the sonata for oboe'" - John Cale speaking of
how he and LaMonte Young used to execute drug deals ("What's Welsh for Zen")
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