Music, poetry & art that doesnt function like the matadors red rag upsets me.
Its about the seconds before this very moment.
THE HERE AND NOW. For me it is sufficient to say that the image of the red rag la muleta - is one of the central templates for my own aesthetic. It is the red rag which is the stunt for the matador as well as the illusionist or musician. Its about focus, direction, irritation excitation and enticement. About swiftness, experience, practice and control. But also about versatility, dialog, improvisation and presence. Most of all its about this very moment. Quite frustrating, the red rag is always seconds before the now (for the practitioner) and an elsewhere seconds before the now (for the listener), and somewhere in between floats the music, provocative and full of promise with nothing more than air behind it! (How did this happen? Why like this? How did it become itself?)
THE STUNT. The stab, the contact the insight, they always come from the wrong direction, from the side, from the only place that one knew was empty. (What I mean is that if one could ahead of time point out all thewheres, whens and in which way in music, then the deadly blow of the matador, the unforeseen introspection or the instincts dizzy new perspective could not come about). So, whos seeing through who? Both the musician and the listener live in the faith that the other stands ready directly behind the red rag, and both forget and must forget that it is, of course, the music (or the red rag) that is the stunt.
RED(NESS). The colour red is universal. It maintains its own boundary and its own substance. There are warnings, stop signals, the heart and the sore. Socialisms red banner as well as the bulls eye, nipple, blood and love. Hate, suffering, lust and provocation. But theres also a materiality without the symbols. That cadium red colour distinguishes itself through its substance: it neither expands or shrinks but rather indicates and establish itself.
IRRITATION. Those composers and musicians who I listen to (Xenakis, Brozman, Scelsi, Merzbow, Nono, Braxton, Lachenmann, Bailey) all have in common a musical language that accomodates and embraces a number of inimitable eccentricities stylistic characteristics which have now and then infuriated me but without these impurities the music would be appreciably worse. The stunt wouldnt work, and the listener would, after a short-lived triumph as the (avslöjande agent), experience a feeling of emptiness, alone in the arena holding nothing more than a meaningless red rag. Without having made any new observations.
MOVEMENT. The most difficult. To keep the red rag moving. Its a matter of finding strategies, so that the written seconds before the present moment result in a music of countless Now-Now-Now -positions; which the listener experiences as sudden, seconds-after-the-now. It appears to be almost impossible to fairly describe such strategies without landing in nonsense-like paradoxes (absent presence, the wisdom to not know, uncontrolled certainty). But one must set up some kind of goal for ones compositions praxis, even if the direction if it's going to be good ends up following a different direction. Flexibility( mobility), I believe, is something that must exist in both the composer/musicians head and the music to come. The billowing red rag la muleta - a hell of a provocation and full of promise.