https://www.beatport.com/artist/xfa/589219

MMXXIVVIIIVBRCHD

Trepidazione

BLÄTTER FALLEN / marc schaffroth/ulrich langenbach

This week's haiku challenge:

telegraph pole
toppled down by
the tempest

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

Haiku by Masaoka Shiki

Submission deadline: 13th November 2024

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Toppled by the Tempest (naviarhaiku566)

Stand on one foot, like a tree

Ｔ　Ｒ　Ａ　Ｍ　Ｐ　Ｅ　Ｌ　Ｆ　Â　Ｄ

is LCEEM

Laboratory for Contemporary Electronic Experimental Music [LCEEM]

rec.name: " sun fix  "

credit : plugdata, 
date:18-11-2024
https://trampelfad.bandcamp.com
https://www.youtube.com/watch?v=Qz4emDQOOWI

The powerlessness of chance 

It's strange but the search for creative freedom often comes from a false starting point  pre-printed. We think that crossing boundaries is an effective means of gaining new knowledge and every structure created in this way can be a path to new music. There are no limits of music but the boundaries in our thinking and that usually remains rigid and influences our new thinking
Just like our old one. We don't need new border crossings, we should have borders as a formative factor question element. What is a composition? What are the specifications? Why does music have to be repeatable and therefore preserveable? Is fidelity to musical works even possible over time? Where is the potential, why new?Do we even have the power to recognize something new? Is new things always visible to everyone? Are freedoms? that we don't know to even question, lose, notice?

An example from electronic music:

A musician's self-disempowerment begins when he surrenders all musical parameters to chance and only his own cutting the length represents the decisive intervention. What is produced in terms of pitch and length is in the hands of one, two or more random generators that independently modulate and produce sound events. You can now deal with the result and examine what has been created like a stone find on the beach. That's what I do in this moment with my mood of the day I bring a special perspective to the beach and something catches my eye there today.What would have been overlooked by me yesterday shows that perception is also influenced by chance. Even those Conscious search for a certain form is influenced by many parameters and is never completely in our "power".
So what do we lose if what we are essentially concerned with is not in our power to be brought about? Can we know in advance that what we do today will be treated as a “great new discovery” tomorrow?  No and that is where its potential lies. It is the distance that is really important - yesterday what I invented as new was missing I haven't yet because it wasn't there yet. Today my invention has changed my perspective and when I think about it to save time, I even change an era. But that doesn't mean that anyone else will ever notice. It is my personal biography and my private era.

How can something that is not in my control be influenced by me - only through my perspective. I simply can overlook it or hide it from my perception - and our brain does that all the time anyway.
That's what makes us capable of surviving. In the end, short and long-term memories are the big judges of our perspective anyway on the value of our experiences. But that means: Beauty is in the eye of the beholder. This old rule is complete great. I am only as innovative as my inner limitations allow. I can expand my perception potential.That's the only thing that opens access...so it's much more important than what I do or have done....

[automatically translated]

Toppled by the Tempest (naviarhaiku566)

undermulden

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