Replying to LO28222 --
Dear Ray, Dear At and LO,
>When a person has zero virtuosity, they have a ten on the complexity scale.
>When the complexity scale is zero you have the reverse for virtuosity.
I have no internal knowledge of how it is for musicians, Maestro's or
otherwise;-) Ray, as a painter the realms of zero and ten are 'non existent'
in my experience.
By the by, I watched a young clarinettist win an international music prize a
few days ago... I watched him integrate into the field around him. I watched
especially the mass of tiny body movements, head, eyes, shoulders, legs, and
feet that on the one hand contributed nothing to his fingers 'playing' but on
the other hand;-) seemed to be the very source of his immense inner rapport.
I sense a cleavage in your use of the terminology (dedicated, denoted or
denuded as the cases may well be;-) because I think I sense that At means to
speak around the deep well of creation, that place from where and what some
call the 'commanding vision' comes -- that is to say the initial authorship
that springs emergent, like Bohm's idea of sentences that first spring
emergently 'whole' from an emotion then forming into words, -- whereas
perhaps, perhaps, you are seeking to clarify from the perspective of those
who must pick up that 'whole' nascently known and rework it, manifolding it
into the shared present experience for an audience via the more limited
artistry of the a refined collective team/shared musicianship?
A difference between 'illumination' and 'illustration'?
The only way I can synthesise it this morning is by noting how the late and
old Picasso deconstructed part of the deep creative psychology of his
unearthing urges to consider anew the great masters, Valezquez and Rembrandt.
The latter for example surpassing him in every department save modernism;-)
and Picasso's simple artistry was by way of a solution to literally project
the great painting in a slide/transparency form, over which he played like
some kid with a bit of tracing paper that keeps slip-sliding over the book of
This line of thought makes me wonder.
Cezanne wanted to be more 'primitive'...to get back to his own deep internal
'realizations' that married him back into the subject, -- an apple setting or
a mountain setting. Picasso wanted to be more primitive, like a child is a
commanding 'primitive'. Ray, what's the value system for recognising the
virtuosity of the Primitive in music and musicology as you practice it today.
Are people like John Cage primitives?
I know it seems a non LO question but look, part of Picasso's greatest gift
to humanity was surely to point to the proclivity we all have to forms of
cannibalisation, negative and positive both/and. In his transforming hands
cannibalism results in High Art and lifts us ALL up. How many 'so called'
leaders in commerce and politics could benefit from a day in a studio where
instead of negatively cannibalising the limited resources of a whole
connected people and ecology more widely they discovered ways to revalue
(re-evaluate) and uplift it. Of course this would involve intense
deconstructions of their ego, maybe even some metanoia. Mmmmmm. Would they be
up for it. Pension time is so unutterably close and the markets so jittery;-)
It is like a gift within a gift and may be learned, to see through things, as
Picasso could, and there are those like van Gogh as Picasso acknowledged, who
crucially could see 'beyond' them.
In the 'quantum' age I hold to a belief, that it is possible to begin to
learn how to build the bridge between the two kinds (kinder-child) over the
gulf Picasso felt unbridgeable between himself and Vincent. It is said that
for Picasso the seeing of the 'something else beyond' was unattainable. The
'something else' is not that 'complex', nor that 'simple' but a perfect
asymmetrical chord, woven;-) between the two, an affinity between simple and
complex, a something more. "Something greater than I." Is what Vincent called
it, himself;-) It is there in Vincent, it was waiting there in Picasso but
wasn't in his nature;-) and it is there, according to some, in Beethoven's
very last quartets.
At, maybe I feel I can ask only you this question and then rest creatively
uneasy;-) in any answer...
Not what but where is the limit of our mastery to become found?
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