Chaos and Creativity

25
Sep

Chaos and Creativity

We all consist of chaos. Far from thermodynamic balance, our body cells are complex, homeostatic and nonlinear. These characteristics affect the human social behaviour, but also the workflow of the mind and emotions. Musical systems can be set up as sandboxes to explore certain effects and simulate complex situations. When setting up such systems it is possible to play with parameters as certainty, chance, chaos, excessive demand. Chaotic situations can be prescribed or set up as algorithms. As in an organic cell, formal closeness meets an energetic openness. In traditional music this is also the case, when a musician interprets a fixed set of specifications. Based on that idea these border can be shifted. Self-similar structures (such as material textures) can be prescribed exactly (including the chance of interpretaion and the ability to depict complex musical notations) or – and this is the point of my interest – they can be packed into algorithmic formulars emphasizing the chaotic character of elements.

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The dialectic relationship between freedom and requirement has troubled thinkers ever since. Is it possible that, if released from demand, an idiosyncratic energy within a being is set free? How much demand is required to keep this energy stimulated that the being would not become idle?

In my work I try to use a musician’s creative energy to translate the abstract beauty of a score-based musical system into an audible rejoycing whereas the boundaries can be set quite tight, just to assure an optimal condition to grow it. To put it more practical: can a composer use the performer’s abilities and creative energy to create something more beautiful?
What I understand by “creative energy” consists of two ideas. First, every being’s need to express itself: this may start when newborn babies move their fingers and found its height in the romantic artistic ideals of the 19th century. The second aspect is more delicate. Based on the concepts of awareness of the moment, bound to breath and focus, sound can be produced in unity with oneself and maybe a higher self. Spiritual thoughts open the question of how to obtain a state of conciousness leading to a fully aware set of mind. In the majority of contemporary music these both aspects are not featured in contrast to exactly fulfilling the composers demand. Musicians degrade to tools whereas the other approach understands them as fully aware and intelligent co-creators of the sound.

Summing up, the music moves between composition and improvisation, maxing the actor’s creative potential, and via obtaining a moment’s awareness creating an authentic sound.

 

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