[Started my edits...but hey, what can I say, like the candle and its light, like the moon and stars at night, Im lit LMFAO! So, an almost edit is gonna hafta suffice] An A-note is an A-note; it is merely a matter of how the artist affects the note (and thus how effective reciprocity affects and acts upon the artist and listener). We also see that how the affectivity of the note effects the listener is a part of the hermeneutic dynamic. Once initial prethematic first-level experiences are abstractly self-alienated, the individual undergoing the initial experience (as well as others around) experience the originary prethematic event via second-level reflective mediation. These second-level projections may advent through a `work’ as such is subsequently provided via reflection; this so as to make the initial prethematic experience available for contemplation, or such initial experiences may come forth via language (as a poet or writer might do), a photograph, or via any number of other self-reflective mediums of projection. With music this is done through the written or recorded score, a CD, an MP3 file, etc. However, the move into third-level abstract alienation, whereby the estranging edicts of hierarchically delimited valuatory structures come forth, requires the introduction of a fundamental dissociation from the initial prethematic experience (as well as the addition of a meta-ideological element). Once an affective experience (our oft-mentioned A-note, for example) is made objectively estranged as an effective tenets of the interpretive paradigm, and is thus divorced from the initial prethematic experience of its genesis (thus denoting the original experience’s dissociation from the originating emotive and energic imperative that underlies the prior second-level projection), the initial prethematic experience can no longer be understood in its original immediacy. The emotive thread which connects mediated second-level reflections to first-level prethematic experiences-of-immediacy is severed by and through the estranging effects of third-level theoretical abstraction. Such an estrangement is how the dissociation of the third-levels paradigm-of-difference manifests as “true”. Third-level theoretical abstractions, which utilize hierarchically delimited value structures so as to impose disjunction via exclusionary rule, render first-level experiences (and the subsequent second-level projections of such) objectified as static relations of fixed value. In this process, the originary is rendered concealed and excluded from the flowing immediacy of its process-of-unfolding; and is saddled with the imposition of objective “form” qua definition. All such impositions speak to the `power endemic to the semiotics and hermeneutics inherent to the dominant cultural paradigm. The underlying energic/emotive relations of the initial experience—the experiential content culled via prethematic immediacy—is rendered objectively alienated, defined as an alterity-of-other, and is thus estranged from the principal bu epistemic design! Experience becomes a representational abstraction of the thing-in-itself—merely an extant thing [the εἶδος] imbued with some measure of utility and [volumes] value. The process of dissociation advents through delimiting what is under address into abject alterity via objectification.213 Here, reflective projections of experience are effectively rendered `other’, and paradigmatic/ideological elements are imposed upon the products of second-level reflection; this typically via ideologies of commodification.214 --FOOTNOTES-- 213. Experience is abstractly objectified and estranged through theoretical dissociation. Some examples: an A note in music theory, or as a waveform felt at 440-Hz, products (i.e., widgets) as units of sales, prisoners known only by number, mathematical representations on paper, generalizations of the aggregate from the perspective of a particular, etc. Third-level estrangement typically manifests via the commodity process or through the process of theoretically abstract thinking. A way to `see’ this all is as such: a “public” record company has a corporate board and shareholders, none of whom are concerned with the prethematic experiences which found the products they sell. Shareholders rarely have ANY idea regarding what is `created’, packaged, and sold—here it transfigures into a relation of alienated abstractions; typically fueled and grounded in the concepts of power and money. 214. Second-level reflective projections (which have been self-alienated via horizontal abstraction) are picked up and are ordered into `form’, this through appeal to hierarchical valuatory structures; value structures meant to give meaning and substance to a world thought to teeter at the edge of some meaningless abyss. It is in this way that music, art, things, and beings of all shape and manner gain their utility as use-values. Such allows a price to be affixed to any such extant thing thus necessitating the estrangement of beings qua their devaluation as objective `entities’. [(c) me loves you...too :p ]
Posted on: Tue, 20 Jan 2015 04:06:39 +0000
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