By Gunnar Bucht
Often conversing, the philosophy of track hitherto might be stated to method song, because it have been, from above or from outdoors. track, therefore envisaged, will be «absolute» or «sounding kinds in motion». it may be expression, have a linguistic which means, inform a narrative, be a manifestation of «the global as will and conceptualization», and replicate society’s inward contradictions. tune is noticeable as an job, occasionally as interactivity, no longer least via an anthropological technique during which prominence is given to its origins. This paintings is an try to opposite the argument, via taking the phenomenon of tone because the place to begin to paintings the best way as much as an knowing of the phenomenon of tune, to make a philosophy of tone the root of a philosophy of song. Such options have been already found in the author’s earlier works, yet, being on hand merely in Swedish, could be enlarged the following.
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Additional info for Aeolian Harp: An Essay Concerning the Nature of Tone
Underlying the view thus hinted at is the question of whether motion requires repose. Aristotle’s, and thus the ancient world’s, answer is largely in the affirmative, underlying Zeno’s famous paradoxes of the impossibility of motion. Space is perceived as static, and there is no such thing as empty space. 48 Despite Aristotle’s authority, there is all the time an intra-ancient opposition which also gains adherents among later Arab philosophers, asserting the possibility of a relation between space and motion, perhaps indeed one of interdependence.
The sideways dimension, finally, has, as mentioned previously, two directions: right and left. These are basically equivalent, even though religion and perhaps convention give priority to the right side. We see how space and man’s movement within it are immediately charged with meanings which go far beyond the notional structure of space. A space with no meaning does not seem to exist. Let me give a few examples, beginning with the centre of space. e. the bridge of the nose, but we have to consider man’s complex relation to space: he moves “in” this stationary space while at the same time having a subjective system of reference to it.
Perspectives arrange things within the horizon, while the latter imparts stability to the former. These terms can also be used metaphorically, as in “spiritual horizon”, “new perspective” and so on. So far we have dwelt on illuminated space, whether basking in daylight or in artificial lighting, but there are of course a number of different lighting conditions by which clarity is obscured: dusk, dawn, mist, falling snow etc. In a combination of mist and dusk, for example, space can sometimes assume menacing forms, an experience portrayed in Goethe’s and Schubert’s Erlkönig.