Ideas

Author: adrian_daniels

  • Philosophy II.

    “I think it fair to say that by any conventional measure, a mere seven years after my graduation day, I had failed on an epic scale.  An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain without being homeless.  The fears that my parents had had for me, and that I had had for myself, had both come to pass, and by every usual standard, I was the biggest failure I knew.

    Now, I am not going to stand here and tell you that failure is fun.  That period of my life was a dark one, and I had no idea there was going to be what the press has since represented as a fairytale resolution.  I had no idea how far the tunnel extended … so why do I talk about the benefits of failure?  Simply because failure meant a stripping away of the inessential.  I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me … I was set free, because my greatest fear had been realised, and I was still alive.

    [Failure] gave me an inner security that I had never attained by passing examinations … Such knowledge is a true gift, for all that is painfully won, and it has been worth more than any qualification that I have ever earned.”

    – J.K.Rowling

  • Inspiration: Kupio Album Preview

    [fve]http://vimeo.com/52374816[/fve]

  • Philosophy I.

    (Excerpts from Bad Vibes interview with Vladislav Delay)

    Why do you feel a need to classify your music under different pseudonyms?  Do you categorized music under each name, during the creation, or are the ideas immediately begin life for each project?

    They are my children, my projects. I couldn’t give same name for all my children (musical or otherwise). It’s personal. And then it’s very much also practical.

    I play around with so many different musical styles that I think it serves the purpose to give them different names. I can appreciate people doing music that mixes everything up; one of my biggest influences is Frank Zappa to begin with. But I can’t do that myself, and rarely I like the mash up music beside the Zappa stuff. So for me the different productions are very conscious and I guess I enforce them with different names. I also assume, and partly know also from the long history of experiencing audience’s reactions, that many people like only narrow selection of music. so it makes no sense to offer everything I do under one name, it would just confuse and piss people off, at least more than it would satisfy people by surprises in each release.

    I also like concepts, musically, but also giving them titles. I mean in the end there are just few, but Luomo and Vladislav Delay for example have strong conceptual ideas behind them which I’ve had for long time already. And having new ideas for each project is very exciting. there’s something like a foundation but then you move around in that space and try to create something new, I like that.

    You’ve described where you live ‘as in the middle of nowhere’ – Do you feel your environment lends itself to the creation of your musical aesthetic?

    I think environment plays a big role to everyone. There’s probably the most suitable surrounding for each and everyone and it’s different to each and everyone. The big thing and the challenge is for us to even begin to look for it, never mind to find it.

    I noticed while living in Berlin that I’m going to be ##### if I can’t find my “place” and then spent few years trying to figure it out, and luckily had faith and power to go through that and also a partner to support me in that and of course very importantly share my views of life.  So to a point. When you have “your place” where you live and feel well it totally benefits your creations. I have seen it very clearly already.

    You’ve described your relentless work ethic as a personal vision – what is your perfected musical manifesto?

    I don’t believe in manifestos actually at all. I learn new things every day and change my views accordingly, and many things I felt in the past feel already ridiculous. So I try to question myself and what I do constantly. So maybe that is the manifesto if one has to be said.

    But also I don’t work so much or so hard in the end. You lose the necessary “something” if you just do and do and do without a break, and you also begin to repeat yourself. So older I’m getting more I’m trying to do other stuff, my daughter also helps a lot in that…

    But my musical quest is relentless still, for sure. And the musical vision I have is also quite relentless and maybe little bit unforgiving, to myself that is.  The main thing is, there’s so much possibilities to do, and not everything is easy to achieve so what can I do? I really want to do lots of things musically. Only difficult thing is that more and more it becomes very hard to make a living out of making music, especially if you don’t want to constantly tour around. And the thing is, if you tour around you end up not making any music, good music at least. There’re sadly way too many proofs out there about that for sure.

     

  • Maximum Perseverance.

    [youtube_sc url=”tZ46Ot4_lLo” ratio=”16:9″ theme=”light” modestbranding=”1″]

  • The Goal.

  • Parallels: 1984+2012

  • Ideal.

    [ylwm_vimeo height=”320″ width=”400″]7209628[/ylwm_vimeo]

  • Abstract Comparison.

    “The girls were equally wary with one another and often spoke roughly among themselves.  They frequently knew nothing about the people with whom they lived and worked [..].  Most girls seemed to have one or two true friends who lived far away, perhaps in another factory, preferring to confide in them rather than in many close by.  Maybe this was their defense against living in a colony of strangers: They took it for granted that someone who slept in an adjoining bunk one night would disappear the next.

    “It took willpower for any migrant worker to change her situation.  But inside a factory as large as Yue Yuen, the pressure to conform felt especially intense.  The girls all claimed in front of one another that they didn’t approve of finding a boyfriend in the city, although many of them already had one; they disparaged further education as useless even as some quietly took classes in an effort to improve themselves.  Yue Yuen was a good place to work – everyone who worked there said that.  But if you wanted something different, it took all your strength to break free.”

    Factory Girls, Leslie T. Chang

  • SFP I: “Choices”

    About a year ago, I watched a documentary about human relationships.  There was one segment that I found extremely interesting.

    Approximately 20 women and men (equal distribution) were placed in a room and asked to select who they felt were most likely to choose them as a potential mate.  Each individual was ultimately faced with two primary decision factors (among many):

    Factor #1: Who am I attracted to?

    Factor #2: What is the likelihood that this individual will feel similarly about me?

    While one’s measure of attractiveness varies, particularly by individual and culture, it’s something that is inherent to one’s personality.  Thus, if you aren’t given an explicit opportunity to learn about that individual for who they really are, your measure of attraction isn’t likely going to change and is based solely on one’s physical appearance.  This is normal.

    The second factor is a blend of risk, self-worth and ego.  In this example, one may eliminate someone they’re attracted to there is a likelihood of that person not sharing similar feelings (e.g. “I won’t ask her/him because she/he will probably say no ..”) To some degree, this casts light on how one feels about her or himself, both on the outside and inside.

    If you feel positively about yourself and believe that your companionship is valuable, that same attitude will reflect onto others regardless of your physical appearance.  A positive external image is short-lived if one’s self-worth is lacking.

    Thus, the key to attracting and selecting potential partners is to focus all attention on the first factor (“instinctual attraction”) and eliminate the second through positive and unbreakable feelings of self-worth.  Employing this strategy doesn’t necessarily guarantee a successful outcome (as I’ve recently discovered), but it’s a strategy that needs to be followed nevertheless.

    (SFP = Self-fulfilling prophecy)

     

  • The Basics.

    “I think the most you can hope for is that there’s someone else who even knows that you exist, who even cares about what happens to you.  Many people don’t have that.”

    – Ira Glass, This American Life