"The whole human species, looked at from its origins, appears to the philosopher as an immense whole, which, like an individual, has its infancy and its progress … The totality of humanity, fluctuating between calm and agitation, between good times and bad, moves steadily though slowly towards a greater perfection."
Said nobody, at any time in the last one hundred years. Nowadays, our view of the future is more like the one seen from the middle ages than the Enlightenment. But from where he stood in 1750, or perhaps sat, on a chair a bit like the one pictured above, the French statesman and economist Jacques Turgot could look back on the past five centuries and see a gradual transition from primitive agrarians torturing and killing each other over superstitious nonsense, to the confident era of the Enlightenment, with its stupendous advancements in astronomy, medicine and physics.
People sometimes say that today, we no longer believe in progress. But for someone like Turgot, progress would not have been something he needed to believe in - it was just an observable fact.
"What the audience demands of the artist - really demands, in its unconscious desire - and what the artist thinks it ought to be given... [is] the same thing: the sentiment of being. The sentiment of being is the sentiment of being strong... such energy as contrives that the centre shall hold, that the circumference of the self keep unbroken, that the person be an integer, impenetrable, perdurable, and autonomous in being if inot in action."
marina and the diamonds | the family jewels | identity | personality | realism | authenticity | lionel trilling
"Music was now an object that could be owned by the individual and used at his own convenience... Now the Symphony of a Thousand could play to an audience of one. Now a man could hear nocturnes at breakfast, vespers at noon, and the Easter Oratorio on Channukah. He could do his morning crossword to 'One O'Clock Jump', and make love right through the St Matthew Passion. Anything was possible; nothing was sacred; freedom was absolute. It was the freedom, once the cathedral of culture had been wrecked, to take home the bits you liked and arrange them as you please. Once again, a mechanical invention had met capitalism's need to recreate all of life in its image. The cathedral of culture was now a supermarket."
Evan Eisenberg, 1987
wu-tang clan | shaolin | age of mechanical reproduction | aura | ritual | art | artists
"What if I tell you now that I have often longed even for plays I have seen performed - frequently the very ones which bored me most - or for books I have read in the past and did not like at all? If that is not madness, there's no such thing."
"And you must not let yourself be misled, in your solitude, by the fact that there is something in you that wants to escape from it. This very wish will, if you use it quietly and pre-eminently and like a tool, help to spread your solitude over wide country. People have (with the help of convention) found the solution of everything in ease, and the easiest side of ease; but it is clear that we must hold to the difficult; everything living holds to it, everything in nature grows and defends itself according to its own character and is an individual in its own right, strives to be so at any cost and against all opposition. We know little, but that we must hold to the difficult is a certainty that will not leave us; it is good to be solitary, for solitude is difficult; the fact that a thing is difficult must be one more reason for our doing it."
'Acousmatic, the Larousse dictionary tells us, is the 'name given to the disciples of Pythagoras who for five years, listened to his teachings while he was hidden behind a curtain, without seeing him, while observing a strict silence.' Hidden from their eyes, only the voice of their master reached the disciples.... In ancient times, the apparatus was a curtain; today, it is the radio and methods of reproduction, along with the entire set of electro-acoustic transformations, that place us, modern listeners to an invisible voice, under similar conditions.'
Pierre Schaeffer, 'Acousmatics', 1966
pierre schaeffer | musique concrete | sonorous objects | acousmatics | pythagoras | phenomenology | twin peaks | red room
'Imagine a traveller from a hundred years ago arrives at our doorstep and asks us why the music of the 20th century operates so frequently on the basis of cyclic repetition. Not just the rap and dance genres of popular culture, but also minimalism - perhaps the single most viable strand of the Western art music tradition... why does so much of our music work this way? What kind of needs do these patterns satisfy?'
Susan McClary, 1999
stardust | daft punk | susan mcclary | minimalism | loop | chaka kahn | repetition