All Text

texts performed in the web radio session [contempo] on www.basic.
ch by robert grassi
Monday, 28 July 2008

feed
text 2008.07.29, feed, the fruits of a kind, that is to say the tasty ones, feed the will of
understanding, expressing, keeping up the beat, watching, they are the fruits of attention,
distinction, there is a direct link from the fruit to the sound of appreciation
Posted by robertgrassi at 05:38 MEST

mold
text 2008.07.22, mold, the shape of a structure ruled in a programmed set of symbols to get
the attention into a continuous research to recognize a specific kind of poetic expression
related to engines of sensations, recreations, harmonics, decibels, murmurs, evocations,
montages, collages, solidifications, concentrations, accumulations that should provide the
steps to get out of the deep and old

Updated: Monday, 21 July 2008 04:06 MEST

creative
text 2008.07.15, creative, how, in certain circumstance, the strange appeal to someone else’s
creative call, is driving one’s own inventiveness with a renewed energy, and is commanding
with full force a precisely sensitive burst of creativity, and how the welcoming and the
exchange of ideas pushes each one’s work to a higher and more sophisticated point
Monday, 7 July 2008

undefined
text 2008.07.08, undefined, hot performance, quiet dérive, progression at the pace of
experimental creation, conception of worthless objects, random destinations, new path, new
ideas

Monday, 30 June 2008
acceleration
text 2008.07.01, acceleration, from different stereo points, excess of notes, in all kinds of
distortions, accumulation, attribution, exchange, overlapping, balance, from clear effects to
confusion almost complete, from determinate series to random events, to loose timing, to
unpredictable jigs, impossible waltzes, agglomerations of rhythms

system
text 2008.06.24, system, to free music from old ideas, to make music for the pleasure of
others before one’s own, to dedicate, to address, to create on purpose, to transform any
personal strength into musical propositions, to invent, to play with odds, to avoid clichés, to
forbid boredom, to control repetitions, any traces of a system being deconstructed
Tuesday, 17 June 2008

lead
text 2008.06.17, lead, strong assertions, determination, description of the highest points of
action, energetic identification with the most tensed possibilities of activity, choreography of
possible actions, concert of the will, confident conference
Monday, 9 June 2008

composition
text 2008.06.10, composition, let go the fresh impulse, this impression of irresistible attraction
for these steps, so light but so firm and so calm and yet so irresponsible and still on the tracks
of a leading authority but resisting and finding a mode to enjoy every one of these steps, let go
this interest in the most generous nature, and reach it the closest as possible, and smell its light
sweats and perfumes, and surpass it, and follow alone the trajectory of this original impulse,
being now a model of generous natural musicianship
Sunday, 1 June 2008

goosebumps
text 2008.06.03, goosebumps, instructions to follow, funky beats to share, the summer comes
around, a song is rooting, fun eyesights, inventive movements, in the steady path of
endearment, continuous conversation, reverse actions, alternatives at hand, blocs of new
sounds setting free a blast of personal colors
Monday, 26 May 2008

delay
text 2008.05.27, delay, certain time laps overlapping , bits of consciousness put in diverse
positions, space artificially created, reverberations, echoes, vibrating virtual air, memories put
in a certain order, difference between the act and the fact, slower response, past actions
coming back with the freshness of anticipation, strange effect on the attentive mind,
impossibility, illusion, blending, overwhelming, richness of textures, multiplication,
repetition, rotation, ping pong, panoramas of detached elements, game of reactions, trick
Sunday, 18 May 2008

driving
text 2008.05.20, driving, driving through vermont in new england in 1987 with a 400 dollars
1974 mecury bobcat listening to miles davies’ live album we want miles and thinking of one
thing, driving, driving a perfect beat, as perfect as this generous land in september, going
slowly, coolly, at 45 miles per hour, from montreal to the southernmost place in maine, and
trying to build a general tempo of life and action, a regular, controlled rhythm, a courageous
leap in the unknown, going through an unexpected snowstorm, with summer tires, dreaming
of the ocean, grooving
Tuesday, 13 May 2008

lift
text 2008.05.13, lift, liberties taken in parts, possible long dream sequences, dream of
musicality, musical dreaming, music dreamed, essay of dreamlike forms of expression, little
portions of text that forms a bigger poem, bits of expressivity, bits of pure expression of
pleasure, bits of taking a firm grip on reality, parts of carelessness, parts of precision, parts of
a kind of command over everything, spontaneous, unexpectedly spontaneous traits revealing
in hard attempts to reach the top, patient building of a tool, courageous leaps towards difficult
sensations, difficulties of keeping attention, dangers, fears, painful tonalities, lousy beats,
strangeness, scolding, shivers, cold sweat, hot sweat, sweat, or just an idea of sweat, effort,
effort, and more effort, even if painless, full of fun, careful, tensed, emotive
Tuesday, 6 May 2008

urge
text 2008.05.06, urge, this need to express these deep feelings, these that make a good
sensation that last enough to be used to make something like a song, this urgent voice, this
long and experimental cry, this settlement into the beginning of the construction of a serious
piece of music and poetry, this independent step towards the world, this meeting with the
listener, sometimes a good tempo held on a folk guitar, a few surprise notes struck out of this
beat, and a sense of good breathing between the measures and the stops makes the path for a
good urgent song to get out, striking the ski pole handles with anticipation, looking forwards
the long leap downhill
Tuesday, 29 April 2008

architectonic
text 2008.04.29, architectonic, as soon as the space is identified, the resonance gives a
personality to the room and its special sound gives the mood of the place, everything making
a sound in this place takes the tone of the room, and in any case a sense of unity creates a link
between the sound sources, all seems to be somewhat orchestrated, and nothing seems to be
really independent anymore in the whole space that lives in a way where silence itself makes
a personal colour of sound, and the louder outbursts give a confirmation of what the actual
size of the place can be, now, to watch a photo of a special architecture gives crazy thoughts
about the sounds that it could make, and the more crazy the architecture, the more incredible
the sounds, often a photo is taken from a garden, the joyful sounds of a pool, a breeze through
the leaves of the trees placed between delicate walls and windows that would reflect
everything, sound, light and temperature in any possible direction
Monday, 21 April 2008

velocity
text 2008.04.22, velocity, some birds sing in a way that will always amaze the musician,
sometimes tired of difficult phrasing, of complicated accelerations, tired and distressed to
invent all the time, harassed by the inventions of forms, but, by listening the simple singing of
a good bird, a blackbird for instance, all what was in the mind of the musician can be erased
for a certain lapse of time and the effort to understand music is then used to understand the
song of the bird a little better than the last time that this same kind of bird was heard, all this
leads to the obvious thoughts of virtuosity, velocity, attack, precision, regularity and the will
to indicate a territory
Sunday, 13 April 2008

test
text 2008.04.15, test, not a confuse set of movements to shake everything possible and see
what the result can be, but a test of continuous possible action in music, a test that proves that
everything is ready for use in a certain natural predisposition of the body testing the
instrument, testing the melodic lines, the rhythms, the structures, the tones, well anything, also
a test of what an audience inspires to the performer, what kind of sentiments, what kind of
dreams, testing ones own music through the idea of what a certain person can think of that
music, and how she can enjoy it, as if testing the nerves of a muse, as if playing in a mood of
dedication

wild
text 2008.04.08, wild, with a bit of ferocious sensitivity, delicate but fierce, almost cocky, in a
perpetual digression, out of the way of natural expression but still very animal, in a certain
aspect cruel, excessive

balance
text 2008.04.01, balance, walking on rocks, cautiously making every little step, with courage,
even if shaking at times, even if the task seems big, the path incomprehensible, the balance
becomes pure expression, a discipline
Monday, 24 March 2008

musing
text 2008.03.25, musing, [absorbed in thought], musingly approaching some new scales of
notes, take a bath in them, shower them all around, rinse them, clear them, squeeze them,
shake them, and let them sound like bells, like cymbals, splash, crash, ping, ride, china, flat,
like gongs, like tams, like wind machines, storm metal sheets, squawk, squeak, squeal,
squelch, or in a totally different manner tune the instrument and let it speak almost by itself, in
a rhapsodic tuning

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Tuesday, 18 March 2008

thankyuuu
text 2008.03.18 thankyuuu, as if the sound of the phrase was a costume to nourish a playful
situation and exhibit a wide and very clear point to be communicated fast and almost
furiously, really dearly, in a refined attempt to seduce the ear and capture the attention at a
level of pure charm, seduction, attractiveness, connivance, as much as in a phrase like
didyuuumissmeee

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Tuesday, 19 February 2008

core
text 2008.02.19, core, the world seems more interesting since normal people give all their
might of publication and go beyond what the business attitude demands, what was unseen,
unthinkable, unheard is now sometimes anticonstitutionally popping
Posted by robertgrassi at 13:21 CET

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Monday, 4 February 2008

hard
text 2008.02.05, hard, hard to describe, hard as a fact, tense, arduous style, hard legs, relaxed,
variant, observant, jumpy, loud, hungry, ready to give different versions and points of views in
time, in space, in taste, in echoes

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Monday, 28 January 2008

know-how
text 2008.01.29, know-how, to put me in a certain mood and start a sort of conversation, very
open and not offensive, on profound topics, more sensual than actually intellectual, less
obscure than really unattainable, and giving this peculiar impression of liberal exchange, in
every aspect nonchalant

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Sunday, 20 January 2008

simple
text 2008.01.22, simple, sometimes the very simple productions carry a supplementary quality, this very
charm of modesty , this special impression of reality, accessibility, comprehensiveness, a certain feeling
of simplicity shared at the moment where the simple arguments are growing in value and taking their
grip into the flesh of art

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Tuesday, 15 January 2008

sensitive
text 2008.01.15, sensitive, in a disposition of trust with the audience there comes this special
sentimental state where the self consciousness is developing into pure gratuitous pleasure at
the moment the performance becomes absolutely playful even a little crazy at least over the
top of ones expectations and where the body is agreeing with the mind in a strange way that is
almost unconsciously at the limit of confidentiality but still simply violent and innocently
proud and abstract

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Thursday, 10 January 2008

force
text 2008.01.08, force, the body is ready to give a little more than usual to reach a position
that makes it possible to declare its super ability in doing difficult movements that could
produce great effect in a continuous effort to seriously keep all the strength together

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Wednesday, 2 January 2008

enthusiast
text 2008.01.01, enthusiast, naturally, as if the common language was marked by enthusiasm
and was given in its natural flow, as to convince, to invite, to share, to propose a condition of
mind highly energetic and leading to higher learning
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Tuesday, 25 December 2007

absolu
text 2007.12 25, absolute, daring, extreme, dissolved in the immense idea of a very fresh higher point,
very clearly arrested to delight, in position of force, in proud action, in balance, in flight, in difficult
progression, in peril, absolute, daring, extreme, dissolved in the immense…
texte vingt-cinq décembre deux mille sept, absolu, osé, extrême, dissout dans l’immense idée d’un plus
haut point très frais, très clairement arrêté au plaisir, en position de force, en fière action, en équilibre,
en vol, en progression difficile, en péril absolu, osé, extrême, dissout dans l’immense…

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inflect
text 2007.12.18, inflect, a part of a line of words that is meant to be stressed in a certain way
such as to make a sound effect that will change the meaning of the words completely or
slightly by influencing their reception by accumulation of commentaries relating to sounds
that may give supplementary meanings by the only shifting of tones, accents, volume, by
changes of speed, texture, by modulations representing moods, imitating every kind of noise
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form
text 2007.12.11, form, when the form comes out right, the ground of expression appears
suddenly in a position where the mind is suddenly ready to sing, to sing something endlessly,
to sing the discovery of art, the distance, the aggression, the straightforwardness, the
determination, the slight weaknesses, the new heights, the personal hints, the private talents

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Monday, 3 December 2007

preludes
text 2007.12.04 preludes to fix a natural excess of winds and rain or any sort of difficult
weather, anti songs to represent storms, passages on the sea that makes an adventure
completely subdued to the elements, returns of melodies to hold on something solid in the
middle of nowhere, buildings of sounds, forests of orchestrated treasures let to the only lines
that two hands can do in the actual ways to play music as a true amateur in dire vacations, all
kinds of physical achievements for every finger pressures and shocks, locomotives of notes,
rubatos that really steal the time of phrases full of sentiment, dying sensations in rhythmic
words, mechanical essays surpassed, feelings caricatured

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Monday, 26 November 2007

alert
text 2007.11.27 alert at the moment of expressing fine pleasure for a delicious expectation
containing a certain kind of danger linked to excellent taste and agreeable sensations or
exciting ideas and gorgeous feelings or splendid flavour and very attractive modes of
communications, a kind of discourse about brilliant sensations to be shared in crescendo, the
very sounds preceding laughter, the light tentativeness

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snapshots
text 2007.11.20 snapshots of fast motions with a funny movement full of thrill, heavy with
micro shakes and flashy tones, no stops, no explanations, simple jumps, quiet poses, quiet
pretences, unconscious prestige, firm stances, brilliant accesses to sympathy, to
comprehension, to interest

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much
text 2007.11.13 much favorable items to get to the point of what a large quantity of
information or musical significations or potential poetic sound systems can be profitable for
enjoyment and not exaggerated as a matter of fact, items selected to be in favour with the
much, the very much that can give a somewhat fantastic feeling of overwhelming without
taking the attention out of the music and without hurting the taste or the ear or the comical
side of expression, much, as much less is more and very charming, much is at least very frank

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Tuesday, 6 November 2007

hoops
text 2007.11.06 … hoops of steel shining in the dark, loud whispers and authentic giggles, …
busy street, slowed down traffic, … nightlights, quiet lights, … slender dancers, pretty faces,
… curly hair, light foot, … various positions, observation, … grace, speedy crush, … high
fortuitous emotion, long remembrance, … precious

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Sunday, 28 October 2007

language
text 2007.10.30 language constant action done meet words casual impression make state shift
courage wealth court lines beat health cast, a language in constant action done to meet words
in a casual manner giving the impression that the very make of language works by itself in a
state of lively actions that shift something resembling courage wealth fun on a tennis court
where lines are beautiful on the red ground at the moment when the beat goes up and health
cries to be broadcast

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Wednesday, 24 October 2007

fantasy
text 2007.10.23 fantasy, fantasia, fancy surprising performance, provoke forms, evoke
nonsense, surpass skill, ignore style, take anything as a tool, transform silly situations into
poems,

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Tuesday, 16 October 2007

soft
text 2007.10.16 soft scenes, light dreams, soft machine, dear facts, empty words, dear taylor,
rare looks, harsh steps, rare book, quick jokes, bonus tracks, quick mess, lazy music, wasted
lines, lazy zero, hot bridges, fond kisses, hot alphabet, tiny games, fast bikes, tiny mark,
sensitive skins, risky flights, sensitive scar, sapid roots, false roads, sapid ends, rocky regions,
icy beds, rocky contrast, crazy whispers, funny cries, crazy giggle, short message, dedicated
song, short wish

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Monday, 1 October 2007

toys
text 2007.10.02 toys, receptacles, impulses, manipulations, responses, resistances,
extrapolations, what is needed for helping concentration, for warming up, for dexterity,
rapidity, easiness, fluency

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Monday, 24 September 2007
distribution
text 2007.09.25 distribution of sounds in a stereophonic landscape in order to comply fully to
the entertainment of the ears, a theatre of sounds, a sonic show, a display of vibrations, a
construction of resonances, a conglomerate for the only pleasure of listening, a congruence of
sound colors, a battle of harmonic confettis

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outside
text 2007.09.18 outside the rush of intense championship there is a cool air blowing for the
refreshment of the calm volunteer who goes steadily towards deep understanding and this nice
smell invites many good fortunes and all kinds of experiences out of fashion

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public
text 2007.09.11 public conciliation through simple expressions of taste on a general basis of
what is more interesting and brilliant in the present epoch to share and explain to think about
to propose to present to compare and exchange and understand and enjoy

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Sunday, 2 September 2007

joy
text 2007.09.04 joy, exhibition, existence, fresh, laugh, leap, smile, feel, frame, center,
surprise, sense, complete, diverse, direct, distract

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Monday, 27 August 2007

attentive
text 2007.08.28 attentive self ready prompt quick spontaneous open for exchange, the self
looking for the other, a ready automatic interest, some prompt acceptance, the quick start of
adventure, a spontaneous oblivion of trouble, open not worried, for good, exchange

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Tuesday, 21 August 2007

distance
text 2007.08.21 distance, sweet remoteness of the stage, space effects, distance made by each sound
to reach the microphones, the ears, the walls, the floors, distance of the voicing expression, of the
possibility to freeze, to be not reached by usual attacks, to be distant and silent, to make a game
without sounds, to make holes in the noise, to absorb useless agitation, to make a nice sound as soft
as the air, to give an idea of distance, all kinds of ideas of distance, make go here and there, and
shake it a little, and the are movements, believe that a played back sound is stronger than the sound
played live
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Wednesday, 15 August 2007

notation
text 2007.08.14 notation, shortcuts, signs, symbols, tricks, links, accents, clusters, diagrams, charts,
elements, parts, lines, dots, spaces, positions, chords, segments, values, groups, clef, staff, figures,
ghost notes, what lazy ways to communicate music
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object
text 2007.08.07 object, interesting task, enlightening options revealed, attractive multidimensional
directions, curiosity plainly expressed in detail, argument let to be known openly, objective props
propositions positions possibilities time and space, rapid resolutions in feelings sensations ideas, natural
constructions for probable fits, list of all goods, state for art, representation action, being
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today
text 2007.07.31 today shoes, today attitudes, today hunger, today musical instruments, today
attentions, today skills, the very present day activities, the facilities considering the actualities, actions
in a short span, spotting, running,

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little hands
text 2007.07.24 little hand on the large keyboard, little hand on a heavy glass door, strong little hands,
intelligent hands, displaying a compact strength, exactly balanced with the whole small body, pushing
frankly the complete force from body to hand, easily but at the highest limit of power and will
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sublime
text 2007.07.17 sublime line of light on the length of the arm which weight and pure color take all the
attention waiting for a vocal twist that would give the skin a chance to be music
sublime ligne de lumière sur la longueur du bras dont le poids et la couleur pure prend toute l'attention
en attendant quelque vocalise qui donnerait une chance à la peau d'être de la musique
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Monday, 9 July 2007
pause
text 2007.07.10 pause, the river of notes is frozen for that while, press pause and it flows again, the
precise length of the pause playing this dramatic event, the cut, cut!, and cut! et caetera, the reset
effect, the restart, the beginning of a new idea to come up in the line, language controlled again after
different kind of reflection
Updated: Monday, 9 July 2007 17:07 MEST
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Monday, 2 July 2007
adventure music
text 2007.07.03 adventure music, a kind of art where music is maybe not what it is expected
to be, musical, transcendent, emotive, obsessive, allusive, and maybe not also what it is
normally accepted as anticonformist, antiestethic, active, provocative, concrete, and even
maybe not poetic, but simply adventurous, bold
Updated: Tuesday, 3 July 2007 17:05 MEST
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shaking
text 2007.06.26 shaking!, slightly!, in a state of real observation!, but striking?, fixing firm positions?,
absolute equilibrium?, as long as it is needed?, to impress the memory!, to reach the bright facts of
art!, the sincere expression!, and feel impressed?, overwhelmed by a personal expressive particular
shake!
Updated: Thursday, 28 June 2007 17:30 MEST
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thirst
text 2007.06.19 thirst for knowledge! heat!, distance! thirst! self control of the senses, variations of
speed, depths of tone, interested, potent, attracted by the unknown, ready to make something of the
limited capacities, the falsenesses, cope with the differences between the high scopes, the largest
views, and the real ability to please, more or less cold blooded
soif de connaissance! chaleur! distance! soif! self control des sens,variations des vitesses, des
profondeurs de tons, intéressée, puissante, attirée par l'inconnu, prête à faire quelque chose des
possibilités limitées, des faussetés, assumer les différences entre les hautes possibilités d'actions et
de pensées, les vues les plus larges, et la réelle qualité d'être capable de plaire froidement
Updated: Wednesday, 20 June 2007 20:29 MEST
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aaaaaaaaaaaaa
text 2007.06.12 aaaaaaaaaaa eeeeeeeee iiiiiiiiiiiiiiiiiiiiii,

dedeeddededededeeedededededededededededeeeeeeeeeeeeee, woooooooo. wwwwwwooooooooo,
po po po po poo pooooo poooooooo poopoo, gitttttttttttt git guit gouit, ha ha hha, ha! haaaaaaaaaaa!
hey! hiiiiiiiiiiiiii ha ha chhhhhhhhhhh ch kek kkk k k k ke khe khoe, b b b bi bbe oi oi oyoy
oyoyoyoyoooyyyooyoyoyoooyoyo! (di d di id sdi ihsdi ik ik ik ki ki ko ko ik ), rrrrrrrrrrrrrrro. rrrrr r r r r
rrrrr gittttttttttttttttttttttttttttttttttttttttttttt, oririrri r r r kik rho, met! mat! mw! ,
nnnauoineuannnnannnoeuenanunauaoeunanau. xe xuiei
ixaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeiiiiiiiiiiiiiiiiiiii, ttttttttttttttttt ti
ttit tt t tt gotttttttttttttt t gattttttttttttttttttttttttttttttttttttttttttttttt!
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Monday, 4 June 2007
perform
text 2007.06.05 perform when the audience is far enough not to disturb a precious intimacy, a cautious
construction of personal thoughts, a pure improvisation, a unique mode of expression, a powerful set
of feelings, a determinate want to built forms, series, cascades of supreme impressions, perform with
security
Updated: Monday, 4 June 2007 17:32 MEST
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Saturday, 26 May 2007
cool
text 2007.05.29 cool, almost cool, almost stylish to perfection, and let ones own expression take a step
over the radiant state of a system controlled to the maximum, and accept a weak position, in
disagreement with plenitude, completeness, the grand class freshness, the vivid brightness of the
cutting, the superior, the faultless, the irreproachable, the brave cool, and let the inhuman be forward
and in disorder, and let detach of the reasonable, of the very beautiful, the very nasty, of the real
modest, of calm, and propose to be not enough, not enough, not enough formed, not enough
blooming, and this to permit something to exist otherwise than through fiction
cool, être presque cool, presque parfaitement stylé, et laisser sa propre expression prendre le pas sur
l'état radieux d'un système controlé au maximum, et accepter une position de faiblesse, en désaccord
avec la pleinitude, l'aboutit, la fraicheur grande classe, l'éclat vif du tranché, le supérieur, le sans faute,
l'irréprochable, le cool bravache, et laisser l'inhumain en avant et en vrac, et se détacher du
raisonable, du vraiment beau, du vraiment moche, du vrai modeste, du calme, et proposer de n'être
pas assez, pas assez, pas assez formé, pas assez épanoui, et celà pour permettre à quelque chose
d'exister autrement que par la fiction
Updated: Saturday, 26 May 2007 16:34 MEST
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Friday, 18 May 2007
air!
text 2007.05.22: air! the salt in the air, the sandy beach, the irrepressible need to run, be wild, shout,
feel sweet, feel the immensity, track the color shades, observe every little detail, smell wind, hear pure
noise, play like a crazy dog, prize solitude, chaos, desolation, emptiness, appreciate silliness, consider
foolishness, innocence, fantasize about the wild, the violent effects of nature, the possibility of a fair
fight with the elements
air! le sel dans l'air, la plage sabloneuse, l'irrépressible besoin de courir, être sauvage, crier, s'attendrir,
sentir l'mmensité, chercher les dégradés de couleurs, observer chaque petit détail, respirer l'odeur du
vent, écouter du bruit pure, jouer comme un chien fou, estimer la solitude, le chaos, la désolation, le
vide, apprécier la bêtise, la folie, l'innocence, rêver éveillé du sauvage, des effets violents de la nature,
de la possibilité d'un combat honête avec les éléments
Updated: Friday, 18 May 2007 14:45 MEST
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Monday, 14 May 2007
zeal
text 2007.05.15 zeal, the very zeal chosen to indicate with an elegant movement of the finger a thing
impossible to tell, zeal of a chosen position as a challenge to gravity, in equilibrium on infinite
movements of the torso and the shoulders, controlling the thin oscillations of a whole which would be a
center, an equation, an in-between, a fraction of space, time, emotion, acceptance of a state close to
vegetal state but with an animal action
zèle, le zèle choisi pour indiquer du doigt une chose indicible avec un mouvement élégant, le zèle
d'une position choisie comme défiant la gravité, en équilibre sur des infinis mouvements du torse et
des épaules, controllant les fins ballancements d'un tout qui serait un centre, une équation, un entre
deux, une fraction d'espace, de temps, d'émotion, d'acceptation d'un état proche de l'état vegétal mais
avec une action animale
Updated: Thursday, 17 May 2007 18:23 MEST
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Friday, 4 May 2007
stark
text 2007.05.08 stark, and with something personal in the simplicity of expression, desolate, bare,
complete, complete and extreme, crude, perfect
Updated: Friday, 4 May 2007 17:07 MEST
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Friday, 27 April 2007
geniality
text 2007.05.01. geniality! favorable to growth or comfort, cordial, gracious, sociable. genius! a strong leaning or inclination, a
distinctive character, strongly marked aptitude, talent. genitive! of! relating to! or constituting a grammatical case marking typically
a relationship of possessor or source. generous ! free in giving or sharing, high-minded, ample, copious, openhanded. gentle! kind,
tractable, not harsh stern or violent, soft, delicate, moderate
Updated: Saturday, 28 April 2007 15:24 MEST
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active
text 2007.04.24 active at the source of decision on whatever expressive and dynamic sound
(full of fantasy and rich by all its qualities), very special, very profound, very well presented,
very meaningful, heavy with signification, organized with the action, as the action, for the
action, around the action, directed, controlled, lived as a possible act on history, performed
with all kinds of different cares at different levels of expression, activity as a whole, as
something absolutely personal, in public
actif à la source des décisions sur tous les cas d’expression et de dynamique d’un son (plein
de fantaisie et riche de par toutes ses qualités), très spécial, très profond, très bien présenté,
très plein de sens, lourd de signification, organisé avec l’action, en tant que l’action, pour
l’action, autours de l’action, dirigé, contrôlé, vécu comme un acte possible sur l’histoire,
performé avec toutes sortes d’attentions différentes à des niveaux différents de l’expression,
l’activité comme un tout, comme quelque chose d’absolument personnel, en public
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measure
text 2007.04.17 measure almost everything in the natural shapes that come along
with the precious abilities of movements, accents, positions, sonorities, colors, glide,
texture, fantasy, research, measure
mesurer presque tout dans les formes naturelles qui viennent avec la précieuse
habileté de mouvements, accents, positions, sonorités, couleurs, lustre, texture,
fantaisie, recherche, mesure
Updated: Tuesday, 17 April 2007 20:17 MEST
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memory
text 2007.04.10 memory is to be organized like a piece of music, and then re orchestrated as many
times as it is pleasant to fit all kinds if approaches of a totally knew conception of taste, if memory can
help to find what does feel the best, then a piece of music can help to find what can last this certain
amount of time of the experience of these best feelings that memory can only represent without tempo,
without sequence
la mémoire doit être organisée comme une pièce de musique, et ensuite réorchestrée aussi souvent qu’il
est plaisant de correspondre à toutes sortes d’approches d’une nouvelle conception du goût, si la
mémoire peut aider à trouver ce qui éveille le mieux les sentiments, alors une pièce de musique peut
aider à trouver ce qui peut durer cette certaine quantité de temps de l’expérience de ces meilleurs
sentiments que la mémoire ne peut que seulement représenter comme un état sans tempo, sans
séquence
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Saturday, 31 March 2007
ho!
text 2007.04.03 ho! yes that is what it is, the expression of a deep super sweet feeling, the pure
sound of a sensual word.
ho! oui voilà ce que c'est, l'expression d'un sentiment profond et super doux, le son pur d'un mot
sensuel.
for instance a longer hooo! while giving a precious enormous hug to a giant pikachu, hooo! for the
discovery of a beautiful landscape, for the fine sentiments of all kinds.
par exemple un hooo! plus long et celà en embrassant dans le moment précieux d'une énorme
étreinte pour un pikachu géant tout jaune et mignon, hooo! pour la découverte d'un d'un beau
paysage, pour des sentiments délicats de tout ordre.
super cute, cute to the limits, cute as a position of power, cute in the face of the world, cute as a
weapon, cute in the way cuteness can lead to passing out.
super mignon, mignon à l'extrème, mignon comme une position de pouvoir, mignon dans le visage
du monde, mignon comme une arme, mignon dans le sens où le mignon peut mener à
l'évanouissement
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Sunday, 25 March 2007

time
text 2007.03.27 time for a spring conversation, take for granted we can talk and talk and let the time
pass just by telling funny things and making all kinds of great laughs, and if a conversation was a piece
of music, a music made for taming and sweetening, or made to make acceptable sudden almost
aggressive attitudes, and what if this music was a caricature of springtime, a caricature of the nice
season, the nice feelings of rebirth, the timid tries of every little flower through the snows, conversation
of the melting ice, music of the liquid air
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surrender
text 2007.03.20 i surrender to this kind of crazy art, this kind of liberal expression, this kind of explosive
sexiness, i surrender to that big fat loud noisy sound that flows into me, i fall on my knees for those
allusions to noise, to violent bursts of vivid material, i am so given into groovy stuff, i surrender to all
that simple way to make art, to make new with anything, to invent from scratches, to take what is
already done to make it sound brighter, i let what i want to say to be comprehensible, i want to say it
straight, i want to lead my thoughts where it is easy to flourish, i surrender to all the deep and sincere
sounds, the ones that come first when i am on a good groove, the ones that precede my will to do well,
this kind of art is general, this kind of art is only the top of what i can expect, general music
Updated: Sunday, 25 March 2007 19:46 MEST
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Tuesday, 13 March 2007
"don't" "care"
text 2007.03.13 don’t care at all, don’t listen too much, don’t follow the loudest, don’t believe
in artifice, don’t let the dominant faculties get involved with direction, don’t shout for
nothing, don’t loose the beat, don’t leave unanswered details in the middle of the field, don’t
pass anything, don’t forget a thing, don’t sleep before during and after excellence, don’t mix
what is not complex, don’t let good humor go so fast, don’t make a grin for temporizing, don’t
squeeze difficult movements, don’t spare a dime for a laugh, don’t even think of rudeness,
don’t make a long story short, don’t teach, don’t explain, don’t let anything hinder the
performance, don’t care
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Monday, 5 February 2007
wait
text 2007.02.06 i wait, i wait in the line, i can hardly consider your stunning looks, you radiate, i take
what i can, a kind of inspiration, and you reward me with your calm excellence, with the sweetest
attention, and somehow with this playful excitement fusing different shapes of attractive attitudes, i am
charmed, all of me say yes to all of you, and your happy sensuality, your natural sense of humour, which
worth everything, sends me the best good bye ever
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dear
dear ** *
dear supreme **
who sings in me
every day it doesn’t rain
and tells me tales of whizzing
riotous beauty
any night it does
supremely lightly and supremely deeply
or storms my mind in musical shatters
every day it rains

and does (what so ever frequently)
weave luxuriant realities that fits me wholly
when (and if) it snows (at all)
in all ways dear ** * you are
the real thing (sweet and intense
with a refined conscience that
waters and pours ultimate pleasure with
grace in action and release in motion and stillness
interlaced perfection and bliss)
with a plus sign
texts performed in the web radio show [contempo] on www.basic.ch by robert grassi
Wednesday, 24 January 2007
text 2007.01.23 for not a violent poetic not subject exaggerated ...
(word by word mix of the texts of the two previous weeks)
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Saturday, 13 January 2007

not
text 2007.01.16 not violent, not exaggeratedly expressed, not compressed, not let free as a personal
dream, not a guitar solo, not a single note on the move to hint any crying, moaning, urging, twinkling,
whizzing, brutalizing the strings, not what expression can do to over drive, to exemplify, to destroy, to
limit music
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Saturday, 6 January 2007
pour un sujet
texte 2007.01.09 pour un sujet poétique ou les mots dégoulinent en jolies traces, on pourrait
se proposer d’évoquer aussi des idées inespérées, cachées derrières de vieux souvenirs dix-
huit cent soixante-dix-huit, dix-neuf cent ou mille neuf cent soixante dix-sept ou deux mille
quatre, on pourrait mélanger des impressions de relectures avec des franches découvertes et
avec des petits souvenirs du genre petit crush amoureux, ou autre poétique démarreur de verve
text 2007.01.09 for a poetic subject where the words drip in pretty traces, one could propose
oneself to evoke also undreamed-of ideas, hidden behind old souvenirs of eighteen hundred
and seventy-eight, nineteen hundred or nineteen seventy seven or two thousand and four, one
could blend rereading impressions with frank discoveries and little remembrances in the kind
of a little love crush, or any other poetic trigger of verve
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Friday, 29 December 2006
mistake?
text 2007.01.02 but now how is the if or the when or the maybe and the as if or maybe not or perhaps
and no doubts and assuredly and unmistakably
mais maintenant comment est le si ou le quand ou le peut-être et le comme si ou le peut-être pas

ou peut-être et sans doute et sûrement et sans erreur

Updated: Saturday, 6 January 2007 22:16 CET
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Saturday, 23 December 2006
hard
text 2006.12.26 hard strings are what some fingers need, hard in the sense of large in diameter, a string
responds to the fingers, the tips of them, the fingers like to measure all kinds of parameters, their own
strength, their agility, their intelligence, their independence, the strings are so well felt when they are
hard enough to receive hard enough pressure, touch, bend, and all what a left hand can do
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try
text 2006.12.12. try, distinguish, carry the shades of a happy language, roll over the petty feelings, the
mocking tones, the faint outrage, the experimental points of views, try not to test, not to try
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french, from french
text 2006.12.12 french, from french, french, the normality of french, french
as a media, french on many occasions, on all kinds of descriptions, as of
long sentences of smooth eloquence, french as nothing else, french to
distinguish tiny sounds, french in the nose, in the forehead, as if the
tongue in the mouth is a pretty organizer
français , du français, français, la normalité du français, le français comme un media, français on many
occasions, dans toutes sortes de descriptions, as of long sentences of smooth eloquence, le français
comme rien d'autre, le français pour distinguer des subtilités du son, français dans le nez, dans le front,
comme si la langue, dans la bouche, est une jolie organisatrice
Updated: Tuesday, 12 December 2006 19:29 CET
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Thursday, 30 November 2006
text 2006.12.05 refined literature for the sole goal of making a luxury action in the style of putting more
wood in the fire to feel the good warmth closer and breathe in a brighter fashion refined because able to
wake interest because unexpectedly lustrous because complicated for the sake of complication because
radically brilliant even if sometimes non aesthetic or not artistically profound or not at the level of what
can be appreciated as a pure explosion of joyous literary points
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Saturday, 25 November 2006
a song
text 2006.11.28 go(oo), show(oow) to be(e...) equal to zero(00), with sweet evanescent beings
to evanesce to fade away, a slight terminal sound, as the faint (oo) heard after the (o) in go(oo), in
fact, with the dearest of all girl, and intransitive verb, i am a vanisher. (phonet., math., stem, see
evanesce), to disappear from sight, to feel the right nymphs, in the waters, that come along,
through, their liquid paths, and soon they will wrap me, into waves of the most, subtle,
caresses [lou reed, vanishing act (2003), funk and wagnalls standard dictionary (1958), italo
calvino, il richiamo dell’acqua (1976), james joyce, Ulysses (1922)]
(actual orthography for microsoft sam)
go. show. to be, equal to zero, with sweet evanescent, beings, to evanesce, to fade away, a
slight terminal sound, as the faint, oo, heard after the, o, in go, in fact, with the dearest of all
girl, and intransitive verb. i am a vanisher. phonet, math, stem, see evanesce, to disappear
from sight, to feel the right nymphs, in the waters, that come along through their liquid paths,
and soon they will wrap me, into waves of the most, subtle, caresses [loo reed, vanishing act
(2003), funk and wagnalls standard dictionary (1958), italo calvino, il richiamo dell’acqua
(1976), james joyce, Ulysses (1922)]
Updated: Tuesday, 28 November 2006 20:08 CET
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oeuvre d'art
chère madame,
j'ai bien reçu et pris note aujourd'hui de la décision de suisa de ne pas payer de droits d'auteur pour
mes 262 heures de musique composées en 2005-2006, bien que déçu, je profite pleinement du
poids symbolique que cette masse de musique représente en matière de culture,
et je vous envoie mes meilleures salutations robert grassi
http://en.wikipedia.org/wiki/User:Robertgrassi
Updated: Tuesday, 28 November 2006 20:10 CET
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Sunday, 19 November 2006
since
text since 2006.11.21 since a strong voice is singing a long time and ends it with a little tricky
charm, since it might be repeated several times and in many slightly different manners with
charm, since these many ways of brilliantly making the voice ring and sound like quick stabs,
since nobody would fail to notice that the tone of this voice that cries almost is fully charged
of certain quality of passion, a passion that ends all questioning, that forbids all answering,
that burns but doesn't consume, destroy, since silence sometime tells the same quantities of
noise, for instance when well dressed, well cured, well escorted, well fed, well cared for, well
taken by the hand, one does not answer to little marvels
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Friday, 10 November 2006

mode
text mode 2006.11.14 my mode is the mode of the moment, the mode permits to relax into a definite
environment of memorized sounds, not only notes, but normally notes give the tone and urge the voice
to imitate and follow somehow the tones through the scale of notes, and this makes a powerful device to
give the impression that a voice can stabilize
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Wednesday, 1 November 2006
any
text any 2007.11.07 any pair of media put together will make a certain effect, this effect
seems to go over every possibility that each of the media considered can have for itself,
and over the limit of the very texture of each of them two. any music over any film scene
will make an intellectual effect, it will always make as many as unexpected and
psychologically efficient impressions of coincidence and harmony and counterpointal
occurrences as it is possible, it will in any case influence the viewing of the images in its
continuity and influence the listening of the music in its continuity also. a very finely
crafted music or photograph will always make a respectable effect on any lousy film
scene or any performance and the contrary is also true, any good film scene or
performance will be magnified with the lousiest music as an effect of poverty or sardonic,
sarcastic, ironic, or whatever comic or realistic or other kind of revelation such an effect
can produce to the ear and eye. to get the maximum pleasure out of each of the two or
more media put together is the art of the mixer of media, the art of giving sense to the
mixing of the media is often left experimentally to the listener-viewer but mainly it is also
the task of any mixer of media, what is simple and complicated in the mixing is on what
the mixer of the media will concentrate his forces, new emotions, new sensations, new
possibilities, new conceptions, new visions of the beautiful and of the bold. any worth of
pleasure is sometime drawn out of the possible interactions of some media just put
together for the shocking effect that it can produce and procure and stimulate and
insinuate and instigate and understate, or whatever, any quantity of the pleasure or
gratification or emulation or effect on the conscience or any thing also if its repetitive and
short or lasting effect on the memory or on the possibility to understand or to be lost or
to be miscarried or confused or put in a certain state of attention that give some poetic
sensations or any feelings that can be compared with a sense of panic. on a small bridge
with no car circulation a very little girl run at the top of her lungs, she is so excited by
the fact that she can run freely ahead of her parents, that it is full night, that she tries to
cope with the race of her bigger brother, that there is some amazing color light tubes in
the middle of the river where this bridge is leading, that she may be attracting my
attention, that her voice resonates all and far around
Updated: Saturday, 11 November 2006 17:45 CET
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Thursday, 26 October 2006
in
text in 2006.10.31 in a nice dimension of time and space and mood and temperature and all that make it
nice to be listening to a sign, to a knocking, to a thin strings of water, to the questions, to the semi cries
of surprise, in the supreme pressures of calm, in the path of granular shapes of drum rolls and cymbal
slashes and swishes and crashes, in the good and delicate manners of and old master, in the easy ways
of the connoisseur, in the right spirit for playing, in the plot of the musical piece, in the shape of what is
consistent and smart and waterproofed
Updated: Thursday, 26 October 2006 21:52 MEST
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Friday, 20 October 2006
speak, throw
text speak 2006.10.24 speak, throw away, put forward, extirpate, obviate, resume, explain, put together,
sonorize [add sound, install a public address system, install a sound system, add the sound
track], extemporize, speak, talk, speak, speak, there is some news i want you to know, would you accept
an invitation at northanger abbey and leave bath as soon as possible, your parents agree with the idea,
your tutor is maybe not informed already, we all would be delighted to have you, speak, speak fast,
speak regularly, speak with importance, speak with facility, speak for the sound of it, speak in a disguised
voice, speak after everybody,
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Thursday, 12 October 2006
information,
text information 2006.10.17 information, information, information, information, not merely

communication, not only action, also something else than making ones presence known, something
charged with information can stand many kinds of approach, many deliberation. information, even if not
communicated is always holding its weigh of resource, communication for the sake of communication is
an empty signal just meaning this is communicated, but information says nothing particular about the
fact that one has to be communicated something. music in the simple shape of a communication purpose
is not what music could be if proposed as information
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Friday, 6 October 2006
quick
text 2006.10.10 quick sensations, at the limit of perception, that is, there, where action is ready, where
the possibility are almost unknown, where what is known is looking like the impossible, exaggerated,
emotive, at the limit of the quick impression, quick sentiment, quick and long lasting, quick but not super
fast, quick and maybe bouncing irregularly and lightly, and mostly following an impulse as simple as
light, as ragtime, as the red of a tree bark, of an impossible dress, as the yellow frames, as the minute
clicks and the maxi brunts, as the refusals in a sweet story, as the position of a stage in a poor festival,
as quickness can add to liveliness,
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Friday, 29 September 2006
and what,
text 2006.10.03 and what, an innocent link, a simple passage between this and that, ornamental, and,
and more, and always other comas, periods, all kinds of sentences or words to connect, a plus, a
multiplication, plus an addition, many occurrences, a lot of congruences, transitions, organization,
supposition, superposition, comparison, exposition, exhibition, expectations, hypercriticism,
performance. and, and what, and, and, and, or what, and, and is a relief, a new start sometimes, a
possibility for respiration, perspiration, exultation, ignorance, illusions, oblivion, affirmation,
explanation, exemplification, or simply the formation of a sentence. the feeling of innocence, the
feeling of simple transitions, the feeling of being able to understand the smallest mode of
communication, understanding the minimum aggressiveness of a liaison of ideas
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Tuesday, 26 September 2006
work of art
Genève 20.09.2006
De Robert Grassi 9, Mme de Staël 1201 Genève contempo@basic.ch
à SUISA 11 av. Grammont 1007 Lausanne
Voici 746 minutes diffusées dans mon émission de radio internet sur www.basic.ch.
Cela fait suite aux 14.986 minutes déjà déclarées, ce qui fait donc 15.732 minutes de mes œuvres
diffusées de cette façon.
Les plus de 70 heures (4214 minutes) de ces œuvres composées pour mon émission ont été déclarées
depuis le 08.03.2005 jusqu’au 12.09.2006.
Voilà donc environ 262 heures de mes oeuvres diffusées ainsi, sans que je reçoive encore aucun droit
d’auteur.
En espérant que vous pourrez trouver une manière de m’en faire parvenir quelques uns, veuillez recevoir
mes meilleures salutations. Robert Grassi
contempo 2006.07.18 tit 2006.07.18 [64’] x 2 = 128’ + texte
whale 2006.07.18 [43’] x 2 =86’ + texte
=214’ – 39’ = [175’]
contempo 2006.07.25 izzo 2006.08.01 [63’] + texte
panda 2006.07.11 [28’] + texte
tit 2006.07.18 [64’] + texte
whale 2006.07.18 [43’]

= [206’]
contempo 2006.08.01 very 2006.07.31 [61’] + texte = [61’]
contempo 2006.08.08 fast 2006.08.08 [57’] - 15’ + texte = [38’]
contempo 2006.08.15 sneak 2006.08.15 [63’] + texte = [63’]
contempo 2006.08.22 ever 2006.08.22 [63’] + texte = [63’]
contempo 2006.08.29 chord 2006.08.29 [62’] + texte
text 2006.08.08 fast [0 :31’’]
text 2006.08.15 sneak [0 :24’’]
text 2006.08.29 chord [0:35’’]
text 2006.08.22 ever [0:41’’]
= [64’]
contempo 2006.09.05 62 texts for contempo [80’] = [80’]
contempo 2006.09.12 appeal 2006.09.12 [58’] = [58’]

746’
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Friday, 22 September 2006
a thick document, a sympathetic objection to the deep
text 2006.09.26 a thick document, a sympathetic objection to the deep, deep as australia, and
digging and digging and finding that nothing can be further than the antipodes. thickness promises
sometimes relief for the searcher full of courage, thick is cool, every other thin documentation or
thin document or thin explanation is possibly proposed to the lazy to the amateur to the one who
wants to refuse to renounce to the sublime, or something like it, like the extreme power of
expression, thick documents to fight lightness and to excuse omissions, justify all the time spent to
build all of it, while thin and fast explanation is always in danger, or maybe it is the contrary, or
maybe it is not a matter of thickness or thinness but rather a matter of rhythms and other ideas of
giving a voice to musical dreams or even find a striking manner to make the voice appear into a
piece, a piece that is meant to stand as a change in attitude, habit, stature, a piece that is
supposed to give some relief against the heaviness of the past, of the large bigness of the past, of
the repetitions of the illusions of the hypnotic propositions of the too much authority and not
enough artistic in the old stuff nobody stands, for sure, but at least can take it with humour and
can rebuild something with it, those streams that are meant to nourish a line of musical research,
of experimental music, of experimental electronic music, of the passages of the poetic from the
text to the music and vice versa, of the apparition of sensitivities and susceptibilities and emotive
aspects or impression that a false voice can give, as much as a real voice can give maybe in too
much a fashion, considering the text, maybe the real voice is too thick, maybe the false, mechanic,
artificial, robotic voice is just poetic, thick poetry
Updated: Sunday, 24 September 2006 19:07 MEST
Sunday, 17 September 2006

clear, it is evident,
text clear 2006.09.19 clear, it is evident, no doubt, i see it all. (this could be an impression while listening
to some piece of music) i feel something, i am in a mood produced by some sounds and musical forms!
(hey, this would be what a connoisseur would ejaculate) what is it happening to me i am over excited by
this loud sound system, sometimes i feel the same way at a low volume too, but i have to be well
concentrated. (what? who is ever talking like that!)
Updated: Monday, 18 September 2006 18:45 MEST
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Tuesday, 12 September 2006
appeal!?,
text appeal 2006.09.12 apostrophes, exclamations, exuberance, arousal, what is appeal? it is waiting!
what is it to be involved by an extrasonic touch? what is listening and being ready for the thundering or
the littlest vibraphonic eventuality? ex silence! ex nuisance! ex ignorance
Updated: Tuesday, 12 September 2006 19:36 MEST
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Friday, 25 August 2006
chord of something
text 2006.08.29 chord of something a chord is approaching the idea of noise noise is what holds
authority authority leads to meeting meeting helps attention attention revives attraction attraction
removes fear fear makes silence silence is music music is chord chord is sweat sweat droplets are
made to shine sometimes like chords of impossible position and articulation and heat and sometimes
also a chord is simply time in suspense
Updated: Friday, 25 August 2006 18:28 MEST
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Friday, 18 August 2006

ever green / dropping
text 2006.08.22 ever green / dropping of tiny droplets of fresh / diaphanous / transparent but not too
much / showing the differences of tones a green river green as nothing else and never green the same
way / ticking and making the fluid noise of constant excursion / the permanent movement / being taken
by the current and feeling at ease in it and even refreshed and inspired and relieved from the craziness
of the town the complications of the roads and the air so dirty / passing from one noisy street to that
softly noisy river feeling all the hopes of forced speed towards and idea of a skiff
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sneak to a view
text 2006.08.15 sneak to a view of the lovely bend stand or brush peak in the sweet progress access to
some of the quick lively ambush in the middle of the beats step into attentive parallel sighting watching
blinking hard attraction but very careful quiet and cool watch crossing at the heights of the forthcoming
glaze ease out-stand overwhelm go
Updated: Monday, 14 August 2006 18:49 MEST
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Saturday, 5 August 2006
fast moves
text 2006.08.08 fast moves fast thinking fast operations fast reactions fast tricks fast emulation faster
and quicker speedier ideas of velocities responsiveness rapidities exentricities exagerations swiftness
agility expressiveness regularity in all what motion is concerned the apparent stance is immobile with a
high buzz showing the tiny vibration that indicates movement a cat ready to attack with his dreamy eyes
wide open speed is readiness
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Sunday, 30 July 2006
very light
text 2006.07.31 very light ways of saying things and not infantile at all not at all far from playfulness and
exuberance and sweet charming images and narrative in full hypnotic mode not infantile not regressive
to the center of the world sucking engine not helpless not hypocritically sweet and cute just frankly
radiant and whatever happened every piece of the narration is a perfection in itself in its positioning in
the phrase in the period in the time in the correctness and the great fluency in a bath of fun and healthy
correspondences in a permanent flux of nice sounds nice orthographies nice repetitions and there in the
middle a lot of allusions to high styles to lazy motions to the maximum forgetfulness
Updated: Sunday, 30 July 2006 19:19 MEST
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Sunday, 23 July 2006
izzo 20 is the tiltle

text 2006.08.01 izzo 20 is the title of a painting by victor vasarely in the seventies it is red in different
shades gradually displayed among and around a good number of cubes piled up in an aggregated
posture of unique innocence the effort of the eye goes to play in a game of movement given by
perspectives and optical illusions the game is soothed by a perfect set of red temperature it is hot
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Tuesday, 18 July 2006
a little point well defined

text 2006.07.18 a little point well defined in space in time in a situation in a piece of music in
photography in a relation with other elements and tools and sounds and colors a point that is distanced
with just enough energy in a powerful movement that merges all kinds of waves and is hiding all
manners of playing with a material well refined points and well arranged and displayed and secured into
a frame ready to express the maximum full rich and exemplary forms a whale a tit a giant and solid
piece of perfect points and a small point to get a centered start
Updated: Tuesday, 18 July 2006 19:22 MEST
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Saturday, 8 July 2006
panda
text 2006.07.11 panda is good looking panda eats bamboo panda is black and white panda is having fun
with small objects and is wondering in silence what kind of noisy grunt a stomach can do panda is going
slow sometimes and sometimes faster than no one has ever seen in some special situation where things
have to be done frankly and directly and with no differences of delay remarkable or almost noticeable
panda has a soft fur and soft paws and a soft nose and a nice color in general
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Thursday, 29 June 2006
as every dot sprinkled

text 2006.07.04 as every dot sprinkled on a chart is able to represent a note to be played as any written
sign can describe what is to be done as all the kinds of signals permit allusions to be taken as triggers to
react as quickly as possible as what is proposed is composed as if what is produced as a sound creation
as a sound form is only noise if it has not been proposed and presented and prepared as a piece of
musical event as it is described by its self abilities to convince the ear that what holds the tensions and
the fractions of beats of nuances of strength of what color can be expressed of what taste can be
conveyed and used
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Friday, 23 June 2006
fine granular
text 2006.06.27 fine granular sensation of a sensual message transmitted with loud expression in
between relief anger excitement laughing and coughing joking and swearing a modulated shout a
warning sounding vocalize a bizarre way of saying a phrase with not the usual tone a new line never
explored before a brand new original mode of speaking some truth some own and personal feelings some
fresh discoveries about oneself at the expense of a new mode of expression committed by a vocal effect
a vocal image of a dream about oneself a dream of action and strength a materialization of self into a
vocal image and the modulation of it and the expression
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insecure but magnificent sounds

text 2006.06.20 insecure but magnificent sounds that call as a warning insecure and blushing and
frightened as well as trying and daring non the less to cross a difficult step in the fascination of discovery
and self consciousness and of the ability to continue an action even if insecure these sounds produced
like this with trembling hands and voices are able to inspire a finer understanding of the meaning of an
art if there is any involved or the meaning of a sudden act of discovery the facts of an adventure in
progress / quick steps but very careful and very touching because they carry the easy and nice effect of
grace / the light paces over an unstable looking event or objective / the frivolous walk into the unknown
/ little steps
Updated: Wednesday, 30 August 2006 19:16 MEST
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in suspension
text 2006.06.13 in suspension sitting in the perfect motion of a wheel of a regular beat of a buzz of a
silent bicycle / sigh given as signal as a wave as a brand as a source as a promise as a compliment as a
prelude / a sigh as a soft engine as a waiting instrument as a work in progress / a crazy wink in
suspension between a sigh and a progression / a wish
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sing randomly
text 2006.06.06 sing randomly in this unhappy manner expressing rage or milder sorrows sing for
whoever forbid some fantastic words to be transformed in action sing to stop the course of things and to
make a statement of the things wanted to be described and the moves executed / passings of tones in
different manners that hold attention and make a warning of every new and unheard modulation / make
it say a dimesion to travel make it a form make it still and vibrating make it a marking stamp / also be
silent between the steps and give a form to the come and go the walking the rhythms the attack / jump
to change the course of whomever can lead the steps and paces that can not be given a direction jump
to say a singing bit of difference / watch for what or who finds perfection and wants to explain and wants
some explanation and wants to understand and maybe wants to sing / watch and decompose watch and
catch
Updated: Tuesday, 6 June 2006 15:39 MEST
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Monday, 29 May 2006
emotive to the special

text 2006.05.30 emotive to the special qualities of a sound constructed into a kind of machine able to
create more effects of sounds with sounds that is making go trough the sensitive manners of music
making and the suave affairs of emotion and sounds and silences and surprises and touching revelations
about the simple conditions of the productions and the inventions and the occurrences of the sounds the
notes the arpeggios the scales in progress the stops the clouds of sounds the trajectories the quotations
the measures for measures the distortions the twelve right keys the portamentos the glissandos the low
frequencies oscillator's controls the tempest of the mix the saturations the possible concurrences the
exaggerations the lightness of the musical propositions the easiness with which the music is portrayed as
music and nothing more with the simple and only anti material anti matter anti everything solid with a
demonstration of what matters for a musician at the moment he presents his music and what he thinks
about his time and how he deals with what he can do with something as thin as music to describe
anything the destruction of a musical idea by an other musical idea and the resulting effect of that
according itself with a third musical idea and progressively trying into each other and tying knots and
untying knots
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Friday, 19 May 2006
a young voice
text 2006.05.23 a young voice goes through almost all the noises if it is justly violent and justly over
sensual and if it is almost breathless and in a sublime attempt to express more than it is possible and if it
is breaking all the rules of the natural rhythmic execution of the language a young voice which have the
energy to let itself go fluently enough to survive drowning and doesn't know suffocation that is a voice
that could speak under water that would talk in the hardest wind that will never suffer to be always too
loud even in whisper and too aggressive to be considered not dangerous at all a young bit of voice which
wants to sound like the voice of a scientist and the voice of a pirate at the same time if the voice repeats
a text while thinking how to make the text's place to play with imagination and extemporizing heat and
multiplication of all kind of little stories between the bits of text then this voice may be expressing much
too much / now if the young voice does improvise or does relate sensations or does tell anything from its
own invention or does imitate other stories or voices or languages or if it does not read or repeat by
heart but does only link bits and parts of other stories texts personal ideas last minute sensations on the
spot exultations off the shelf quotations imitations of heroic patterns hopes of obtaining the right sound
and the right volume of voice expectations of greatness in the shapes of the whole range of vocal effect
over the audience then this young voice is very well furnished with what will help it over the whitest
noise the young voice is noisier than the simple general rumor / silence is a science
Updated: Saturday, 2 September 2006 19:51 MEST
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Monday, 15 May 2006

easy to think that a free mind
text 2006.05.16 easy to think that a free mind is a best position to work on a complex task / free mind
free more free easy approach or liable access or light view or attractive sound or image or not too bright
screens or excellent previews and proposed paths and supposed actions or possible reactions or else that
give a place and a time to breathe what is given as the extreme points of a dream action and of an ideal
action and the desire for it and the faith in it
Updated: Monday, 15 May 2006 21:36 MEST
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Monday, 8 May 2006
exclusive position
text 2006.05.09 exclusive position in a stereophonic space or in a panoramic situation over a balcony in a
park between speakers in a concert exclusive participation when there is a special interest in a
performance and when or when the place is itself this kind of special interesting object where a greater
feeling is possible by the multiplications of pleasures exclusive possibilities of expression when peace is
obtained at a certain degree a certain kind of silence even if very noisy a certain kind of attention even if
somehow futile or otherwise a situation of desperate incomprehensibility
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Tuesday, 2 May 2006
extreme situation
text 2006.05.02 extreme situation where a sweet set of tones seems a device to oblige / sounding space
make it roll for echo / rule the proper image the own shape and personal effect on the mass of air /
sudden sensations / sound is used there to explain a position / there where a path goes through many
fantastic remembrance reference souvenirs of where the good experience matches the new / lamartine
wrote the harps in the waters inside the beauty of the sole sounds of the french language and much
more that i can not understand yet / effect of mini sleep for the time of perception effect of mini
moments before sleep / zig-zags of images until some secure image / imagination in a general sense
maybe / a large passing from what could be a fight against diversion and the making of some details in a
conversation of concentration / concentrations of little bits of inventions with color and warmth and
exterior factors that help the sound to sound before meaning / intensity emotive values perplexity
interdiction accents listening while listening / identification with the shape of the space in relation with
identification to the sounds that give some ideas of some spaces / reverberation repetition small and big
echoes arpeggio panoramic rhythmic acceleration deceleration set of scales that gives some ideas of
distances shapes movements architecture in a mental execution where repetitions make an effect of
matter of solid air
Updated: Tuesday, 2 May 2006 15:03 MEST
two other ideas to help the principal idea

text 2006.04.25 two other ideas to help the principal idea that is normally developing its style with no
surprise but the two other ideas make it come and go between different impossibilities or funny
movements or else and that leads the whole into a detachment and that aggressivity that could have
been felt in a style without surprise is held into a suspended picture very full of depth and very wide and
very improbable to end in a stylish finale a sweet look and a soft proposition into the course of a quiet
promenade two inventions explained when the style of invention in a particular inventive setting is going
to fail for the bright effect of sublime struggling a tiny tit a flower on a dress and a position that shows
difficulty and a demonstration of singing some improvised poetic song about ones own panorama random
stereo effect distortion on some notes and a line of regular tics and tacs the intensity to present oneself
the struggle to look the right way in the good position that express something new and remarkable the
not too much style that shows that some style is on the air but not to offend beauty or else silent
positions that help any movement to be free for enough time to make a step further into active
incredibility a crush
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skin goes to skin

text 2006.04.18 skin goes to skin until a sharp but sweet tone is uttered a continuous sound that reveals
a force of desire it means to express power skin is at last in contact it flushes it lives as much as it can
the soft the fresh the sensitive the complex skin talks speed in all kind of details brushing vocalize breath
heat shudder laugh fight release attack refrain repeat accept offer experiment explain explore let it go
play the tones are set the rhythm is the game for fun skin is real precious impossible to consider as a
game as a prey as anything to possess skin is only inviting invited
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Friday, 7 April 2006

lasting memories and renewed interests
text 2006.04.11 lasting memories and renewed interests / to be ready to be taken again and again in the
path of charm in the stream of admiration / renewed receptions of the same instances of excitement and
provocation / exhibition of strength / pricking the tiger with a stick through the bars of the cage /
watching the details that count on delicacy and refinement / waiting for what is expected to come right
into rolling questions about what if when / speed into every performing detail / rapidity and velocity /
access to the small fragments / view from far to get the whole picture / passing and passing with efficacy
and detachment and grace and swiftness / what is hidden under these attitudes is maybe not as
interesting as these attitudes in themselves / presentation / present / preset / already imagined / instead
of imagined on the spot / giving to an audience the chance to see imagination and not to see only things
that had been approved that has been evidently already compared with ideology and purified of what
could have been useful elsewhere for instance something that would be hidden to an audience to force
attention and inspire respect in violent ways with commercial methods that are not related with
commerce / a sum of culture that has no relation with oppression as a goal / knowledge ready to show
how it is articulated / knowledge of the skins the strings and the keys and the clicks and the touches /
knowledge of the fingers looking into the pages of a telebook / knowledge of the accumulation of good
memories
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Thursday, 30 March 2006
fond of fun and fond of what comes out of fun

text 2006.04.04 fond of fun and fond of what comes out of fun of what aspires and what extenuates of
what makes fun the tail of enterprise and hard movements of what questions and answers make to be a
part of a game of what game fun is providing of more expectations and rewards of colors that fits of
recreation and laugh and surprise and jokes and actions made for the pure enjoyment or action delivered
of a goal as if in a friendly game as if competition did not exist in the destructive or aggressive or
pachydermous ways or as if learning was not a sport too dangerous and all what is meant and hoped to
get along new ways to live what the poet writes / to be a fan of fun and not a taboo follower of humor to
be declared anti heaviness and anti largesse and anti dangerous things and pro decoration and pro low
fidelity and pro fast machines and slow elevators and thin watches and great slides and big cushions to
be ready for passionate recordings or passionate photography / sound like flick flack to be with / children
songs / smells of after rain in spring / blackbirds marking their territories with bel canto / lamponi fragole
Updated: Tuesday, 4 April 2006 17:19 MEST
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associate all kind of exellent ideas

text 2006.03.28 associate all kind of excellent ideas and make of each [in its own format] a short and
threatening introduction into the mass that is one big animal or natural quasi catastrophe a kind of
theatrical personification without the text but on the verge of expressing some wordings / reconstitutions
of some incomprehensible actions or deeds or mysterious and false intention never produced in the full
or maybe forgotten because not as useful as it could seem or maybe changed into something fit for the
stage / what is almost always cute is when each proposition is simply in its own format of quotation and
if put along other richer or poorer forms [the poorer a little louder so it sounds at equality [and the
roughness of the poorer format makes a sentimental effect]] and the fullness of the richer makes it
sound classical immediately and the narration [however rich or poor] sounds firm in the middle of all that
jazz / compression of identical ideas is almost unnoticeable and maybe too mysterious and not as
interesting maybe because of its obscurity even if so very charming and attractive because of its
incomprehensibility and remoteness and impossibility to exist as a medium unless under the disguise of a
theatrical revelation something obviously put on the stage to be revealed as the truth something for the
judgment something for the establishment of something that is false but accepted as it is letting the
current go freely and freshly into a blissful train of wonderful musical ideas with a zest of comedy and a
bit of tragedy and some kind of information about how the whole thing is done and in this course of
adventure every little stop is a call to some amusing spell the kind of call that is meant for pure baby
thing
Updated: Tuesday, 28 March 2006 16:13 CET
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Monday, 20 March 2006
fire in the line of music

text 2006.03.21 fire in the line of music fire in the line of text great energy and explosive guidance of the
lines extraordinary inclination in leading every phrase to its end in a living heat of sensitive expression
incredible want to be clear and funny and deep and learned and to be above all poetic to be singing to be
singing to sing everything under the hand that is to be sung ideas and objects and places and also to
sing the musical instrument as much as the voice itself and to sing breathing and all and all with the
cutest evocation of children tales or children dances with never learned before associations of historic
explanation with new conceptions of reading the ancient musical texts and with the fantasy that helps
music into the spoken proposition and the ping pong between the spoken and the written the musical
and the usual the unexpected and the unapproachable the too long and the excessive the way of keeping
the attention into a game as fun as ever and lightness helps every kind of good manner to hear
something that performs its function of artificiality and reach to the heart of the possible boldness of
expression and the impossible shyness of expression with strong references and easy points and sweet
attacks on the ear surprise and much awaited expected thought-of clich¿ to give a musical line what
energy alone can not tell that is the seaming of a text made with words the illusion and the recreation of
elastic concepts that strike the attention and contradict its function of simplified language and give more
than ever the longing for understanding and echoing and living the musical unit as the super experience
of bliss more stories to evoke what pleasure can be more evocation of well known sentiments to try to
discover new sentiments of the finer kind and heat and fire represents the way the source is being
written the source of new energy the new form that holds itself upright alone the basic fabric already
available as a new clothe simple efficient and supreme and very close to nudity very aware of what it is
the first steps the first exclamations and to go on with sources lines and to make a performance of it is
this a new kind of entertainment that resembles a watch on the night sky to watch if super stars are not
making beautiful traces what is always entertaining is something that gives the impression of being and
growing more intelligent suspense and maximal esthetics maximal quality of sound until the smallest
emission of breath or caressing of the strings or of the skins or of the keys
Updated: Tuesday, 21 March 2006 17:38 CET
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Friday, 10 March 2006
explain a piece of music is always almost ridiculous

text 2006.03.14 explain a piece of music is always almost ridiculous always at the limit of the nonsense
and almost always very picturesque as if it was a picture to be explained and not a piece of music and
morerover as if it was a picture of a storm or some other seasonal effect if it is asked how the piece of
music is done it is also asked why and all that does hurt the sensibility of the composers because
according to the composers a piece of music is made with the hands and it is meant to be a piece of
music and nothing more and moreover to explain to comment to critisize is sometimes almost as much
charming as the piece of music itself and it is also a kind of a hidden or hypochrite certificate of
popularity if not as some critic or essayist would try to express a certificate of authenticity well well
certification is a gratification it is a graduation it is a story of someone giving something in behalf of some
super great notion of the world and most of the time it resemble a piece of music or at least a big piece
of art
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on a basis of a musical attempt

text 2006.03.07 on a basis of a musical attempt to shake what poetry can stick to the sounds that pass
alongside to each other and are meant to make a thrill and to carry more weight in a poetic context and
in some ways support some beginnings of actions that are choreographic allegorical theatrical
cinematographic videographic photographic multimedia and internetical on a basis of what someone
wants to express art and publicize it on a basis where works are media-related right away artistic close
to what is [what] is changing art abstractedly the new art is not a slave of the mass not a slave of the
muses not a slave of the slaves
Updated: Monday, 6 March 2006 19:13 CET
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Friday, 3 March 2006

non serve il numero di ascoltatori
testo 2006.03.02 non serve il numero di ascoltatori proposto dal servizio di sorveglianza locale del sito
non è valido il valore medio o massimo delle persone all’ corrente di un avvenimento in diretta trasmesso
nell’internet non bastano le varie inchieste sull’ascolto di una certa cosa in un certo contesto cibernetico
ci vuole più precisione ci vuole anche il giudizio del ascoltatore pirata e anche quello del ascoltatore
militare ci vogliono le impressioni dei stranieri non servono i commenti prossimi non serve la vicinanza
non servono i supporters non servono i miti non servono i mecenati non è cattivo il suono integrato nella
rete non è brutta l’immagine che va dappertutto nello stesso momento non fa piangere la qualità della
webcamera non fa vomitare la dolcezza dei milioni di colori non fanno tanto paura le diverse qualità di
trasmissione dove sono i pericoli espressionisti sono dimenticati perché non servono per niente questi
pericoli hanno smesso di esprimere la negazione del espressione non si dimentica la cosa espressa ma si
dimentica il pericolo non si dicono le paure senza pericolo non servono gli aiuti dello stato non basta il
gesto magico non serve l’autocritica di buon gusto e non serve il conto degli errori e non serve il numero
di ascoltatori serve ubbidire a degli imperativi artistici servono i baci
Updated: Friday, 3 March 2006 16:38 CET
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quoique la voix veuille

texte 2006.02.28/2 quoique la voix veuille briller et faire des effets et donner du luxe l’oreille est prête à
en savoir au-delà des limites et entre quelqu’un qui voudrait donner des instructions plus sensuelles et
quelqu’un qui devrait en tirer des idées de qualité pour prendre la pose de la statue parfaite qui contient
tout ce qui est possible de refléter entre eux c’est la voix qui oppose à l’attitude une possibilité de liberté
plus rapide que des mouvements de membres et c’est le corps qui parle quelque chose de vocal et
pourtant sans histoire sans simple préjugés sans discours de la matière une vibration changeante mais
stable et concrète et un peu lourde une expédition entre des idées de muscles heureusement il y entre
des étendues d’entêtes de films ou de rêveries non attendues des images vagues qui mettent l’accent sur
la netteté et le brillant et des sons plus musicaux que n’importe quoi sauf de la musique et des discours
qui tètent des nichons de muses et des évocations bleuâtres et rougeaudes et exagérées et très en
dehors du tempérament du diapason du tempo de la volonté d’expression qui se décrit elle-même et
sans auto-préparation à la critique sans prédisposition à la louange à la mise en scène du triomphe sensé
durer au-delà de la victoire pensé pour représenter ce qui ne s’écrit pas c'est-à-dire la qualité quoi de
moins ordré que la qualité et le luisant de la peau et qui préfère l’ordre quand il est temps de lancer des
images qui devraient contenir autre chose que des mots ou en tous cas si des mots s’en mêlent qu’ils ne
servent que d’exemple qu’ils soient soumis au mouvement élancés à l’antique ou élastique à la moderne
ou vibrant pour aujourd’hui au moment de prendre un décision riante d’artiste ce qui se lance est un
quoique un filtre un atchoum à la manière manquée auto-complexe aux sources à l’éclat chaque fois on
repart pour un développement et ça dure ce que ça dure chaque enregistrement chaque partie
enregistrée chaque partie décollée enchaînée entassée liée attendue exposée ultra-sensible exprès en
état pour enrôler des nouvelles extraites du champs de vision et du chant des fourmis et du fond des
poches de l’archi-hiérarchie des pressions du non-automatisme ou du tout-automatique alors que le
semi-automatique est la seule possibilité qui vaille
Updated: Friday, 3 March 2006 17:42 CET

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Friday, 24 February 2006
make believe projection or almost real location

text 2006.02.28 make believe projection or almost real location or resonance put into a context or
arrange the distance or exaggerate the changes of volume or be almost anticipating the sound produced
to make believe that it is not where it seems to be or that it has some relations with some specific
objects presented to guide a certain sense of narration of symbols of effect or other projection or more to
take with the values of expression or just what it takes to give the space the size of a decor /
stereophonic sound / music that play with space / game of the finest ear / animation of sound and
objects / mix and mutation of layers of sound / happening / listening experience in a concert-like
situation / listening in a natural situation / listening a recording / listening a film / listening a theater play
/ listening the radio / listening the web radio / listening a webcamera / listening the technical hazards /
listening with a headphone with two speakers with three speakers with seven speakers / listening to the
only speaker of the computer little box / sweet feeling when music erases all technical difficulties and
gives it tone before being correctly rendered / tones allowed to please / tones made to make feel / tones
that convince to listen more and more / tones that threaten to hurt when they will stop / tones that go
and that give that impression that they go just for the sake of going / energetic / rhapsodic / legendary /
forced / fresh
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Wednesday, 15 February 2006
new for new

text 2006.02.21 new for new / orange gifts / as it is when it glows before complete beginning of the
night / each part that occupy a collection of beloved actions / on look on precious news / rest on ideas of
unique poetry / variations / original heat / long lines that are linked to musical effects / associations /
leftovers of moments of actions that can not be used for themselves / activity / overheating just for the
fun of it / overheating only by chance / overheating without to look for overheat / accents that are born
from errors or fatigue / accents that want their origins / accents that give the pace whatever [and they
mean nothing] / horrible voids that give some coloration some hue to the speedy functions that bring
everything to front / every long and short beats are waiting for grace notes for ghost notes for notability
/ are these enormous loudspeakers comparable to any sort of musical intention / are they really made
for music or are they made for something closer to sports like sports that scare the shit out of anyone /
music that scares nothing in any one is this really music / blue like the blue of the sky its blue [all the
different possibility of blue early and late in the day] / shocking modes together that brings scary
emotions / virtuosity that calls better humor / what instrument can give any sound so pure and loud /
what is there left to make with noise / what qualities for sounds that goes from right to left or left to
right or what sound illusions is making music more enjoyable / freedom in forms / lack of coherence
being not a problem / form being not a goal / lazy lines / easy / affectation / submission to whatever
fashion / correctness / correction / moments of very low volume / voluntarily / exterior
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Tuesday, 14 February 2006
discovery of a precious way of pulling

text 2006.02.14 discovery of a precious way of pulling the things and ideas together and telling forwardly
all kind of sensations and events and relating existing noticeable objects and events as much as all kind
of ways to talk in a personal and private and warm way of speech the firm exact wild and hot sound of a
voice through the means of literature the sweet long heavy crisp tone of great achievement in
remembering and proposing readable sonorities and poetic textures diffused into stories told by people to
each other breaking barriers of simple aggressions and retaliation and destruction of the other languages
and ethic voices and voices of ghosts and voices of dreams and voices of the sound of the wind the
silence of the snow the wounds of he rain the noises in warmth and cold the thoughts as if they had a
poetic structure the melodies and the dancing rhythms supreme in their qualities and extreme in their
appalling colors the subtleties that defies explanation to match a sensitive research of pleasures rare
[rafinate] little things that matters and possibilities to prove new valid forms for a new kind of art
discovering unknown possibilities lonely textures of text extricated from intimate style and ambition anti
conventional tastes [sweetnessess] of manners wilderness and mockery of the different fanatic attempts
to win importance over all kind of different styles to tell the sounds other newest and most original
propositions other preparations to get the right moods and criteria to get to the points over the top of
what has been achieved in previous essays use literature to evoke a singing machine that can present
tragic and comic
Updated: Tuesday, 14 February 2006 21:19 CET
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Sunday, 5 February 2006
an instant shot aggressively

text 2006.02.07/2 an instant shot aggressively but at the same time with complete sensuality and
openness with control of every detail of the grain of time and physicality / the instant to support
repetition and to stop time when proposing to evoke a continuous entertainment and relation / the
communication made into an object / the fun of making art (or something) made a part of the process of
telling that the time goes sensually / recording recording recording and recording / shot-recording with
grace and strength
Updated: Sunday, 5 February 2006 18:55 CET
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Thursday, 2 February 2006
not in the scientific position of power

text 2006.02.07 not in the scientific position of power of control over the sources of creation not to
refuse to express oneself not to restrain with personal style not to retain any new word that could come
out or any new pronunciation not to omit any external ideas that could make the subjects change their
courses not to let the possibility to be extremely personal not to be be afraid to be sentimental not to let
the feelings so much under the style not to style the quotations not to hide anything with the style not to
leave the course of ideas and sounds overflow the style and the bright colors of its flesh and heat not to
close on repeating patterns to hide the strength of one sources if one has the impression to be a source
of invention it is always better than try to look to quote to make the world pay its rights of copies or its
rights to have the rights to declare with authority not to be lost in the false reports not to be in
competition with the subjects not to feel inferior to the subjects not to feel in the words any other
sources as the one that could be compared with honey or marmalade or peanut butter
Updated: Tuesday, 7 February 2006 17:24 CET
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depth and verve and

text 2006.01.31/2 depth and verve and sharpness and heat and accuracy and fitness and coyness and
elasticity simplicity and vitality and originality and courage cordiality and refinement and sobriety
elegance authority culture easiness and facility and openness and reliability and lucidity and
expressiveness risk and sweetness gust and generosity and concentration and ability and compatibility
and sympathy
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Friday, 27 January 2006
backing vocal and choreographic sentences

text 2006.01.31 backing vocal and choreographic sentences sometimes help my attention to grasp the
fat of the land in a musical piece sometimes also the lightness of an amateurish expression of very
private sense of what the will wants to give to the texture of the music and sometimes when all sense of
decency is kept away backing vocal or what can be expressed as accompaniment is very different from
the sensations that can give a serie of chords or a melody played accordingly to the principal melody or a
percussive sustain or a string or synthetic support backing vocal extends the text even if no real word is
pronounced as much as an onomatopoeia is not considered as a word also the human voice can procure
a set of emotion impossible to reach with an instrument also when a performer makes a special
movement linked with the sounds produced it adds all kinds of elements to the music and to the text
example if a singer says the phrase "is it me that makes love to be so expensive" and the phrase is
helped with large movements of the arms and hands and flexions of the knees while a voice goes
repeating phonic lines like aaaahaww or ooooohhh or eeeeeeeyh there some heavy expression is made
with towards and against the text and the musical line that is the melody since a long time i am looking
to include text in music with a different feel that normally found in traditional composition and the
simplicity that sometime generates the backing vocals in pop music like kate bush or of chorus
interventions in the modern classical music such as in luciano berio's or rudolf kelterborn's music the
actual extreme refinement in the musical matter and expression that obviously explores the vocal and
musical in general expression further that current musical expression
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machines / emotions / performances ...and no figures

text 2006.01.24 machines / emotions / performances / on every instrument after a special tuning the
fingers run and warm a certain vein for expression little by little but fastest as possible the fire gets to
the core of the bones and ideally to the center of the strings or the skins or the very fabric of the matter
of the instrument inside something inclusive some introspection outside the fingers or whatever other
part of the body and into the wires the wood the plastic the steel the silicone the flesh the machines
work for the flesh the sticks the bass drum pedals the cymbals the arpeggiators the columns of air the
mouthpieces the bows the picks the loudspeakers when the tongues are out when the breathing is felt on
a different level if the sight perceive the colors with enormous hunger if the blue ca be imagined taken
with both arms and swallowed and the permanent attention on the action over the instrument the fever
and the jokes and the jumps into danger the passage the wandering the excesses of the movements of
breathing of expression / when hunger for expression and longings to touch the instrument and the
emotion of finding again this hunger and these longings to meet perfectly on a certain tempo or a certain
timing or some other certainties / perform / perform / performance readiness hardiness harshness
wantonnesses performances mixes of differences different emotion physical and mental on the fingers in
the arms in the wrists in the legs in the feet in the lungs in the throat on the tip of the tongue on the skin
everywhere and in the core of all kinds of emotions of expression the performing emotions to be
considered like a machine for art / the machine to get and to set every kind of new emotions with no
names and no figures
Updated: Saturday, 2 September 2006 19:52 MEST
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cacophonic situation...action
text 2006.01.17 cacophonic situation at first and then the opening of a phonetic canvass and after that a
polyphonic fanfare a flourish and finely the developments of something close to a symphony that is
[starting from the start] a lot of noise and then a lot of words and then a lot of sounds and finely a lot of
all the noise the words the sounds and a little romantic touch with a global vision of the form of the
whole program / in the etymological section of the merriam webster pocket dictionary an example is
given with these words cacophonic phonetic polyphonic symphony for the root -phon for sound from
greek / when reading this i was thinking about inviting someone in my program one of these days and
this gave me the idea to start a program with loud musical complexities and then starting a kind of
interview and maybe the reading of some texts and after that starting some well arranged music
something very clear and finally starting to mix the invited person into the program completely that is
into the musical action / this set of examples in the dictionary is so lame it sounds good though it is logic
and silly like a stupid riddle or a stupid song to be remembered it is an exercise it is some device to learn
it is a trick to help the memory it is not what i need to make a program but when i feel insecure i need to
hold on something to get the things done some excuse some reference but this is not a reference it is a
random opportunity to think about what program i will have to do and continue to read the section of
etymology / and i force myself to read this section and i force myself to resolve my problem with how
should i include someone that is invited im my program / but ok suddenly i found hey! this could be an
excellent program! because i was at the same time stunned by the example fitting so properly my inner
little problem about programs i was taken by the shape of this example because cacophonic is fun it
starts almost with caca phonetic is superb and it goes from sound to word and i feel concerned
polyphonic remembers me how much and how long i studied music and symphony is an image of
achievement and romantic happy end making this little song perfectly silly but looking full of wisdom and
eternal simple purity / a few days later i am disgusted with its logic simplicity and i compare it with my
big expectations of making something the most intelligent as it is possible that is also out of the silly
vision of music like this cacopolypho phonesympho cacophonetic polysymphony the example starts with
caco and finishes with phony the form is firm and it helps to remember / ok but still it is against this false
historical dream that i rebel first the chaos then the grunts after that the nice expression and finally the
apotheosis what a joke or at least i could say what's new then in the apprehension of music made with
greek roots and sounds like telephone / still it is some program to prepare / a little trick to help to go
into the action of music but still i don't believe in it i believe that i have to be more secure in directly
going into a musical emotion and stay there and i know that i am supposed to be polite and
communicate with the invited in the program but what if the invited has difficulties to perform / shall i
force her to understand that it is now or never or shall i help her with a scheme with a lie to reassure her
that live performance is happening or shall i just perform until the performance is off line and refuse
these semi breaks that are still passable but not at the level of what i want or shall i relax more and
accept what the invited one has to say well i really think relaxing is for after the action
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inspired for love taken by the music

text 2006.01.03 inspired for love taken by the music out of control forging sound moving the bits half
dreams of saturatings well well what taking by itself long taking lasting long and lasting not to let
anything go not to let it go not real dreams images to go with the making of music but to be taken by
music firstly at first to be in the overwhelmed still controling the action still in a mood for loving actually
in a mode of dancing maybe

Updated: Friday, 17 February 2006 21:33 CET
Wednesday, 21 December 2005
other sources make elements to merge

text 2005.12.20 other sources make elements to merge as a whole and at the same time take a very
differentiated image that is something to be compared to the other elements and thus be somewhat
criticized by some non verbal commentary as if in a living picture one can take all the time to think about
the differences the relations the possible significations the developments in time as if a setting of
different music could be compared to a setting of different character that could be in interaction other
sources brings to the whole a possible prospective only allowed by interactivity what was not supposed to
be in relation is suddenly on a special stage to present new and unexpected propositions and aspects a
new perspective on a difficult subject is always the beginning of a new manner to understand and what
unexpected sources can bring on unexpected subject is a firework of ideas to be grabbed and enjoyed
simply as a normal piece of music that is always unexpectingly built and where the possible repetitions
are only elements in the texture of a longer and larger discourse to follow music along to its repetitions is
too simple an approach one has not to imitate music one has to jump on it one has to contradict it
maybe one has to play with it and never believe to be able to understand it because normal music is
impossible to understand it is made to be so to be in an optimal relation to music is only possible by
taking an active part in an imaginary narration that belongs to the timing and the flow only supported by
the notes the rhythms music is to be confronted
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il testo o questo che era [web computed translations of "or is it this"]

(2005.12.20)
il testo o questo che era ed anche ai limiti di colori da quest'immagine dove la prospettiva aprendo a un
tipo di giardino stranamente fotografato//il ballo balla il valzer esso il ballo con tre punizioni ed una
ragazza//le forme di riguardare la cima della testa//lo sguardo di lei qui me d? il me//pi? di colori e pi?
qualcosa che prende il viaggio//viaggia l'ora piacevole e solitaria di descrivere una torta//dove sono le
sue poesie fantastiche della congettura in mare//o questo che o che vuole essere un giro buono al punto
di un colore piacevole//che ? prossimo alto questo che lei fa//staccato come mancherebbe//un emotivo di
onde//le linee forti come di dire ci? ? detto//i ritorni//io quale colore di promemoria//un e l'un//riserva
quest'immagine pi? piacevole//le ragazze di barche imprigionano dei microfoni//stravagante le idee di
quest'interprete molto speciale//le cordicelle che fa questo di non ? previsto//la fatica del metallo fa lei ?
stato fatto questo//fa un'apparizione nei paesaggi e dichiara che lei vuole//perso in non mai d' il
forgetfulness//a ogni a tutto l'un viaggio//cattivo e sempre sulle piste//questo che questo ci?//il corso
diverso//senza ragiona//o adesso adesso//falsifica nessuno//i piaceri fanno//non-idiot//no questo
partirebbe come loro stessi non hanno fatto//di ottenere la confusione generale nella fusione delle
immagini e di whispetrings di mormorii di respirazioni di suoni
Der text oder dieses, dass es war, und war sogar zu den Grenzen der Farben durch dieses Bild wo die
Perspektive ?ffnet zu einer Garten fremd gefotografiert//Tanzen tanzt Walze der Tanz mit drei schl?gt und
ein M?dchen//die Formen, den Gipfel vom Kopf anzugehen//h? anschaut Sie hier h? gibt mir h?
mich//mehr von Farben und etwas das f?ngt Reise reist angenehm und einsame gedrehte angenehme
angenehme Stunde zu beschreiben einen Kuchen wo Ihre phantastischen Gedichte von der an See
Spekulation ist//oder dieses dass, eine gute Drehung sein will, zum Punkt von einer angenehmen
Farbe//der welcher n?chst ist hoch dass Sie machen//abgenommen als es mangeln w?rde//ein
emotionales von Wellen//die starken Linien zu erhalten, als zu sagen Das ist gesagt//die R?ckkehren und
schwer//ich welche Mahnungsfarbe//ein und der ein//bucht dieses Bild angenehmer//die M?dchen der
Boote einsperren Mikrofone//extravagant die Ideen von diesem sehr besonderen Dolmetscher//die
Schn?re die dieses macht ist nicht vorausgesehen//die Erm?dung vom Metall macht Sie sind gewesen
gemachten mich dies//es macht eine Erscheinung in den Landschaften und es erkl?rt dass Sie
wollen//verloren Vergesslichkeit//zu jedem nicht ?berhaupt irgendeine Reise//schlecht und nicht immer
auf den Spuren//dieses, dass dieses das//verschiedener Kurs//ohne Grund//oder jetzt jetzt//kein mehr
nie f?lscht//die Vergn?gen machen//non-idiot//no dies von w?rde verlassen als sich sie//nicht gemacht
haben die allgemeine Verwirrung in der Vereinigung von den Bildern zu erhalten und von whispetrings
von murmelt von atmet von saftiger Kl?nge
the 2005.12.05 text or the east this that it what and what//Eves to the limit of colors//lake by this
picture where the perspective opening to a corps child strangely photographed//dancing waltzes it the
dance with three beatings and a girl//the forms to concern the the of the head hums//h? look at you here
h? gives me h? me//more of colors and more something that catches trip travels pleasant and solitary
turned pleasant pleasant hour//to describe a cake//where are your fantastic poems of the speculation at
sea//or this that or that this wants to be a good to obtain to the point of a pleasant color camouflaged
doze exerted//which is which next is high this that you obtains// detached is ace it would varnish//a
emotional of waves//the lines ace to say that is said//the returns and heavy//I which reminder color//at
and the one l' a//book this picture more pleasant//the girls of boats imprison microphones//extravagant
the ideas of this very special interpreter//the strings that doze doze doze draw lots this than is need
foreseen//the fatigue of the metal you been done me this//it at apparition in the country capes and it
declares that you want// d' forgetfulness//to need at all any a trip gauged played//bath and need always
on the trickily//this that this that//d'un different course//without reason//or now now//fakes no more
never//the pleasures do//non-idiot//no this of would leave ace themselves they did need do//to obtain
the general confusion in the merger of the pictures and of whispetrings of murmurs of wide cliff of
z?zaiements of succulent sounds
htttp://freetranslation.com
robert grassi 2005.12.15
Updated: Thursday, 30 March 2006 19:54 CET
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or is it this
text 2005.12.05 or is it this that it was and has been//even to the limits of colors//see through this
painting where the perspective open to a kind of strangely photographed garden//waltzing dancing with
three beats and a girl//shapes to wear on the the top of the head//hey you look here hey give me hey
me//more colors and more impressions of vivacity and more precise description of something that
catches attention and strikes//nice voyage nice and lonely trip nice tour nice hour//to describe a
cake//where are your fantastic poems about offshore speculation//or what or who wants this to be a
good trick to get to the point of a nice color//what is next what is high what do you get//loose is as it
would be missing//a video camera is a perfect subject of conversation//long waves
superposed//emotional program of waves//strong lines as to say to you//ease this and say//none of that
is said//returns and heavy//i remember what color//one and one one// deliver this nicest image//boats
girls walls microphones//extravagant ideas of this very special performer//strings that make what is not
expected//fatigue of the metal does this cool effect//like to that what is what//continue on what is meant
to you when you make this to me//it makes an apparition in the scenery and it declares what you
want//lost in the shades of the same texture//looks//after pauses after moments of oblivion//at each
point of a travel//wrong and not always on the tracks//what what//of a different course//wantonly//or
now now//fake no more never//pleasures make//non idiotic//non what//what on every landscape//easy
to meet on each cheek//are they are we are are ye//as many would leave as if they did not//to get the
general confusion in fusion about images and succulent sounds lispings breathings whisperings
whispetrings///
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you in your bathing suit

text 2005.12.06 you in your bathing suit / where are you to tell me how this swimming pool is almost
cold / are you in the water / are you crossing the pool / are you getting refreshed / are you tired / are
you there to give me a nice look / a sweet and perfect smile / what are you doing in a swim suit / are
you feeling as cool as i do in my swimming suit / i breathe / i breathe your love / i breathe life / i am in
love / you what are you doing in talking to me like that / with this smile of love on each sentence / what
are those sweet eye sights / what are you doing to me / you make love to me / it is the easiest making /
you / are you following me / are you seeing how i make love to you / how much i exaggerate my control
/ how much i look ready to continue to be in love / until you get me more love signs / and we might get
along this flirt / big big little flirt / isn't it / yes it is
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i shall write a text

text 2005.11.29 i shall write a text i shall write a text what is to be what i want to be as it could be wish
to write hope to get the text out make it clear that it has to be whole measure of a text totality as a text
fine and finished so very well made up to stand as as a statue that matters for any time it has to be
readable and super clear no mistake no lousinesses accept all the noisy words accept and build with that
and have it
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who is ready to make music and sing like annika and

text 17.10.05 who is ready to make music and sing like annika and who is
willing to sing and make music like yasuko who wants like annika to perform
the written text and the recorded music in the most original ways with the
greater care about quality and knowledge and who wants like yasuko to scream
and squeak the written text in a foreign language over the written music
played in the most refined and estranged ways with the greater care for
power and sensation in the most unknown way who is ready to be detached from
the dangerous and who is able to be detached from the violent what is harder
to do is it to captivate by meaningful expression or is it to aggress with
unknown beauty of expression when the performer strikes is it always because
beauty is involved is it always because knowledge is presented in a certain
way to be taken immediately what is to be understood who is ready to give
something to be understood and who is willing to make oneself understood who
wants to be clear and who is able to be direct when it is almost impossible
to be understood who takes risks to be taken for only charming and who takes
the responsibility to be taken for charming who has to be that charming to
make the music go through who can be more brave than that and to risk to be
misunderstood at the very moment of their own and most personal expression
of ability of control of force of musicality of performance quality of deep
and super powerful culture of great care about art of greater respect for
the audience who is annika who is yasuko who is stronger than they are who
are these musicians how big is their courage how beautiful and how amazing
are they and what makes their knowledge about music so understandable who
can be more generous if annika musicalizes her singing and if yasuko sings
her music is it only to get the attention in the most intelligent and
refined ways is it to be understood in the most profound ways is it to reach
the highest in their performance is it to overtop themselves by their
extreme ability
Updated: Monday, 20 February 2006 16:42 CET
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good humour to put

text 09.10.05 good humor to put in the lines of sounds / superpose this good humor to get the texture of
exuberance / cut short from one mood to something more vague than moods / expel the lightness but
the funny the hazard the anger the futile the super fast the much too slow the super stable / express the
depth of what is hard to draw out of this texture of good and well meant expressions / hold the good
positions and not try to be cool but try to attract to attack to attain to reach to get and if coolness comes
let it be / a strong effort is sometimes what erases the time the timing the beat the pulse the click the
metronomic impulse / to go through this effort is the method to break barriers of sounds and to get to
the core of the complex structure that builds the music / the music is not the music ignores everything
the music worth nothing the music holds not the music says not the music doesn't exist / go through the
texture the layers the grain the little impossibilities and find what gives the impulse to go through and to
go fast enough to go ahead / and be ready to be interrupted as long as the whole piece is already
happening as real and happily done
Updated: Wednesday, 6 September 2006 16:50 MEST
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what remains what is left of simplistic

04.09.05 what remains what is left of simplistic musical patterns is sometimes the shadow of the vivacity
of the expression this is striking and it brings freshness as a surprise finally it is more refined than what
it seems at first it is breathing with life where it was only presented as a convention that is as if one
would say this is only music but eventually it was occuring something as one would say what is music at
the same time as i enjoy music very much so as a matter of fact in this last case is it really only music or
it is only really music or is it only poetry
01.09.05 speaker is ready speaker talks the show talking head talk and go ahead voice for the world
vocal for share vocalize in accordance vox populi vocation vote votre correspondant that voice that is a
vocalize / music goes music played music stars all of it it goes it runs it flows it support itself it generates
a change of time perception / responsability versus counselling responsability or counselling to be
responsible to be in charge to be under possible culpability or to advise
03.09.05 we are the indians for the americans the indians of india are the indians for us the indians of
america are the indians for the indians of india
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hello says the tone[s] to the ear

25.08.05 hello says the tone[s] to the ear / hey says the ruptures of sounds to the ears / hooo says
something that is imperceptible almost / ha makes the long notes / hits shocks bongs strong effects
stores of unfinished effects / none the less is acceptable to the ear / more nice feelings of sounds and
evoking distances and masses of things / non verbal non physical non full of weight proposition to have
fun simple feelings of more or less sophisticated texture of seeming what it may be and this is the point /
2 / art art what art artist artistic artisti-ficiality artistifacitity arcitity / 3 / enormous facility complications
to the maximum of what is enormous as something to feel to have a nice time / exercise changes of
scopes unexpected movements lost of something that can be felt like weight / passing in the mood of
music making / 4 / totally [submersive] untouched by other sound space unaffected by visual or other
sensitive attraction / 5 / five things happening at the same time try to get those five experiments alive
even if the count of five is insecure but if it becomes secure to find wash everything and start even
harder
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emergency to act the facts of music

20.08.05 emergency to act the facts of music usually it starts with facility a few good chords played with
strength a few rapid arpeggios a few solid intervals other notes held longer other patterns of chords of
different length many combinations of all kinds restlessness breathlessness play with more hands than
possible play with five ears with three legs with three nostrils with four arms make it all sing like a two
hundred piece orchestra and two choruses and all the most expensive but still held back of the only real
sound of the solo that only represent big musicality to make it appear powerless and let the naked voice
very clear
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how to be told to do
text 15.08.05 how to be told to do what figures out the elements of a line of sounds / who would be
disposed to accept enough indications to adapt its possibilities to phrase to build to extend what is
natural / complications would normally help the sound to be pure of most self consciousness self
conscious sound sounds strange / much of any sign is useful for imagining expression on a drawing on a
photo on a graph on a chart on a list on a text / what is easier is best what is clear what is fast what is
plain is helping expression / who cares about writing when the purpose is to be ahead of the written
sound / to sing might be what cannot be written and therefore interesting / when the mind is asked to
imagine a away to write something never written to fix something that has never been fixed that is a
kind of entertainment that strikes the string of strength / what melodrama is invented to capture the
attention for a possible sound that strikes / when the inspiration improvised and as fast as possible is
there to make models to be used hereafter / when poetry makes the sound appear / when no question is
possible
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the musician making exercice
06.08.05 the musician making exercise ascending scales and descending scales and tries of melodies of
not really emotional substance this coldness is of all beauty what he tries with arpeggios with difficult
moves with high rhythmic difficulties mixed with playful unexpectedness and reaching for enhancement
of what is possible after all not thinking too much about music in what it is supposed to represent itself
but maybe thinking more on what music can realize as a whole as something bigger than music is it a
conversation between a man and his tool hours and hours spent in essays about what can be done with
what is at the limit all this carried by itself as a discipline flowing like a river as fast as one likes it to be
speeding and supporting just enough of a mechanical perpetual movement to avoid unnecessary muscle
fatigue to help thinking in something else than difficulties of movements in all what resemble all these
tries look very good it smells good it is a piece of something that says what is music it is what can be
used
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to make towers on vowels

text 01.08.2005 to make towers on vowels on vo-o-o-wels try and try again on everything that goes with
vowels that no longer belongs to language ideas ideals long and short whisperings longings images of
poetry poetic by itself sounds of poetical afterthought after those kind of images like stars like bowels
shadows the character of the poet the feelings at the fingertips to write those words to tell and to wait
the pace of music to capture a complete little world of significant experiences and ouvertures a diving
into compact grammar swim among images of emotions and make it sound
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a bit of learned patterns

25.07.2005 a bit of learned patterns a bit of extreme physical groups of notes a bit of fantasy in the
choices of tones a bit of serious evaluation of the situations a bit of identification to different musical or
mental images a bit of remembrance of ancient emotions a bit of laughter a bit of letting oneself be
surprised by its own strength a lot of breaking its own rules a lot of redoing many good moves a lot of
trying to regain conscience at all cost a lot of rebuilding from all sort of failures a lot of admiring oneself
as a human being not too much of repetitions not too much of rhythm weaknesses a little bit of
acceleration sometimes a little bit of breathlessness yes not breathing
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more softness in muscular music
11.07.05 more softness in muscular music less hardness for movements made for music with no effort
for an effect with pure joy as an effort / the fatigue of the muscles to set a limit to the goal to reach for
saying / if some impossible limit is surpassed silence is supposed to follow and if it dose not come music
is there to be saying and calling / when some impossible limit is reached with no effort silence is vaguely
expected for a fact of effect / it would surprise only by what it is in what is said no effort / no effort / is
to be compared to big strokes big cries big movements / big / unless big effort might be overdriven
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rhythms are
19.06.05 rhythms are a playful material to built solid forms elastic shapes super extendable masses
rhythms are what holds the fabric like the interlocking of its strings to compare a fabric with music is a
hard image to soften the complexity of rhythmic values why not after all if music is an object supposed
to overwhelm when the rhythm is complex it is a relief for the body it is a support for it it sustains it it is
a proposal to relax when a strong impression of rhythmic control is felt is perceived it works as a relief as
an impression of security as a sentiment of care of trust
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the idea of making noise

05.06.05 the idea of making noise for a musical purpose is my comfort i love to play the idea of making a
long pause in a lot of noisy happening is so elegant i know it is already convenient but not too much i
would say not so bad well i loose something my will of making noise for something else than expressing
my ease and my contempt towards society something like singing anywhere
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the obscure desire to

29.05.2005 the obscure desire to possess a solid piece of beautiful sound spoils the musical expression /
to refuse to share or participate into a clash that is not controlled or at least experimental / even when
making some sounds and when asked to lend some of it to some other attention is useless in the realm
of music / a sound is not to be taken or asked it is to be heard considered / the very very large sense of
freedom that makes the sound appear as music is not to be influenced unless it is not obscure hypocrite
destructive / obscurity obscures the sound and destroys / when the sound is attacked by jealousy there
is no mean it should not ignore any attack and go its own way in the continuation of its free development
and beauty and arrogance if that may sound like arrogance whether it is arrogant or not if it is any
violence in the real expression of sound as if birth was violence / the birth of the right sound that helps
the scope / the sound that is super well the sound that is born to be something really useful meaningful
and in all means beautiful as a big kiss / to exist it has to be born by itself shared in the result if it is
falling to be forgotten that is not a shame in itself but sometimes when it is too pretty a sound to be let
alone as every secret beautiful sound preparing the birth of a new blast / an idea of privacy in the
moment of creation and existence as a whole and not dependence
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each recording owns

16.05.05 each recording owns its special space it is stereophonic and it is like a landscape / by putting
two recordings together a special and impossible soundscape appears and the relations between the two
little worlds are to be heard as a new game / but adding more sources more incredible relations are to be
noticeable underdstandable interconnected / what appears now as a musical leading event can be
perceived like a wandering object in a forest / different musical themes are encountering and naturally
evolving in comparision to each other / it is like a ballet in the woods full of living creatures and
adventures / but still it remains kaotic and only sound and ressemble to a texture more or less readable /
a screan of noise that can be approached / now to perform these different sound sources gives a very
active impression into the texture and it gives musical experiences a comical value / gags after gags
some light structures evolve and give shape to a kind of stream full of confidence / a bold artistic
presentation a witty commentary about musical effects and adventurous musical attempts / this is a kind
of discourse that lightly go ahead to be deciphered almost the discourse of a clown almost the discourse
of a dancer almost nothing musical / but inbetween the tries and the essays and the jumps some
absolutely strong musical pretensions take their opportunity to be considered and are ready to be the
source of novelty if anyone tries the game and listens and interprets and uses the discoveries for himself
as a new starting point for musical thinking / what happens most of the time in a musical kaotic
adventure is mostly violent and striking / but what else can be called music / laughing perhaps
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funny funny music

02.05.05 funny funny music to go together with a commical groove / healthy breaks to reach a light
laughter / fine and gracious hands to match a suttle smile / be ready be ready for a long surprise / not
cold but as if and waiting / relaxed from many kinds of heavy lores / cool girl play and nothing else / cool
and very fast but pacing / in soft attractions to be understood and asked / all questionned not yet waiting
for an answer / silence at a certain level of words / all words to be distroyed all words to be left / all that
want to say / no more charm not more intelligence / but coincidence and match / funny music funny
jokes fast tracks / fast games good breath rapid directions / swiftness agility / not hunger but as if

Wednesday, 21 December 2005
list of good
list of goods 09.04.2005 1 list of goods little paper to remenber what to take [liste de commissions petit
papier pour se rappeler que prendre] 10.04.2005 any mode of remembering what is useful to make a
line hold its way through [the most simple is to write on a piece of paper a list exactly] for example a list
to go to a shop to buy [a minimum of words to help the memory] a structure of what is needed to build
[a continuous line of object or things to do] a line at its smallest possibility 2 texture texture fabric of
significations text not poem or not too much or why not or what [generally all the text possibilities
everything to make it happend as text to sound to be in the line of what will make a distinct line of signs
moving moving troubling enamouring the ear [distancing what it sound like and what it means making
fun comparision between the sounds and the ideas and making what would be perceived as dangerous
essays of ideas and sounds and interactions all these little dangers occured makes the suspens] still what
makes it hold together is the smoothness of the flow or something like that something that seams to go
over everything like the ideas or the sounds something evoking a general mouvement a breathing
operation along the way of smaller designs of two different nature not dangerous enough to steal too
much in the signification of the sounds and the ideas and their interactions
and their relations to the moving big breathing and the general aspect of the whole 3 a submarine in the
depth of the water is moved by the waves and is going with its motor on its own way [and who is in the
submarine is making the sounds and is making ideas to go as much as possible with all these movements
and relations] 4 make sound bing boum just enough to fill some space not fast not fast or yes fast ok
[fast as you can to hear it] line line interlocking mixing being easy to locate eventually 5 cries murmurs
better than language making fun of it playing with it not answer but
to say protesting or saying or what what whaaaaaaaat whaaa oooo uuuu iiiit tttttttt sometimes imitating
the language so funnily that it goes above language without any meaning but just as an effect that
affects annoys just enough to have some grabbing power but meaning not more than violence and
nothing much than a good camouflage 11.04.2005 6 no no no this is a way to begin to call for attention
that it is easy to get by saying no as an introduction 7 no no no nono nono this said as an imitation of a
light stepping figure contradicting the paces that could say yes yes or maybe well or cough cough or
sneaze 8 now about scales [in a straight line different rectangles of different length but same height [like
a sculpture by donald judd] watching that yard of difference concentrating on each element at random
playing a sound or saying something for each graduation let it be called reading] being surprised by the
possibilities of reading let it be reversed in contemplation as the structure is watching the viewer let the
viewer be silent and be caught by a voluntary impossibility to read all the possible readings let the viewer
in a possible fight against the pure object
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as long as it is needed
24.04.2005 [1] as long as it is needed to fill the space with a musical tint words can well be used and at
the same time differ from any musical purpose that would be maybe telling a story or give all sort of
information a lecture a lesson the proposition of a kind of effect of revelation to thrill a little more any
musical effect [2] to go against all style is the best way to attract attention at the same time than
repuslion that would maybe ressemble sadness when it hurts very well and weakness when it is the
moment to be overwhelmed by some musical effect [3] to be frank is the only pleasant way to make a
musical effect [4] other means that can use hypocrit effects are not valuable for a good experimental
voyage a real free promenade in intelligence and adventure of how take music to its highest pitch [5] to
be competing for brave proofs of knowing how is never betraying
more the baseness of a voluntary act of hypocrit musical action music as a mean instead of music as a
discipline music to be loved music to be adored music to be obeyed or betrayed or forgotten or bought or
sold or used in the war for discouraging the sphincters as a musical effect [6] the bayerische rundfunk
orchestra and a choir of 16 basses 16 tenors 16 altos and 16 sopranos 3 soloists is a fine ensemble to
write a fifteen minute peace that will hold the emblem of bmw the car manufacturer to the limits of
sound or musical effectiveness [7] it is so easy to be perfect with a bayerische rundfunk orchestra
especially if you make it sound like shit as a musical effect [8] to make an effect that strikes the musical
world is even easier only to declare to be a complete artist one hundred per cent retributed for its one
hundred per cent actions if ever the question is asked vaguely as a trick question or like a question not in
direct relation with any musical
effectiveness [9] shame is the best emotion to express culture no shame no culture [10] to shout a
phrase like no shame no culture is a good musical effect [11] to restrain to shout no shame no culture
[12] restrain a good image of shame and culture [13] culture a tint [14] orphic transes or natural actions
[15] a tint [16] musical effects that are not a tint
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a true false cry

26.03.2005 starting from the idea of special sounds lifting what was set for a mix of different music with
more sounds a little different of the very idea of music into a position of destruction shifting different
shades of music until something even more musical happens adding more external sounds like the
speaking voice reading a text and modulating it like a special musical accompaniment for these different
slices of music to be put together to test and compress or do anything to add difficulties in process
waiting but not too much that unbearable situations occurs try to let it go without too much interventions
like stopping one of the recordings or scratching a record or changing the aspects of the sounds when a
kind of music sounds more beautiful than expected the goal is achieved 27.03.2005 then i find a certain
mood with the sounds and rythms i was more or less envisaging after a long consequence of effects and
actions of noise and different dreams about the possibilities of distortion and developement i was fighting
with and for i found beautiful ways to express a kind of stress upon many musical syllables i was not in a
mood for peacefull explanation i was desperate for extreme actions in music an exoression of what i
thought was possible for me to advance no! what else? different different changes changes [politeness
politeness undecidedness [not so much! not in fact!] pride proud] sure to go more forward by automatic
adventures resembling walking the walk going going the very sound of music not the exercice not so fun
just much more little in scope just the music not the science not the strategy not the urge but just a call
nothing too harsh or only expressive effective et caetera something just artistic long long articles of
harpism and arpeggios or bouncings organically transposed long long longitudinine funny expressions fun
for the sake of funny laughable tricks that makes the body remember joyous moments like folly joking
gaming phrasing play play and play after all enjoying stylishness thet make the sound go thick like puns
and word play game of word but not as silly and else like speaking too loud for the pure enjoyement of
noise and modulations yes modulating the most as possible [make the humour go big as a hit say big as
it hurts] not to stop not not take that pleasure that is only poetry and not of any kind i respect [but well i
do ont speak so well my authority is ridiculous much too much aggressive] poor poor ear that hears so
sensitively paradox and matter for musical games always continuity dancing as it is possible to be at
ease with the minutest mouvements as it might be recorded on a disc and to be seen and heard normally
no more longer that i want to start and start as a matter of fact i press record on the mini disc recorder
and i play right away i want to stop only when i fail not like in real life when i would never be so crazy
eventually i stop the pleasure of stopping in a suspensive stop abrupt or else artistic music is so much
emptier than words and this hollowness is what it makes [impossible to understand immediately but only
being almostready to dance or sing] avoiding repetition as much as musicality is repetition apparently
effectively just as a motor like a rotor of any airplane of any airport of the romantic age of rumors
divagation is what it makes to be funny and respectable material for a big sound a grandiose sounding
effectiveness the only way to be modern let it speak to world instead of reflecting too aggressively let it
go let it go it is texture and modulation and understanding of what is meant when music is awaited in the
mean of a fake vocal effect a true false cry

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texts performed in the web radio session [contempo] on www.basic.

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