00:00He knew very well these systems.
00:03First, very well said Mariela,
00:07saying that with Guggett
00:10he had found a method,
00:11which is the method of observation,
00:16the method,
00:18which is also a system
00:20of meditation,
00:22that is to observe without
00:24letting them move away from emotions.
00:29But the emotions must not be preserved.
00:32Clanko, for a while,
00:33he had practiced these systems,
00:35but then he found one
00:37from a musician,
00:38which was his way.
00:44It could seem personal,
00:47but in reality
00:49this system
00:51inside a certain group of musicians,
00:56I don't know if you've ever heard
00:58La Montegang,
00:59surely someone of you know
01:02that.
01:02La Montegang,
01:04a minimalista,
01:09lived constantly
01:12with a frequency in casa
01:15and it was a frequency
01:16that was going to influence
01:19on a particular function
01:21of our neurons
01:24and that brought the brain
01:27to a certain frequency
01:30to a certain frequency.
01:33Clanko had composed
01:36his meditation
01:39based on frequencies
01:41in effect
01:42in effect
01:42da molti anni
01:43praticamente
01:45da quando
01:46l'aveva composta
01:47questa partitura
01:50ha sempre meditato così
01:51ed è
01:52l'inizio
01:53della Messa Arcaica.
01:55L'inizio
01:56della Messa Arcaica
01:58è un piano
02:01elaborato,
02:03sono delle sequenze
02:05che però
02:06non portano
02:07da nessuna parte,
02:09sono ferme,
02:10sono frequenze ferme,
02:13costanti
02:14e
02:15ecco
02:16lui si
02:17adagiava
02:18su queste frequenze
02:19e questo
02:19era il suo modo
02:20per
02:22trascendere
02:23il livello
02:24fenomenico
02:26diciamo.
02:30non so cosa posso dire
02:32grazie Luca
02:33torniamo
02:34torniamo
02:34un po'
02:34non so cosa
