How do surprising historical insights and surprising political insights transform your awareness of daily life?
How do you contribute to the psychogeography of your usual surroundings?
What is the psychogeographical purpose of your patronage of the arts?
How have you explained that purpose within your Twaklin anthology?
We have now reached the halfway point in the Mozarty Party Climatologically Cool 100. Is a huge fire burning near you?
Wherever you are currently situated, and regardless of the nearby dangers, your priorities at present may include the acquisition of particularly valuable additional performance techniques.
Will psychogeography be part of your imagination in the year ahead?
Enlightened patrons of the arts are highly aware of their physical and political surroundings.
They are activist citizens of the most lofty sort. They use gently playful, often cheerful yet calm approaches to challenging problems.
They find reasonable solutions to those problems and communicate their findings through the harmonious interplay of beauty, understanding and magnificence.
Psychogeography is most easily expressed through the Twaklinesque.
How do you usually seek out reasonably unpredictable experiences?
What do you usually expect to be predictable and how reasonable is that expectation?
How often are your unpredictable experiences based on the unreasonableness of someone other than yourself?
How do you distinguish between reasonable and unreasonable expectations?
What do you usually expect when experiencing creativity?
How have you been attempting to transform your imagination in relation to your surroundings?
How have you been attempting to transform your surrounding in relation to your imagination?
Have you been acting alone or collaboratively in any of the above pursuits?
Do you have a short-term view or a long-term view of productive capacity?
How do you define productive capacity?
What do you believe to be the productive capacity of psychogeography?
How do you use digital tools in relation to psychogeography?
Do you ever find serenity in your surroundings or does it come mainly from within?
Have you found it difficult to find serenity anywhere, even through the arts?
Beautiful places can often be crowded with tourists.
Is it possible to find serenity in an ugly place?
How do you help other people to find serenity?
You may believe a theatre is not a suitable place for the experience of serenity, with or without the assistance of Johann Sebastian Bach.
Do you know how to use a keyboard wisely?
Are you seeking to be acknowledged here as an enlightened patron of the arts?
Serenity cannot be found when a predator is known to be near. Nature and culture both have their predators.
Are you part of a predatory culture?
Do you ignore the predatory aspects of yourself, your family members and/or your pet?
How do you interpret nature?
How do you interpret various cultures, and interactions between cultures?
When you think of urbanism, do you think of the serene?
When you think of rural environments, do you think more in terms of serenity or agribusiness or escape from the urban?
Do you seek serenity through the interrelationships between urban landscapes and nature?
Enlightened patrons of the arts value serenity highly.
But who has been eroding the chance for you to experience serenity?
What intrudes upon the serenity of your life?
We have now reached number 50 in the Mozarty Party Climatologically Cool 100 countdown. The work in question consists of twelve variations.
How do you usually reflect upon repetition in music?
How do you usually reflect upon repetition in life?
How do you vary the repetition in your life, and why?
What do you learn through repetition?
What do you learn through variation?
Do you ever experience serenity in relation to Mozart's Twelve Variations on "Ah vous dirai-je, Maman", K. 265/300e?
Mozart composed the work when he was around 25 years of age, in 1781 or 1782. The French children's song of the title is based on a French folk song or pastoral song, the original composer of which is unknown.
The French title of the children's song can be translated into English as Oh, I'll tell you, Mummy.
The tune itself has long had a wide variety of lyrics attached to it, for various purposes and various audiences.
Do you vary your purposes?
Do you vary your audiences?
Composing variations is about making choices, of course.
Repetition is the repeating of a pattern. It is predictable.
But do the patterns themselves have any meaning?
What assumptions do you make about patterns, routines and audiences?
What assumptions do you make about your thoughts and your surroundings, and your relationships?
Do you ever wonder whether your routines stall someone else's search for serenity?
Part of the art of the Twaklinesque is to transform arrogance into humility, without resorting to humiliation or any other form of denigration.
Arrogant people tend to be unaware of their own ignorance. They are often overconfident about their own beliefs, and their own routines. And they tend to be aggressive when anyone threatens that confidence.
Arrogant people overestimate their own intelligence, their own knowledge and their own influence in the world. That is why they lack wisdom.
Arrogant people seek to lead, yet they have little respect for enlightenment, including self-enlightenment. They do not understand the philanthropic aspects of sharing.
Philanthropy is about sharing, not giving. To share always involves psychology and geography, and communication.
How do you tell the difference between giving and sharing?
Hospitality involves both giving and sharing.
How have you experienced the psychogeography of enlightened hospitality?
Have you ever felt pressured to provide hospitality, or to receive it?
What is the difference between simple hospitality and the more complicated sort?
What are your privacy and security concerns in relation to hospitality?
Have you travelled much?
Children see the world differently than adults. That is understandable. Their brains have many years yet to develop to maturity.
As recent science has revealed, the brain continues to develop into the mid 20s, the age at which Mozart wrote his variations on a nursery rhyme.
Understanding brain development should be at the heart of public policy. Just as children frequently prefer eating too many bonbons rather than being more reasonable, so it is reasonable for a well-informed, mature adult to know that persons in their teens and twenties are likely to prefer various forms of excessiveness from time to time.
Being excessive in middle age is likely to be a sign of mental illness, and many mental illnesses are a consequence of experiences earlier in life.
Enlightened patrons of the arts prefer life at a gentle pace. They are mature, reasonable and well-informed yet still willing to enjoy a playful approach to creativity. They do not appreciate excessiveness. Indeed, they have little tolerance of it.
The clash between the reasonable and the unreasonable provides many challenges in the lives of reasonable people. Conflicts tend to be between various forms of unreasonableness.
It is difficult for a reasonable person to intervene successfully in resolving conflicts unless reasonableness prevails. Avoiding conflict is usually a much better use of time, hence the avoidance of unreasonableness can lead to serenity.
What can Johann Sebastian Bach and Mozart teach the world about reasonableness?
What can they teach the world about repetition and variation?
Noise is randomness.
A rest is not just silence but suspense.
A rest is never endless until it becomes eternal.
The musical variations of Mozart's mid 20s coincided with his radical decision to become an independent musician in Vienna. He wanted to be known as the best of the best. He wanted to establish a secure, well-paid, highly respected career through which his need for creative variation could be expressed.
Why did he base his variations on a theme of innocence, sweetness and playfulness? His compositions were bonbons. His intention was to ensure the wealthy Viennese would want his services, just as children want sweets.
But his sweets were also nutritious. They nurtured minds and emotions, and memories.
What do young people need to learn about life in order to reach the age of reasonableness in reasonable health?
What do reasonable people need to learn about young people in order to make life pleasant for everyone?
There is no privacy on the Internet, and especially not on Instagram.
The Internet is not another world, it is many different worlds. Some of the inhabitants of those worlds may have entered into your world much more than you realise.
What is the psychogeography of your world?
What is the psychogeography of the worlds you visit online?
Who do you welcome into your world, and for what reasons?
Where do you love to explore, and why?
How well do you explore your own world?
What are the boundaries of your world?
Are you ready for the number 49 in the Mozarty Party Climatologically Cool 100?
Has your brain accumulated at least 25 years of data?
Do you still seek the thrill of acceleration in a funfair or on a highway or elsewhere?
How are you intending to responding to an accelerating rate of climate change, and when?
At number 49 in the Mozarty Party Climatologically Cool 100 is a work of 12 Variations in B-flat major, K. 500. It was completed in Vienna on 12 September 1786, when Mozart was aged 30.
Do you do the same as an enlightened patron?
Do you still meet your needs in an exploratory way, like children tend to do?
What is your understanding of environmental psychology?
How do your early experiences of environments, music and literature continue to shape your approach to problem-solving and creativity?
What have you learned from JS Bach?
What has he taught you about production assurance, quality assurance and quality control?
What has he taught you about consolidation and consolation?
What did he teach Mozart?
What did he teach Samuil Feinberg?
Here in the ethereal theatre of the Twaklinesque, each presentation is meant to persuade you to use knowledge, skill and creativity to make the world a much better place than it would be without you.
But how do you express "you"?
What is exceptional about you?
How do you express integrity?
How do you identify integrity in other people?
How do you break conspiracies of silence?
Do you usually only perceive art in terms of market value?
Do you usually only perceive artistic persons in terms of popularity?
If your own creativity has received little attention, do you resent the market value and popularity of other people's creativity?
Next in the Mozarty Party Climatologically Cool 100, at number 48, is Sonata for Piano and Violin No. 21 in E minor, K. 304 (K300c. It was completed in Paris in 1778, at around the time his mother died. Mozart was 22 years of age.
Mozart's negative psychological experiences in Paris affected his attitude towards the city considerably. He had a much more positive attitude towards Vienna.
He also had a negative attitude towards Salzburg, even though it was his home town. He never felt settled there, possibly as a consequence of his many travels and his ability to make comparisons between places as well as people.
A healthy affection for a place, and for people, is difficult to achieve after consistently negative experiences.
The first movement of the work may have been composed in Mannheim, a city Mozart much preferred. He also experienced a strong affection for a young woman there, of course.
Through psychogeography it is possible to travel in style, even without leaving home. The imagination does the exploring. The mind identifies possibilities.