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By Jessica Wiskus
Among current and earlier, seen and invisible, and sensation and thought, there's resonance—so thinker Maurice Merleau-Ponty argued and so Jessica Wiskus explores within the Rhythm of inspiration. preserving the poetry of Stéphane Mallarmé, the work of Paul Cézanne, the prose of Marcel Proust, and the track of Claude Debussy lower than Merleau-Ponty’s phenomenological gentle, she bargains cutting edge interpretations of a few of those artists’ masterworks, in flip articulating a brand new viewpoint on Merleau-Ponty’s philosophy.
More than basically getting better Merleau-Ponty’s inspiration, Wiskus thinks based on it. First reading those artists relating to noncoincidence—as silence in poetry, intensity in portray, reminiscence in literature, and rhythm in music—she strikes via an array in their artistic endeavors towards a few of Merleau-Ponty’s most enjoyable issues: our physically courting to the realm and the dynamic strategy of expression. She closes with an exam of synesthesia as an intertwining of inner and exterior geographical regions and a choice, ultimately, for philosophical inquiry as a style of creative expression. dependent like a bit of song itself, The Rhythm of concept deals new contexts within which to procedure artwork, philosophy, and the resonance among them.
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From the Preface :
This publication illustrates a set of song manuscripts which used to be made lately to profit the root for modern functionality Arts. the gathering was resolute through situations instead of any strategy of choice. therefore it indicates the various instructions within which track notation is now going. The manuscripts are usually not prepared in response to forms of track, yet alphabetically in response to the composer's identify. No explanatory details is given.
The textual content for the publication is the results of a method utilising I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written by means of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this e-book, they're preceded by means of a paragraph signal and by means of the author's identify. different comments have been selected or written via the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided accidentally operations. This method was once to be able to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor proper to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a depressing hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condominium with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century song notation attainable.
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Extra info for The Rhythm of Thought: Art, Literature, and Music after Merleau-Ponty
Example text
Kuhn also cites a fascinating experiment: An experimental subject who puts on goggles fitted with inverting lenses initially sees the entire world upside down . . after the subject has begun to learn to deal with his new world, his entire visual field flips over, usually after an intervening period in which vision is simply confused. Thereafter, objects are again seen as they had been before the goggles were put on. (1962, p. e. the normal and the inverted) and yet both see the same thing. In very crude terms, what you believe about the nature of the world determines what you see and, therefore, how you study it.
As Simon Frith and I said in the introduction to our recent book, The Art of Record Production: ‘to study recording is . . to raise questions about two of the shibboleths of everyday musical understanding: the importance of the individual musical creator and the sacred nature of “the musical work”’ (Zagorski-Thomas and Frith 2012, p. 3). In relation to the question of the individual musical creator, one of the key changes in musical practice that has emerged from the development of recording is also part of a larger shift in emphasis, perception and practice within modern forms of art, particularly during the second half of the twentieth century.
Indeed, the development of audio playback technologies has been at least as much concerned with widening and expanding 23 24 Why study record production? the opportunities for consuming recorded music as it has with improving quality. This agenda of making recorded music accessible at every turn must surely have contributed to lowering the listener’s valuation of it: the more commonplace it becomes, the less value it must have. It seems no coincidence that the cost of recorded music has declined in relation to the cost of attending live performances, which are marketed more and more in relation to the aura of the occasion.