ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...) an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)

The Transamazon (Br-230) Highway in the state of Pará has had its image frozen for decades: themuddy road, the cars stopped or tractors tearing down a forest, empty of people, opening the amazonianspace to a project of an authoritarian modernization. Reproduced by and reproductive of the teachingsof geography – including for children and teenagers who live on the edge of the road, in settlements andcommunities on the sideroads (vicinais) – in textbooks and discourses that frame regional scale (astotalizing and explanatory) (...) instead of scales emplaced in situ. The result of such dinamics is not restricted to a gap between what one experiences as a phenomenon and what one learns as a concept,it goes towards the reproducibility of an “unexistance of the creative potential” of the people living onthe sideroads, places of the construction of a geography, as well as mapping, that, from there, push usto rethink the unwavering foundations of such frosen images , of the generalistic maps and theirstandardizing projections, scales and simbology. To do so, we have, along with students and teachersof 2 schools on the sideroads of the municipality of Pacajá (PA), in the period of the beggining of 2016to 2019, done several geocartographic exercises: mind maps developped with students about the past,present and the future of the vicinal (sideroad). That is, an attempt to provoque the body into the mapand the map into the body in a context of a limit situation of existance, given the precarious schoolconditions as well as the diferent challenges lived by students and teachers. Such corporal engagementas an attempt to think the sideroads as a location in construction and, from there, a situated opening tothe world, is what gives meaning to geocartography. It is possible to conclude that: a) facing thesedimentary representations paralysing and overview of the Transamazon in the state of Pará , thephenomenological exercise of reactivation of geocartogrphying provoques the emergence of asubjective significance that does not separate the emotional and symbolic perspectives on creatingmaps; b) the corporal engagement and the situated perspective of students and teachers, not only hasthe value of a totalyzing exemple, but that of an opening to what is new as they bring up a simbologythat reveals the need to build a dialogical bridge between what is lived on the sideroads and the worldthat classifies it as “unexisting”. (shrink)

his study explores Pynchon’s mammoth novel, Against the Day, in terms of the minor practice of language as proposed by Deleuze and Guattari in their book Kafka: Toward a Minor Literature, which opens up new possibilities for literary criticism. With his idiosyncratic, intensive, and inventive practice of language, Pynchon shatters the already existing notions of appropriate and homogenizing forms of major language. The novel demystifies the language’s institutionalized system of signification and defies identifiable decipherable meaning in many ways, such as (...) covert and overt deterritorialization of language, escape from “territorial” and “representational” language, defiance of signification, neutralization of sense, asyntactical language, phantasmagorical and absurd tales, quizzical jokes, silly songs, and asubjective free indirect narration. Against the Day’s practice of language prefers the territory of asubjective insignification to subjective, symbolic, and signifying usage of language so as to dismantle the territory of representation; thus, it pushes the major language towards or even out of its limits. (shrink)