Art and Music That Knows When to Arrive
Some works do not announce themselves. They don’t explain, introduce, or justify their presence.
They arrive already legible.
Music like this doesn’t depend on voice, persona, or visibility. Its intelligence is structural. Its language is internal.
Those who can read it, do.
Timing matters, but not in a promotional sense. Arrival is not strategy. It’s resonance meeting the right conditions.
There is a difference between art and music that seeks recognition, and art and music that quietly recognises its interlocutor.
The latter often moves first.
Meaning follows later. If at all.
Not everything needs to be heard to be understood. Some works are already speaking.
This is how my electro-acoustic works live, including Europa with saxophone, broadcast on Toneshift’s November show.
And A Séance Of The Table – The Phenomenological Wasteland (French), a concept by Peter Wullën, with undertones by Greg Chapman, where my own voice enters quietly, reading an excerpt from Jacques Derrida’s Spectres de Marx, without introduction.
You can listen to Toneshift’s November show featuring Europa with saxophone here.
And to A Séance Of The Table – The Phenomenological Wasteland (French) here.
[image: Wassily Kandinsky - Transverse Line, 1923]
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