Music composed by Morton Feldman, interpreted by Hugh Hinton. (Info about the composer and performer here artofthestates.org/cgi-bin/piece.pl?pid=92)
This is fascinating music to explore, so far from "entertainment," needing time to enter into (sure to keep the "mad-zappers" unsatisfied). It is so apparently bare, it brings one back to oneself, it almost forces us "... to arrive where we started, and know the place for the first time" (T.S. Eliot, Little GIdding, Four Quartets).
In what to me is very related to "all that," Chogyam Trungpa, in his book "The Myth of Freedom," states: "Boredom is important because boredom is anti-credential."
Though he speaks about "buddha-dharma without credentials," what he says can be applied to "art without credentials" and/or indeed, to "life without credentials."
More about that here: atiling.org/teachings/further-teachings/37-boredom
Morton Feldman and I share something special: we both worked at the New York Studio School of Drawing, Painting and Sculpture (nyss.org), he from about 1968 to 1973, I from 1978 to 1984.
That was before the time when the school became a degree-granting institution (*art with credentials") possibly losing much in the process (if interested, please read "Punished by Rewards" by Alfie Kohn who, to me, is like the Noam Chomsky of education: alfiekohn.org/books/pbr.htm ).
Working with this music came out of preparations for concerts done with Belgian pianist/composer Jean-Philippe Collard-Neven.
The theme was the "trance" (vudici.net/movies/Transe_Demo/Transe_Intro_en.html).
See also this piece (“Ttai”): vimeo.com/121023655
Other works done in collaboration with Jean-Philippe: With Jean-Philippe Collard-Neven
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