Opening new fields of permissibility means to go fragile until we destroy the fears that hold us back. - Mattin

Improvised music forces situations into play where musicians push each other into bringing different perspectives to their playing. Improvised music is not progressive in itself, but it invites constant experimentation. When players feel too secure about their approaches, the experimentation risks turning into Mannerism. What I would like to explore here are the moments in which players leave behind a safe zone and expose themselves in the face of the internalised structures of judgment that govern our appreciation of music. These I would call fragile moments.

While in improvisation there is a sense of craft within one's own instrument and in being able to interact with other musicians, in noise this disappears to the extent of anti-virtuosity becoming a virtue. A nihilist approach to improvisation in which the interaction is not based upon developing common denominators for some communication to happen among the players, but rather a matter of developing the freedom of individual expression.

It seems that Locke had in mind rival goods when he developed his theory (if one consumes it, others can’t). What happens to non-rival goods like ideas? George Bernard Shaw famously said that if you and I have an apple and we exchange apples, you would only have one apple but if you and I have an idea and we exchanged them, we will have two ideas. So, how is it possible to treat ideas as if they were apples i.e. to make them into commodities? It is only through copyright that it is possible to produce scarcity out of ideas and this of course can produce serious benefits for some but not all