Excerpts of press releases about PAF

For the last 8 CD’s with Pla­s­ti­cArt­Founa­ti­on (PAF) Cra­me­ri is working for his con­cept of music, his own sound-cos­mos – or how he puts it „a cycle of rene­wal of con­scious­ness“. The cast chan­ges con­stant­ly and brings renow­ned musi­ci­ans like Arild Ander­sen, Pao­lo Vin­ac­cia and the Los Ange­les based cel­list Mar­tin Till­mann to this litt­le para­di­se aswell as to the Rain­bow-Sound­stu­dio of Jan Erik Kong­shaug in Olso/Norway, whe­re the results of the ses­si­ons are brought to the hig­hest tech­ni­cal level. …
Car­lo is long tired of the dis­cus­sions about Jazz any­way. It is about more.
About poly­pho­nic sym­pho­nic struc­tures, not­hing mono­to­no­us like Jazz or Rock; about an obses­si­on, about search-fin­dings. For that pur­po­se satu­ra­ted musi­ci­ans don’t ser­ve. They are not rea­dy to go to the limit, we do – and bey­ond. We don’t do this in order to sell CD’s, but to spread some­thing, a thougt, an idea, an atti­tu­de. To bring out the seed“
Rein­hard Köchel, ‚Jazzt­hing’, June 2010, p. 68.

When I need distance from new com­po­si­ti­ons, I chan­ge to pain­ting and vice ver­sa. It is a known fact, that colour and sond are con­nec­ted– alt­hough see­mingly per­cei­ved sepera­te­ly through eye and ear – and as fre­quen­cy-car­ri­er inter­re­la­ted. Pro­of for that is the cor­re­spon­ding num­ber 12 in the sca­le and the colour cir­cle. Music howe­ver is the spear­head of evo­lu­ti­on. It hast he capa­ci­ty of per­va­ding ever­y­thing, also speech-bar­riers, becau­se music is vibrant sonic-ener­gy in units of sound and colour – acti­vi­ty of trans­for­ma­ti­on, which whirls out of the cent­re Zero-sound and – colour into other time zones of awa­re­ness; a joun­ey of sound-colour, which is lea­ding to a rene­wing cycle of con­scious­ness. That’s what I mean with spear­head“ says Crameri.

Art means to bring some­thing New, being visio­na­ry“ says Cra­me­ri. „Artists are shamans of the here-now. When this Essen­ti­al is miss­ing, art beco­mes epi­go­nal, eclec­ti­ci­sti­cal, apo­lo­ge­ti­cal, un-cra­ti­ve, is mere­ly pro­gra­med: „l’art pour l’art“. In order to sen­se this infor­ma­ti­on – under­ly­ing the New – a men­tal pro­cess is nee­ded. It is about explo­ring spi­ri­tu­al dimen­si­ons and about expres­sing ‚the Spi­ri­tu­al in Art’ of which W. Kan­din­sky is tal­king in his book (‚On the Spritu­al in Art‘). The sum of expe­ri­en­ces the Artist is expo­sed to, is reflec­ted in his mind as a sen­ti­ment. Any aes­the­ti­cal and ide­a­tio­nal infor­ma­ti­ons are important, all the artist in con­fron­ted with, the who­le Cul­tu­re is sha­ping this expe­ri­ence. At the same time all in all in inter­con­nec­ted, which is why we call our music ‚axia­to­nal’.
(P. Wind­mül­ler, ‚Jazz’n’more’, 4/2010, p.21)

John Cage ope­ned my eyes when he pos­tu­la­ted, that the future of music belon­ged to the ‚All-Tona­li­ty’. Mau­rice Kagel talks about ‚the ambi­gui­ty in tran­scrip­ti­on and inter­pre­ta­ti­on of musi­cal pro­ces­ses’ in con­nec­tion with his elec­tro­nicly ger­ne­ra­ted com­po­si­ti­ons. The refi­ned tona­li­ty resul­tant the­reof allows a varie­ty of shades in music. Fre­quen­ci­es hid­den in con­glo­me­ra­tes can beco­me audi­ble through Elec­tro­nics bey­ond the instru­men­tal. Thanks to Elec­tro­nics the jounrney inwards can real­ly start. When we rea­li­ze that ever­y­thing is vibra­ting, is con­stant­ly in move­ment, that wit­hout vibra­ti­on the­re would no mat­ter and no music, then Elec­tro­nics belong to con­tem­po­ra­ry music as a tool. Other­wi­se time-ade­quacy would be miss­ing. The music did not reflect the times we are living in and would the­r­e­fo­re not be con­tem­po­ra­ry.“
(P. Wind­mül­ler, ‚Jazz’n’more’, 4/2010, p. 23)

What remains is the incre­di­ble urge of Cra­me­ri to dis­co­ver, his almost feve­rish search of unplay­ed sounds, of exits out of an infes­ted music sce­ne …
PAF ist he extrapar­lia­men­ta­ry sound­re­vo­lu­ti­on of the 21st cen­tu­ry; radi­cal, ques­tio­ning the sys­tem, iso­la­ted, but con­tra­ry to the (ger­man) RAF full of con­fi­dence.
(R. Köchel, ‚JazzT­hing’, April 2008)

Full ver­si­ons of the texts in