Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) (...) the clarifying experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...) interrelated language-games which facilitate Menschenkenntnis. (shrink)

As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal (...) focus cannot be music. This article challenges such sort of naturalistic criteria distinguishing music from nonmusic. Permitting certain sets of sounds to be considered music does not necessitate denial or approval of naturalistic explanations but does allow nontonal music to serve a part of human and musical evolution. (shrink)

To become a public figure or celebrity, I claim, is to exist alongside a zombie version of yourself. This zombie shares the same name and physical likeness but operates independently of its flesh-and-blood counterpart. In fact, public figures do not have any special authority over the zombie version of themselves, and in some contexts, they enjoy less authority over their zombie counterparts than others do. In the US, for example, public figures are not legally entitled to protections against criticism via (...) parody, which can include unauthorized use of their likeness for offensive images, insulting jokes, and other forms of public mockery. As Michel Foucault observed, a work is entitled to become the “murderer” of its author, which suggests that the author’s name exists among the living dead. An artist’s works can bear their name yet operate independently of their attitudes or mental states. In June of 2019, the master rights to Taylor Swift’s first six albums were sold without her knowledge or consent, effectively “murdering” her rights as their author. Swift’s 2019 decision to re-record her first six studio albums can thus be understood as an act of institutional revenge, a way to get back at the people who have wielded power over her and the institutions that enable exploitation—a battle with her zombified works: the “stolen” original albums. In this chapter I sketch an institutional theory of celebrity names to explain the institutional, personal, and political significance of self-appropriation, using Taylor Swift’s act of re-recording her own music as a paradigm case. (shrink)

In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...) a different kind; it is united with thorough and unmistakable distinctness. (p. 262) ... music expresses in an exceedingly universal language, in a material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will (p. 264). These quotations contain an outright paradox: the meanings of music should be at the same time universal in the highest degree and characterised by the greatest distinctness. As it turns out this paradox does not follow merely from Schopenhauer's liking for brilliant, rethorical formulations. For it occurs in many contexts concerned with the expressive meaning of art, and especially music. Other occurrences of the dilemma are to be found in the writings of Felix Mendelssohn-Bartholdy and in the aesthetic theory of Susanne Langer formulated in chapter VIII, >On the Significance in Music of her book Philosophy in a New Key and it would be possible to quote many other sources. The persistently recurring nature of this paradox confirms that the issue will be central to any attempt at a complete theory of musical meaning. Furthermore, it may be essential for it to be resolved first if one aims to make sense of the relationship between musical and linguistic forms of meaning and, consequent upon this, to address the much debated question of whether music itself can be considered to be a language of the emotions. An attempt at a solution to the paradox in question constitutes the subject of this paper. For this purpose the framework and some notions of Langer's theory are used. The solution which I propose takes the form of distinguishing between two distinct notions of generality (which I will term 'generality' and 'abstractness'), as well as two distinct notions of particularity (which I will term 'specificity' and 'concreteness'), and involves assigning technically precise meanings to these with a view to constructing two relatively independent oppositions: on the one hand the concrete versus the abstract and, on the other, the specific versus the general. (Hints at such a solution are to be found both in Schopenhauer and in Langer). With the help of these notions it is, I believe, then possible to show that the arguments often quoted to the effect that musical meanings possess a certain generality in fact justify no more than their abstractness, while arguments usually thought to demonstrate that they possess a certain particularity in fact show only their specificity (but not concreteness). Consequently, musical meanings are shown to be abstract but specific, which does not entail any contradiction since these notions are independent and not opposed to each other. At the same time, musical meanings may then be contrasted with linguistic meanings, which themselves are abstract and general. If, however, each of the notions of abstractness and generality is understood as also permitting gradations, it will be the case that whereas linguistic meanings may be said to be more general (i.e. less specific) than musical ones, the latter are without any doubt more abstract than the former. (shrink)