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Music is a prism (body) of feeling (mind) in which the 'sensuous =
metaphor' evolves and arises from special material, substrate and is =
only virtually unrelated to the material. Music has it's own =
substantiality, it's own secondary illusion apart from tone, and =
cadence. Langer calls the 'sensuous metaphor' the 'symbolic equivalence =
of sensations'. This could be the 'sudden impression of color in music, =
or eloquence in the lines of a statue, an element is created that seems =
to belong to a different symbolic projection altogether from the =
substance of the work. The effect is a sublimation of expressive form." =
[S. K. Langer, the Import of Art, p. 230, In: Mind: an essay on human =
feeling, vol. 1]
The astonishing illusion could be the very substrate of the art, =
however:
'"The basic materials of both the ballet and film are similar....It is, =
in fact, only that the idiom, the turn of phrase, is different. The =
difference between ballet and film is very similar to that between two =
languages having a common origin....The ballet is a projection of the =
dream into the rational life of man....When the spectator looks at a =
ballet and listens to the music, he is, in effect, seeing a living =
dream..."aris[ing] in various degrees from the unbroken interaction of =
virtual powers.'Borodin quoted by Langer, p.231, fn: Langer quoted in =
italics]
Music and art in general have these virtual powers of placing into =
parenthesis all forms of objectivity; thus the power of the interaction =
enabling secondary illusions as 'sensuous metaphor', and 'harmonic =
space'....
Music therefore is a form of symboling which borrows from natural forms. =
To build up a 'world' is also to become presentable to 'abstractable =
forms' found in the 'external world' and it's
"process of objectification engenders its counterpart, the symbolic use =
of natural forms with the emotional import, mystical, and mythical and =
moral. That is the subjectifcation of nature. The dialectic of these two =
functions is, I think, the process of human experience. Its image is =
'the poetic', more generally 'the artistic,' and it can appear in art =
from either pole of the dialectical tension - the artist sees it =
constantly in the quality which he finds in his world, and which emerges =
in his successful work, and in his best work may even go beyond anything =
he has ever known."
"It has been said that the high moment in any work which achieves such a =
sublimation is 'an unreality between two realities.' It is the element =
in which the transition from somatic feeling, which is our ordinary =
reality, to imagination, the autonomous act of envisagement, come to =
formal expression. Here is the dynamic pattern of the conceptual act, =
the strangeness and 'otherness' and bodilessness of symbolic imagery, =
projected in the structure of great art."
still chuckling
john foster
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<DIV><FONT face=3DArial>Music is a prism (body) of feeling (mind) in =
which the=20
'sensuous metaphor' evolves and arises from special material, substrate =
and is=20
only virtually unrelated to the material. Music has it's own =
substantiality,=20
it's own secondary illusion apart from tone, and cadence. Langer calls =
the=20
'sensuous metaphor' the 'symbolic equivalence of sensations'. This could =
be the=20
'sudden impression of color in music, or eloquence in the lines of a =
statue, an=20
element is created that seems to belong to a different symbolic =
projection=20
altogether from the substance of the work. The effect is a sublimation =
of=20
expressive form." [S. K. Langer, the Import of Art, p. 230, In: Mind: an =
essay=20
on human feeling, vol. 1]</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>The astonishing illusion could be the very =
substrate of=20
the art, however:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>'"The basic materials of both the ballet and =
film are=20
similar....It is, in fact, only that the idiom, the turn of phrase, is=20
different. The difference between ballet and film is very similar to =
that=20
between two languages having a common origin....The ballet is a =
projection of=20
the dream into the rational life of man....When the spectator looks at a =
ballet=20
and listens to the music, he is, in effect, seeing a living=20
dream..."<EM>aris[ing] in various degrees from the unbroken interaction =
of=20
virtual powers</EM>.'Borodin quoted by Langer, p.231, fn: Langer quoted =
in=20
italics]</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>Music and art in general have these virtual =
powers of=20
placing into parenthesis all forms of objectivity; thus the power of the =
interaction enabling secondary illusions as 'sensuous metaphor', and =
'harmonic=20
space'....</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>Music therefore is a form of symboling which =
borrows from=20
natural forms. To build up a 'world' is also to become presentable to=20
'abstractable forms' found in the 'external world' and it's</FONT></DIV>
<DIV><FONT face=3DArial></FONT> </DIV>
<DIV><FONT face=3DArial>"process of objectification engenders its =
counterpart, the=20
symbolic use of natural forms with the emotional import, mystical, and =
mythical=20
and moral. That is the subjectifcation of nature. The dialectic of these =
two=20
functions is, I think, the process of human experience. Its image is =
'the=20
poetic', more generally 'the artistic,' and it can appear in art from =
either=20
pole of the dialectical tension - the artist sees it constantly in the =
quality=20
which he finds in his world, and which emerges in his successful work, =
and in=20
his best work may even go beyond anything he has ever =
known."</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>"It has been said that the high moment in any =
work which=20
achieves such a sublimation is 'an unreality between two realities.' It =
is the=20
element in which the transition from somatic feeling, which is our =
ordinary=20
reality, to imagination, the autonomous act of envisagement, come to =
formal=20
expression. Here is the dynamic pattern of the conceptual act, the =
strangeness=20
and 'otherness' and bodilessness of symbolic imagery, projected in the =
structure=20
of great art."</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>still chuckling</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial>john foster</FONT></DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV> </DIV></BODY></HTML>
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