perhaps a phenomenology of discursive practices as well as electronic musics?
May 11th, 2008, search relatedRelated posts :: perhaps a phenomenology of discursive practices as well as electronic mus… :: perhaps a phenomenology of discursive practices as well as electronic musics? :: perhaps a phenomenology of discursive practices as well as electronic mus… :: perhaps a phenomenology of discursive practices as well as electronic mus…
BobG asks:
> Hey mP, does any of this sound familiar? 
> remember back in the day when Malcolm not only consistently flamed Anthony
> but gang torched him with Rene et. al.?
>
> ah yes ….
Too true mate, but perhaps this issue would be more interesting (less
irritatingly boring [sic]) and appropriate to a Heidegger/philosophy list if
we were to discuss the very practices of philosophic discursivesness, er,
philosophically, perhaps even in a Heideggerian key? How might that be
begun? What is a philosophical discussion? How do philosophical discussions
appear and how do they disappear (into bathos, into mere opinionateness,
into mere argumentation, into noise/chatter/tabloidal screaming, etc)?
Talking of screaming, how might a phenomenological study of electronic
musics begin? On a Heidegger list. Might the clue be in the specifically
‘modern technological’ dimension of electronic musics (I am using the plural
because there is such a diversity and difference of such electronic musics
available during the past century). All musical production is to some degree
technological (instruments, acoustical space(s), the technologies of scores
and scripts, etc), but electronics brings an added flavour to the mix,
sharpens it, directs it. Like Heraclitus’ fire/lightning bolt steering
beings… And, of course, we are in Heideggerian Gestell country here. Is
this a way to follow?
We are, in the west (and thus increasingly every where), surrounded, blasted
and penetrated by music produced and consumed and distributed
electronically: does that mean that all such music *is* (properly speaking:
and that *is* a philosophical question par excellence) electronic music, or
should we restrict/refine it to meaning the works of such as Stockhausen,
Cage, Varese, et al, or could it include the works of such as Kraftwerk,
Einsturzende Neubauten, Human League, electronica, aceeeed, etc? If we
concentrated on recorded musics, then virtually all music (as consumed)
would be electronic: is this the way we need to think the ‘electronic’ and
the ‘music’ of ‘electronic music’?
more later
regards
michaelP
