intellectual." The critic Brook Zern has written, of a performance of someone with duende, "it dilates the mind's eye, so that the intensity becomes almost unendurable... There is a quality of first-timeness, of reality so heightened and exaggerated that it becomes unreal...". Lorca writes: "The duende, then, is a power, not a work. It is a struggle, not a thought. I have heard an old maestro of the guitar say, 'The duende is not in the throat; the duende climbs up inside you, from the soles of the feet.' Meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation." Lorca, in his lecture, quotes Manuel Torre: "everything that has black sounds in it, has duende." [i.e. emotional 'darkness'] ... This 'mysterious power which everyone senses and no philosopher explains' is, in sum, the spirit of the earth, the same duende that scorched the heart of Nietzsche, who searched in vain for its external forms on the Rialto Bridge and in the music of Bizet, without knowing that the duende he was pursuing had leaped straight from the Greek mysteries to the dancers of Cadiz or the beheaded, Dionysian scream of Silverio's siguiriya." ... "The duende's arrival always means a radical change in forms. It brings to old planes unknown feelings of freshness, with the quality of something newly created, like a miracle, and it produces an almost religious enthusiasm." ... "All arts are capable of duende, but where it finds greatest range, naturally, is in music, dance, and spoken poetry, for these arts require a living body to interpret them, being forms that are born, die, and open their contours against an exact present." Contemporary music According to poet and critic Edward Hirsch, the duende is found in works "with powerful undertow." Hirsch cites Robert Johnson's Delta Blues and Miles Davis's modal approach in Kind of Blue as primary examples of duende. Although perhaps not ideal illustrations of the spirit of the term, the following are examples applied to other contemporary, non-flamenco contexts: In March 2005 Jan Zwicky (University of Victoria) used the notion of duende in the context of contemporary music at a symposium organised by Continuum Contemporary Music & the Institute for Contemporary Culture at the Royal Ontario Museum, an event televised by Big Ideas: [The second way music can be new is] when