Composition #1: Outro Pt2

Outro Pt2.
[from blue notebook]

1.1
I have always enjoyed reading about music, art, books. Especially in pre-internet times. When you hear, experience, read the actual object (record, show, book), there can be disappointment, affirmation, surprise. It can be the start of a longer, deeper engagement with the work: with the work itself, with the culture, the scene that surrounds it, with the peer group of the record. But there is (sometimes/always) a disconnection, a gap between reading about/imagining the work and the work itself.

1.2
This could be a similar action/feeling to Walter Murch’s idea of a perceptual vacuum – in his specific example, between sound and the visual image.

1.3
The gap between reading about/imagining the work and the experience itself acts as a vacuum.
The mind rushes in.

1.4
This also applies to the creative act itself – between conception and realisation. This is especially true(?) of conceptual art works; in fact it is the material they are made from.

2.1
Can these two states be fully separated? Can the artwork be bracketed out? (Or: can the concept exist independently from the product of the idea?)

2.2
See [again] conceptual art.

2.3
See Attali: The moment labour has a goal, then the artist becomes alienated from his/her work. [paraphrasing]

2.4
As usual, a shifting fluid relationship seems the most appropriate way to approach this, especially with relation to (in relation to?) the perceptual vacuum.

2.5
Listening/Not listening

2.6
Adam Harper – non-sound musical events. This might translate to nonSOMETHING art events.

2.7
Though that might be disingenuous at this point.

2.8
I like proposals.

2.9
ALL PROPOSALS CONTAIN THE POSSIBILITY OF FAILURE

3.1
Fear

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