Concept: Instead of a search for consensus which ultimately ends in uniformity, discord and radical plurality are the ingredients that determine the group. What matters is not a struggle for unity, but the creation of multiplicity, plurality of languages, models, methods, experiences, ideas and their
simultaneity. The same way unity can ultimately transmute
into uniformity, there is also the danger of radical diversity ending in a kind of "atomism, that is, a disjointed plurality"(1). This means that in the musical communicative process, links and connections which create integration or a kind of open unity must be made.
In this context I experience the concept of time as a central issue. "Time is no longer regarded as unilinear, the moment is the complex(ion) of many possible sources, there are always several possibilities. Occurrence gains the character of event. Moments are restored their character of the possible. Premeditation is replaced by event, calculation by concern, plan by what happens to one. Differences appear as an elixir of reality, empty zones of vagueness prove to be a connective medium and energetic potential."(2) Time as a pulsating grey
area, seen no longer as moments in time but as areas of transition of innumerable causes to innumerable effects – for me this blurred zone is the reason why one´s sense of time changes during concerts and why even five-hour performances can be sustained. The out-of-focus, the vague, the idea that every kind of language (hence also musical language) is determined by ambiguity, uncertainty, possibility and probability, are all themes in which I see the chance of liberation / release.

Not man is in command of language, but language is in
process structurally and in event, and man only enters the game opened by speech. A sentence "happens"... the point is leaving behind human anthropocentrism.´(3) Criticism of anthropocentrism focuses primarily on an instrumentalization of linguistic conception and on the reduction of language to information. The liberation from calculative thought and the de-functionalization of language / speech (and music) can lead to a poetry which "celebrates the fact that we possess nothing"
(John Cage). Not the order and arrangement of things, but rather provocation of blank spaces and contradictions lead to a kind of informal music, the categories and experiences of which are the trace or track, the approach, and the delay of meaning. In this distance from reality lies the possibility of discovering something new of opening up accessible paths. Jean François Lyotard calls this "legitimation by paralogy".
(mr)
translation : William Wheeler

* Wolfgang Welsch „Unsere postmoderne Moderne“ Berlin, 1997
*1 p.189
*2 p.247
*3 p.249