We often fall into the trap of simply conforming to the identities given, trying to mimic a certain way of being that appears to be already fixed in the world. Picking an instrument and strictly respecting the way someone is supposed to be playing within a certain aesthetic realm. The same notes, scales, riffs, and transitions, just imitating the past. When you approach in a predictable way what happens is that music becomes a stagnant. The opportunity for unexpected growth and exciting new connections with other possibilities is lost. The chance to create new, unique experiences fades. Instead of branching out, you become like a tree, fixed in one spot, playing the same familiar patterns, unable to explore new horizons. Because I was not firmly educated in an academic environment while learning music I had to figure it out by myself. Seeing what kind of opportunities the instruments I had around suggested me. This kind of processual learning and creating had exposed me to error a lot. I’m not saying it is a safe way at all but in the end I wouldn’t find another way to do it. Of course I had to had my benchmarks for whatever kind of music would make sense for me to do, but I hope I didn’t stick to much to it. Besides, it was the other way around, they became examples because they were suggesting me practical means of doing things that addressed questions sketched out of the complex connections that were formed as I move around in the world. I can say that is clearly a rhizomatic process. In a society so inclined to channel authoritarian behaviors based on structure and hierarchies I find refreshing and hopeful that it’s possible to get results from something as organic as this process I’m describing. So let’s not give it up, let’s make it as fluxed as possible. So that no market, political or binary strategy is able to grab it and capitalize on it. Let us be the water that slips through their fingers.
