>>52175915 norcal reporting in sound of earthquakes is freaky >low rumble in the distance >everything starts to shake >glass breaks >eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
>>52176779 >simultaneously how is sound coming from an earthquake any different from sound coming from an instrument and how does it suddenly make it "simultaneously" music and not music. that makes absolutely no sense. are you saying no music exists because it's also sound?
>>52176837 >How does it suddenly make it "simultaneously" music and not music Because by your logic, it is listener defined: what you may consider music I may not. Thus it is both music and not simultaneously.
Obviously we cannot define things like this, so your faulty logic must be discarded. >how is sound coming from an earthquake any different from sound coming from an instrument One is music, and the other is not. >>52176842 No I never mentioned my opinion.
>>52177065 >>52177085 Ever since the advent of the avant-garde revolution in the first quarter of the 20th Century, artists have reshaped the nature and meaning of art to serve the artists rather than the audience. This is largely because the nature of the art is A) so heavily rooted in the artists' subconscious that to separate the art from the artist would be meaningless, as a context is now required; B) the gauntlet was created for the ethos of challenging "what is art", which implies that the power resides in the artist for creation rather than the audience's interpretation. In essence the whole point is to disarm the audience's expectations.
“Death Of The Artist” is a concept that is ancient and no longer relevant, and is harnessed as an excuse for non-artists and audiences with no analytical skills to make themselves a part of a artistic process they otherwise would have no part of.
>>52177106 Readers often ask me why I did not become a musician, since my essays, indirectly, tell a musician what music he should or should not be making. Other readers accuse critics of being merely frustrated people who would like to be the very musicians and stars they "criticize". Again, in my case it goes back to my passion for history and for knowledge. Pythagora, who had a mystic attitude towards things, thought that the audience was more important than the athletes: the athletes were entertaining the audience but the audience was "contemplating" the athletes, and to Pythagora that was more important. Understanding nature was more important than being a part of it. In a sense, when you "contemplate" nature you manage not to be part of it, to be something else, above and beyond it, almost divine. Pythagora thought that this "contemplation" of nature led to logic. To Pythagora religion and mathematics were the same: the pure mathematician was a religious prophet, and viceversa. Contemplation was the key to understanding the universe, and it led to logical explanation of what the universe is. Logic was so ubiquitous in the universe that Pythagora thought that numbers were the ultimate reality. In particular, he discovered the relationship between numbers and music. Music is logic. All of this was evident to him as the "listener", not as the "maker" of music.
The value of art depends on the values of the art critic The critic is the real artist Most art is imitation, not innovation The critic, not the artist, is the one who values innovation The artist is merely a vehicle for the aesthetic/ideology of the critic.
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