Little by little hearing became my favourite sense; for just as it is the voice that reveals the inwardness which is incommensurable with the outer, so the ear is the instrument whereby that inwardness is grasped, hearing the sense by which it is appropriated.
— Søren Kierkegaard, preface to Either/Or
The default mode network is an interconnected brain system that preferentially activates when individuals engage in internal tasks such as daydreaming, envisioning the future, retrieving memories, and gauging others’ perspectives.
Letter from Steve Albini to Nirvana Prior To Recording In Utero
A universal curiosity (a concept to be exploited) has as a consequence been reawakened in the areas of cuisine, culture, science, religion, sexuality, etc. “Try Jesus!” says an American slogan. Everything must be tried: since man as consumer is haunted by the fear of “missing” something, any kind of pleasure. One never knows if such and such a contact, or experience (Christmas in the Canaries,
eel in whisky, the Prado, LSD, love Japanese style) will not elicit a “sensation.” It is no longer desire, nor even “taste” nor a specific preference which are at issue, but a generalized curiosity driven by a diffuse obsession, a fun morality, whose imperative is enjoyment and the complete exploitation of all the possibilities of being thrilled, experiencing pleasure, and being gratified.
— Baudrillard, from “Consumer Society”
The sign is a discriminant: it structures itself through exclusion. Once crystallized on this exclusive structure, the sign aligns its fixed field, resigns the differential, and assigns Sr and Sd each its sphere of systemic control. Thus, the sign proffers itself as lull value: positive, rational, exchangeable value. All virtualities of meaning are shorn in the cut of structure.
— Jean Baudrillard from The Political Economy of the Sign
Here’s a new video about my method of scratching rhythms into the ‘locked groove’ of vinyl records. I’ve been using this method of beat making since my early days with ‘The Books’ on tracks like ‘Smells Like Content’ and ‘Vogt Dig for Kloppervok’ and many others.
Similarly, if music is defined as art relating primarily to sound, then it could be argued that the spoken word is music, whether live or on a recording. Our conventional understanding of music would make speech an alien musical genre. The fact that we don’t tend to perceive the unaccompanied spoken word as musical activity in itself says a lot about the specific cultural way that we differentiate music and language as systems of meaning. Supposedly on the one hand we have language, with its functionality and apparently close correspondence with objects and concepts in the world, while on the other we have music, which by comparison is ‘abstract’, ‘meaningless’, more of an indulgence than a purposeful, functional inter-personal activity. Thus listening to a language we’re less familiar with seems like a more ‘musical’ experience than listening to one we know, where we’re able to attend to meanings and not just the sounds.
— Adam Harper - Infinite Music p.176