time [ of ] incidence
but one can imagine the concert - later on ? - as exclusively a workshop, from which nothing spills over - no dream, no imaginary, in short, no 'soul' and where all the musical art is absorbed in a praxis with no remainder.
Roland Barthes, MUSICA PRACTICA, 1970 (transl. Stephen Heath)
What could be this practice of the musical art from which nothing would spill over, no dream, no imaginary, no 'soul'?
Approaching this question rather frontally runs the risk of becoming itself the dream of such practice.
The times of the economy between the overspending (Vorausgabung) and the dream, the imaginary, imposed by the intimidation of culture -
In this economy the overspending tends to a proliferation of enchantments which - particularly under the metaphor of light (which includes the metaphor of its absence) -, as projection of dream and imaginary contribute to the production of monuments.
The desaster of production -
The times of recurrence of enchantments and their monuments.
What could be the sound of a practice beyond intimidation and overspending?
Written in September 2014 and published in Interpretations., a project by Q-02 and Julia Eckhardt, Brussels