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In order to confer clarity and distinction to the world of musical experience, the maestro began by tempering the sonorous system and ended up by leaving the fugue of his own name incomplete
Dan: ‘It is as if I always owe what I feel… I don't know… it's something like water…’
Hardly had Dan finished his association that it started raining heavily. It was at that moment that I thought about the ‘acausal coincidence principle’ and about the concept of synchronicity, used by Carl Jung to conceive the continuity of reality. The external world is a continuation of the internal world, the latter being able to determine the former (hence the psychic nature of the universe), their gliding into each other being possible and indicated by moments that escape any linear-causal perception. Synchronicity is a concept used by Jung in his attempt to deconstruct, without transgressions, the axiomatic disjunction that Freud referred to. In Instincts And Their Vicissitudes Freud specified the source of the two ‘realities’: ‘It is from the efficiency of muscular activity that the perceptive substance of the being gained support, so as to separate the interior from the exterior’. Motricity, capacity of controlling the stimuli, external reality,