This attunement is what Kant calls a vibration, a possibly violent oscillation between my inner space and the object. This vibration gives us the vertigo Kant describes as the sublime. Our relating with objects opens up the abyss of freedom because each relation is a dance on a volcano, an emission from the opaque void of an object. Relations are uncanny and hollow because they dance at the edge of volcanoes.
Positivistic causal theories have trouble with the simple fact of inertia: the way in which an object continues to move when it’s not interfered with, formalized in Newton’s First Law. [120] In Chapter 3 I shall argue that motion is much better thought as the result of an inherent ambiguity in objects.
Some continuous flow, say of frog breath inside a frog’s mouth, must be interrupted somehow, to produce a beat. There must always be at least one extra sound or non-sound that the beat cuts into. [7] For the mathematically inclined, this is reminiscent of Cantor’s astonishing diagonal proof of transfinite sets, that is, of “infinities” larger than the infinity of regular whole numbers, or of rational numbers (whole numbers plus fractions).Why "continuous flow"? - why not non-commutative phase - discrete yet non-local!
This fact means that causal events never ever clunk, because clunking implies a linear time sequence, a container in which one metal ball can swing towards another one and click against it. Yet before and after are strictly secondary to the sharing of information.Oh I get it - he's confusing HEARING with listening as logical inference.
https://www.academia.edu/3415016/Mystics_demoniacs_and_the_physiology_of_spirit_possession_in_medieval_Europe
https://www.academia.edu/30336141/Music_Spirit_Possession_and_the_In-Between_Ethnomusicological_Inquiry_and_the_Challenge_of_Trance
Focusing on his deeply personal experienceof drumming and dancing, he conveys vividly and powerfully his experience of the perceptual ambiguity of the multistable 3:2 polymetre of Tumbuka drumming.Creatively and effectively likening the acoustic experience of this phenomenon tooptical illusions (such as the Necker cube) that allow for multiple viewpoints andconceptions, he described his experience of the music as collapsing the boundary between subject and object. Music is described as a ‘technology’ enabling ‘[t]his loosening up of perceptual boundaries,’ which, he proposed, ‘seems to be a significant factor in the promotion of trance states’ (1996, 143).
7
Perception, of course, is culturally mediated, however, and the 3:2 temporal relationship may or may not be as mind-altering for Tumbuka as it was for Friedson. As he emphasized from the outset,his phenomenology ‘is fundamentally a self-interpreting activity’ (1996, 7
Non-commutative phase trance meditation!
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Dancing Prophets: Musical Experience in Tumbuka Healing, Friedson
Steven Friedman talk on youtube
Sonic Embodiment of "Learned Helplessness" as CIA music torture
Dear Professor Friedson: the Mizimu must be pushed up - after the other spirits are cooled - this is the same as Daoist alchemy training! this all originated from the N/om healing training. thanks, drew hempel
Unheard Sound - ph.d. thesis on Sikh Sacred Kirtan song culture
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