"There are always things to examine. What's great is not feeling that I have to refuse any of them. Maybe no good from a PR perspective, but from the point of view of everyday life, it keeps things interesting"
About this Quote
Curiosity, in Fred Frith's telling, is less a personality trait than a working method: keep the door open, touch everything, refuse the comforting discipline of a brand. The line reads like a quiet manifesto from a composer who has spent decades making music that treats sound as a field of objects rather than a ladder of prestige. "There are always things to examine" lands with the calm confidence of someone who has trained himself to notice, to pick up the odd tool, to listen to the noise around the note. It frames art as inquiry, not self-expression.
The real bite is in the trade-off he names without dramatizing it. "Maybe no good from a PR perspective" acknowledges the modern demand that artists be legible: a clean genre tag, a marketable narrative, a repeatable product. Frith's subtext is that coherence is often outsourced to publicity, and that saying yes-to the messy, the peripheral, the unclassifiable-is a form of resistance. Not heroic resistance; practical resistance, the kind that keeps you working.
His pivot to "everyday life" matters. He refuses to cordon off experimentation as a special, gallery-approved activity. The point isn't to be avant-garde; it's to avoid stagnation. In an attention economy that rewards certainty and punishes drift, Frith argues for a creative posture built on permeability. Interesting, here, isn't a vibe. It's a discipline: staying available to what you don't yet know how to name.
The real bite is in the trade-off he names without dramatizing it. "Maybe no good from a PR perspective" acknowledges the modern demand that artists be legible: a clean genre tag, a marketable narrative, a repeatable product. Frith's subtext is that coherence is often outsourced to publicity, and that saying yes-to the messy, the peripheral, the unclassifiable-is a form of resistance. Not heroic resistance; practical resistance, the kind that keeps you working.
His pivot to "everyday life" matters. He refuses to cordon off experimentation as a special, gallery-approved activity. The point isn't to be avant-garde; it's to avoid stagnation. In an attention economy that rewards certainty and punishes drift, Frith argues for a creative posture built on permeability. Interesting, here, isn't a vibe. It's a discipline: staying available to what you don't yet know how to name.
Quote Details
| Topic | Life |
|---|---|
| Source | Help us find the source |
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