INaudible will promote the practice of improvisation in music, the arts and culture in general. In doing so, it favors improvisation called 'free', or more correctly 'open' where freedom is not intended as acquired at the start, but rather as a way to track accompanying the movement of life. ***
A peculiar and vital characteristic of open improvisation is that decisions and rules are revealed in the action itself, gradually unfolding the performance.
Improvising is conceiving and realizing the music at the same time (or other performance). All in one gesture. (*)
(*) “The improviser is in the fire which is burning the time.” (Jacque Siron)
The overall alienation pushes the dominated ones to look and see and understand the world through the eyes of a ruler. And it is from this analysis that Edwin Prevost says“No sound is innocent.”
We share the same opinion: no sound is innocent because it expresses a way of thinking, organizing, perceiving, experiencing time and human space. (**) The artist, the musician, builds a symbolic universe: a human world, done by the human for the human. Therefore, he has a social, political and ethical responsability : like it or not, whether he knows it or not.
(**) And, ideally, a welcoming world even for our brothers animals and plants, and sensitive to the fragility of our precious and limited environment.
'Collective improvisation' means going beyond the individualistic approach of Western culture. An attitude exacerbated in romantic music and in the cult of genius, if possible 'cursed', with what means the idealist 'romantic lie' with his well known ideological follow-up of the extreme right. (***)
(***) Incidentally, the solo improvisation is also inevitably collective as the full orchestra includes the individual and social past of the artist, his emotional resources in the present, his past history and the contemporary art forms of his language . This first half of the orchestra is completed with the equally essential element of active listening on the part of the listeners, caught in the same nets of interactive dynamic global music. A music that is not heard does not exist fully. A world to make a world on the music scene!
INaudible, by contrast, aims to welcome and encourage exchanges between artists and the community at large.
INaudible recognizes the value of listening and of mutual respect for each other as the foundation of its practice. Artists and audience will listen actively and perceive the entire soundscape as musical expression.
INaudible, with its emphasis on the spirit of collaboration and creativity here and now, is giving equal prominence to both human and cultural aspects of artistic creation as to its formal structure.
His open collective approach results in practice in the willingness to accept different ideas and reference materials. Its most important feature is the ability to negotiate and integrate multiple perspectives and world views.
The organization of the Collective and the organization of the materials we use or produce are intended to be of a non-authoritarian and non-hierarchical nature.
In this regard, INaudible intends to expand its already inclusive approach. The goal is to bridge the persistent gap in sensitivity between the sexes, in order to ensure a more open space to women's presence and to promote the coexistence of different aesthetic approaches within the Collective itself and the wider community .
INaudible recognizes and promotes the educational value of the practices of (free) open improvisation. By managing its own limits and uncertainty, improvisation can help building in and through music (and the arts in general) a way of being together that promotes equality while respecting differences and uniqueness of individuals. In doing so, it provides some practical tools to cope with the complexity of the world
Improvisation has become a practice to build bridges, not only between cultures but also between different historical periods, between different artistic media and technologies of all time.
Inaudible intends to promote as much as possible the construction of a network of improvisers: an essential tool for survival and visibility in a fragmented and marginalised community such as the one of improvised music.
This manifesto takes a stand on the artistic, social, economic and political constraints related to the practice of collective and open improvisation. Its opening, in fact, is intended to include such limits as part of the artistic practice itself, helping to articulate its progress, challenges and future developments.
The dynamic between the practice of collective improvisation and the awareness of the artistic, social, economic and political limits feeds the subsequent will to overcome them. This drives us to want going beyond the routine and engaging then the social context and its changes.
The crisis in which we find ourselves today is not only economic, but also, and more important, ecological, cultural and ethical. It is an identity crisis but also of meaning, crisis of coexistence: a global systemic crisis.
But this serious crisis is not only the threat of disaster, but also it could be opening up new opportunities and potential, immediate radical change. In its small environment open improvised music can and must play a role.
*** Warning: work-in-progress! --- This Manifesto was designed to launch the debate in the community of improvisation. We hope to receive before and after the Festival the suggestions of those who want to contribute. In this way, we can build together this document as a basic tool for the construction of a network of improvisers.