18.48
Bredonborough.
An inbox of 243.
20.28 After 2.5 hours, an inbox of 249.
Enquiries are coming in: how do we calculate disposable income?
Prima facie, I would not have thought this particularly complex. But, as I personally have no disposable income as such, how can I calculate the figure? I asked my book-keeper for their view, came to a judgement, and that is my sum. So, this is the formal GC Office response:
Robert has been asked for advice on how to calculate our disposable income. He asked himself the same question, and came to a figure. His reply to others is, this is a calculation we make for ourselves.
And to Director Nunez…
There is no one fixed strategy for the future.
Another approach is, to open an account & accept money but not to form an Institute. That way, commitments made are harnessed & directed. This is not optimal use of charity funds, but the level of well-intentioned cluelessness, witlessness & imagination does not become institutionalised.
On the Guestbook…
Guitar Craft House: Posted by gbruner on June 18, 2007
If energies were directed towards making GC available to a wider number of folks through distance learning and through more frequent and more easily-reached classes. I believe the acquisition of GC house would be accelerated because there would have a greater base of students from which to draw tithes. I live in the US Midwest and years may pass between Level 1 & 2 classes that are within a day’s drive. Which is a greater priority for GC: developing new blood or advanced training for the higher level students?
There are several points here.
Firstly, GC will never appeal to a large number of people because of the high demand it makes of us.
Secondly, if we have to wait until a course comes to our neighbourhood, we simply don’t have sufficient passion for GC to be of much use to us. Better to forget GC & have an easier life.
Thirdly, distance learning has been part of Guitar Craft for several years. This is the At A Distance programme, but is only possible for those who have established a personal grounding on courses.
Fourthly, tithing is not for a mass base: it only strikes a chord in those who for whom GC is a necessary / valuable part of their lives (and has little to do with money).
Fifthly, is the beginner / advanced my only option, and/or mutually exclusive? My own current responsibilities are towards those students who have invested several years of their lives in developing their practice, and there are others well able to address the primary needs of new students.
My Wife continues to be astounded & amazed when I return from courses of, even, experienced students who are unable to play with confidence and competence in C major. This is not what I call advanced training, and I’m ready to move onto G.
A question for Mr. Fripp:: Posted by Fermier on June 17, 2007
Almost all of the soundscapes recordings take place in a building. What would happen if they were composed/performed outside, say, in the lovely garden behind your house? Would the performance be affected by being outside in a place that is comfortable, familiar and safe for you to work in (i.e.; no possibility of photographers or other distractions)?
Just curious.
Firstly, curiosity is not enough to light a fire.
Secondly, many Soundscapes have taken place in the open air, although not many of these performances have been released. Soundscapes were the G4 of G3 in 1997 & many of those performances were outside. I love/d the spaces.
If performances are in Europe, they are undermined by continual photography, filming & recording in public areas by those who claim their fetishising rights by virtue of breathing while in a public area. So, is the open air a good place for Soundscapes? The quick answer is yes (Joe Satriani preferred them in the open air). Is the open air a safe place to work? Perhaps yes, but not the air of this planet.
riddle: Posted by Crimsoid on June 18, 2007
well, here’s the riddle. Robert Fripp says:Many thanks for your presence & your interest in our work. Please give us your ears. Please do not take photographs, on cameras or mobile telephones; with or without flash. This disturbs our work to a greater degree than it is possible to simply explain, or you might believe, were we able. DGM Live says:If you have rare photos, images, or scans of DGM-related artists that you would like included in the DGM Live VISION Library please send an e-mail to [email protected]:)
Whose bright idea?: Posted by PyramidHead on June 17, 2007
If DGM’s stated aim is to "support the power of music," and "the integrity of the musician," then whose bright idea was it to sell audience bootlegs on the site? Given Robert’s public disapproval of any surreptitious recordings during live performances, it would seem at odds with the goals of the label to present them as items for paid download. I would like to know how selling the product of an activity that undermines and hinders the musical event is reconciled with the aims of DGM, and how this practice differs from reuniting an earlier version of KC to raise money for Guitar Craft’s new house.
Well, how do Messrs. Crimsoid & PyramidHead resolve the seeming paradox rather than, as conventionally, handing Robert a seeming-question for solution? Go on! Exert yourselves! Apply your intelligence!
20.41 We are dealing with Russian piracy of a high order.
"How we hold our pick is how we organise our life."
