volume IV, on releasing
January 2008
volume III, on the unconditional
February 2008
volume II, on trusting!
March 2009
‘music as weather’ is the collection of notes gathered during my daily working process,
recording observations, associations, thoughts, and questions coming up in the back of my mind,
while researching on certain topics for specific projects I am working on at the time.
The collection of notes build an archive, the archive of light and non-light,
at the junction between light coming from an object, and light coming from the gaze.
In ‘music as weather’ parts of the archive are processed into different volumes,
which are conceived as librettos, musical text booklets that serves as scores for sound pieces.
In this sense, the text ‘music as weather’ is presented as music, with language as its’ score
and voices as its’ instruments.
The voices in ‘music as weather’ are many, mainly distinguishable
through the four languages in which they speak.
And although they converse, attempting to repeat and reenact each other
in the four different languages for to achieve insights from diverse perspectives,
any translation is different from the original, and foremost addresses and articulates differences.
Since ‘music as weather’ is composed from the beginning from a source compiled simultaneously
by four different languages, there is no original that can be traced.
The languages here are rather understood as thought’s filter, on its’ way towards degrees of consciousness,
that is, towards degrees of ‘I can’. It this sense the work consists of a continues process between not knowing to devising,
of a continues translation, invented in its’ making.
The title ‘music as weather’ suggests a comparison between ‘music’ and ‘weather’.
The text respectively and recurrently shows references to light- and weather conditions, their fluctuations and changing.
In reading weather as music I propose to perceive music at all times, wherever we are, even when we don’t hear it.
and by doing so undoubtedly regarding it’s continues actual presence, as well as it’s disposition for continues actual change:
Sei in dieser Nacht aus Übermaß
Zauberkraft am Kreuzweg deiner Sinne,
ihrer seltsamen Begegnung Sinn.
Und wenn dich das Irdische vergaß,
zu der stillen Erde sag: Ich rinne.
Zu dem raschen Wasser sprich: Ich bin.
Rainer Maria Rilke, Sonette an Orpheus, II:29, Februar 1922