To me, art is the capacity to experience one's innocence: craft is how you get to that point. Maturity in a musician would be the point at which one is innocent at will. At that point the relationship between music and the musician is direct and reliable._x000D_ The relationship with music is always mysterious: when it works, you can never tell. You can never guarantee when it's going to work. You can only to put yourself in a place where it's more likely to happen.
Interpretation
Art involves tapping into one's inner innocence, while craft is the means to achieve that connection.
In this quote, Robert Fripp suggests that true artistry comes from a deep, instinctual connection to one's creative innocence, which can be accessed through skillful practice or craft. He emphasizes that the relationship between a musician and their music is inherently unpredictable and elusive; although the moments of inspiration and creation are not guaranteed, one can enhance the likelihood of those moments by fostering a conducive environment for creativity.
In practice
During a speech at an art exhibition, one might quote this to inspire artists about the importance of connecting with their inner child.
The creative musician ... is ... the radio receiver, not the broadcasting station. His personal discipline is to improve the quality of the components, the transistors, the speakers, the alloys in the receiver itself, but never to concern himself overmuch with putting out the program. The program is there; all he has to do is receive it as far as possible.
Music is the cup which holds the wine of silence.
I get thousands of letters, and they give me a feeling of how each book is perceived. Often I think I have written about a certain theme, but by reading the letters or reviews, I realise that everybody sees the book differently.
In art there is only one thing that counts: the bit that cannot be explained.
In the future, everybody will be world famous for fifteen minutes.
The poet's eye, in a fine frenzy rolling, doth glance from heaven to Earth, from Earth to heaven; and as imagination bodies forth the forms of things unknown, the poet's pen turns them to shape, and gives to airy nothing a local habitation and a name; such tricks hath strong imagination.
I often recall these words when I am writing, and I think to myself, “It’s true. There aren’t any new words. Our job is to give new meanings and special overtones to absolutely ordinary words.” I find the thought reassuring. It means that vast, unknown stretches still lie before us, fertile territories just waiting for us to cultivate them.
The only thing we are as actors are messengers. That's all we are. Correct? We are delivering the playwright's intention through the concept of the director. And I come on stage; if I feel confident in the role, then I give it away.
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