<snip>
what I was thinking of was the later
(current?) reception of the PS as being +Brian Eno's+ project. [DB]
<snip>
But the wider point is the vital one, I think. One is faced, constantly,
with problems for which one lacks the tools. (I think Jon C is wrong, or at
least very imprecise, about how the changes wrought in the 60s came about.)
In those circumstances knowing how to use tools in general certainly helps
and so too does the sort of undogmatic flexibility that comes about through
knowing one does not know. In that sense the PS (which I had called the PF
for some reason) offers a sort of Vygotskyan model in which musicians and
non musicians act as *scaffolding* for one another.
What doesn't help is _wilful_ ignorance (the laziness you despise: who needs
tools of any kind? take the silly things away!) but also fettering oneself
with musical (or poetical) chains of office, the assumption that any art is
a fairly closed system rather than a very open one. Alas the train driving
analogy expresses rather well what poetry is very much _not_ like!
CW
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I am always doing what I cannot do yet in order to learn how to do it
(van Gogh)
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