The largest purpose of this paper is to ask about how it is that life is re-presented by us. The argument is that life should be considered as a matter not of a collection of objects, but of a movement, of time. Furthermore, the claim is that the conceptual language of philosophy has the liability of ossifying this movement of life but that music, which is time and movement above all, is able to keep pace with this movement of life.
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Hans-Georg Gadamer, Wahrheit und Methode (Tübingen: Mohr Verlag, 1990), 478.
Ludwig Wittgenstein, Philosophische Untersuchungen (Frankfurt a.M.: Suhrkamp Verlag, 1972), 227.
Philippe Lacoue-Labarthe, Musica Ficta (Stanford, CA: Stanford University Press, 1994), 85.
Cited in Philippe Lacoue-Labarthe, Typography (Cambridge, MA: Harvard University Press, 1989), 190.
Friedrich Nietzsche, Nachgelassene Fragmente: 1885–1887 (Berlin: de Gruyter, 1988), 103–4. In the same spirit, Nietzsche comments that “I fear we shall believe in God so long as we have grammar” (Götzen-Dämmerung, 406).
Martin Heidegger, Unterwegs zur Sprache (Pfullingen: Neske Verlag, 1975), 65ff.
Immanuel Kant, Kritik der Urteilskraft (Frankfurt: Meiner Verlag, 2001), §49; Ak. 314 (see also §57, Anmerkung I; Ak. 342) (emphasis added).
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The largest purpose of this paper is to ask about how it is that life is re-presented by us. The argument is that life should be considered as a matter not of a collection of objects, but of a movement, of time. Furthermore, the claim is that the conceptual language of philosophy has the liability of ossifying this movement of life but that music, which is time and movement above all, is able to keep pace with this movement of life.
All Time | Past 365 days | Past 30 Days | |
---|---|---|---|
Abstract Views | 353 | 195 | 3 |
Full Text Views | 38 | 1 | 0 |
PDF Views & Downloads | 38 | 1 | 0 |