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188 Chapter 9 itâs like âBwoar!â [exploding sound ] [...] Itâs not âBoom ... Pluck ... Oh! ... Erm! ... Letâs see what the other guy is doing!â Awareness, Clarity, Form and âThe Momentâ Whether it was a group of 20 years or a first meeting, within each Field, trust was clearly key to the success of ârealâ improvisation. As Tristan Honsinger said, âIf someone does something odd then it will effect everythingâ and, as well as following group âdirectionsâ, there was also a responsibility to be coherant, clear and aware, and to contribute musical material that other performers could understand and make sense of. Axel DoÌrner described how: Like a composer, you write something, and what youâre writing after this has to make sense out of what you wrote before. So I follow. I try to get a meaning into something where, if I play a note, and the note after makes a different meaning to the note I played before (and thatâs also for sounds)... one comes after the other. Itâs like composing moment-after-moment, and each time I have to see what makes sense in the complete idea - how long something is in relation to what happened before, which kind of structures could belong together, or would work. The basic question is âWhat do I want to hear?â In doing so, DoÌrner was active on several levels of awareness - in the present moment, but simultaneously paying attention to global structural concerns, and seeing âthe momentâ in relation to what had already occurred and what he predicted might come. Referencing composer Bernd Alois Zimmermannâs Kugelgestalt der Zeit,14 he described how: Time is changing in a way which the future and past and present time become a certain kind of unit [that] you can move in. [...] Iâm in the moment, but Iâm also in what is called Eternity. Both at the same time. And itâs not a line... itâs like a [sphere]. [...] Many things go at the same time [and] everything is included. Many other similar variants of this approach existed, with musicians dividing their attentions between structural/formal aspects, âthe momentâ, listening to themselves, listening to the others, recalling/executing/extending materials and comparing current situations to the past, and all of this occurred apparently simultaneously, or at least 14 Describing a spherical concept of time, Zimmermannâs Kugelgestalt der Zeit was previously referenced in Alexander von Schlippenbachâs liner notes to the first Globe Unity Orchestra release [Schlippenbach, 1967], a group of which DoÌrner is now a member. Schlippenbach was a former student of Zimmerman in KoÌln (see p. 42).