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>In particular, the critiques offered so generously by Krell ('Daimon Life'),
>Derrida ('Of Spirit' & the Geschelct series) and Irigaray ('The Oblivion of
>Air in Martin Heidegger'), are so passionate and committed and so full of
>the deathly inflammatory takes on Heidegger's deathly ghostly takes on the
>deathly icy poems of Trakl, Holderlin, Rilke... The range and stretch of
>such critiques (and I mean this word in the sense of lifting into relief,
>laying out, putting into high contrast, etc, as in Kant's 'Critique of Pure
>Reason', and not 'criticism' and certainly not the Jihadic
>'ridicule/lampoon') run so fast so fluently, so fluidly, I cannot keep pace
>and the words become a swirl of particles of sense like twigs on a huge
>plate for the enormously gratifyingly consumption of... like labyrynthine
>paths that keep centering on some gravitational thing that refuses
>visibility. All this high and mighty art centred upon the worrying existence
>of the thinking of that Heidegger, those Heideggers. But then I see, I mean
>I hear, I mean I dance to... the music. It has to be modern jazz, the music
>of these practitioners of Heidegger-critique; they have found a theme, a
>hidden melody and counterpoint in the complex chord structure of Heidegger's
>texts, an underground unceasing, evernew, ever re-interpretable, song... If
>they were sax players, who might these musicians be? My thoughts:
>
>The shrill trilling of the excited and climactic Krell with his benumbing
>and shatterings would surely be the John Coltrane of those extraordinary
>long and impossible solos, but most especially of 'A Love Supreme';
>
>The subtle and lighter less hurried dancing of Derrida with his wordplays
>and scare quotes would, for me, be the joyful Ornette Coleman of 'Rambling';
>
>And the lyricism and lunar voice of Irigaray with her forgotten forsaken
>fluids could be the pure vibrato and pathos of the Albert Ayler of 'Ghosts'.
>
>Now what a concert :-) Who else would enjoy this?
>
>Such ultramodern beauty in/on/from the themes of the troublesome Heidegger:
My word.
Michael,
Nice idea. But musical takes on a theme by__________ , require a
hermeneutical love of the basic idea-- a desire to sing it out full
throttle, not to "deconstruct" the attunements of the tune on order
to show it for what it is! I use the word "love' here in the
Augustinian sense of Dilige et quod vis fac. "Love and do what you
will."
But if you love yourself more than the tune, or are using the tune
as vehicle for display of your powers of critique, or even for worthy
ideological causes, fe'get it! No pleasure/meaning-ful
cor-respondence with the original is possible. Of course, good jazz
always approaches the tune with with an ironic smile, but a smile
meant ultimately to seduce the original into complicity, even
against itself. What Aristotle called, and Heidegger noted as the
"unity of analogy."
"All you need is love, dum da dum da dum. . . "
Allen
--
Allen Scult Dept. of Philosophy
HOMEPAGE: " Heidegger on Rhetoric and Hermeneutics": Drake University
http://www.multimedia2.drake.edu/s/scult/scult.html Des Moines, Iowa 50311
PHONE: 515 271 2869
FAX: 515 271 3826
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--></style><title>Re: Krelling me softly with his
song</title></head><body>
<blockquote type="cite" cite><font color="#0000FF">In particular, the
critiques offered so generously by Krell ('Daimon Life'),<br>
Derrida ('Of Spirit' & the Geschelct series) and Irigaray ('The
Oblivion of<br>
Air in Martin Heidegger'), are so passionate and committed and so full
of<br>
the deathly inflammatory takes on Heidegger's deathly ghostly takes on
the<br>
deathly icy poems of Trakl, Holderlin, Rilke... The range and stretch
of<br>
such critiques (and I mean this word in the sense of lifting into
relief,<br>
laying out, putting into high contrast, etc, as in Kant's 'Critique of
Pure<br>
Reason', and not 'criticism' and certainly not the Jihadic<br>
'ridicule/lampoon') run so fast so fluently, so fluidly, I cannot keep
pace<br>
and the words become a swirl of particles of sense like twigs on a
huge<br>
plate for the enormously gratifyingly consumption of... like
labyrynthine<br>
paths that keep centering on some gravitational thing that refuses<br>
visibility. All this high and mighty art centred upon the worrying
existence<br>
of the thinking of that Heidegger, those Heideggers. But then I see, I
mean<br>
I hear, I mean I dance to... the music. It has to be modern jazz, the
music<br>
of these practitioners of Heidegger-critique; they have found a theme,
a<br>
hidden melody and counterpoint in the complex chord structure of
Heidegger's<br>
texts, an underground unceasing, evernew, ever re-interpretable,
song... If<br>
they were sax players, who might these musicians be? My thoughts:<br>
<br>
The shrill trilling of the excited and climactic Krell with his
benumbing<br>
and shatterings would surely be the John Coltrane of those
extraordinary<br>
long and impossible solos, but most especially of 'A Love
Supreme';<br>
<br>
The subtle and lighter less hurried dancing of Derrida with his
wordplays<br>
and scare quotes would, for me, be the joyful Ornette Coleman of
'Rambling';<br>
<br>
And the lyricism and lunar voice of Irigaray with her forgotten
forsaken<br>
fluids could be the pure vibrato and pathos of the Albert Ayler of
'Ghosts'.<br>
<br>
Now what a concert :-) Who else would enjoy this?<br>
<br>
Such ultramodern beauty in/on/from the themes of the troublesome
Heidegger:</font></blockquote>
<div><font color="#0000FF">My word.</font></div>
<div><br></div>
<div>Michael,</div>
<div><br></div>
<div>Nice idea. But musical takes on a theme by__________ ,
require a hermeneutical love of the basic idea-- a desire to sing it
out full throttle, not to "deconstruct" the attunements of
the tune on order to show it for what it is! I use the word
"love' here in the Augustinian sense of Dilige et quod vis fac.
"Love and do what you will."</div>
<div><br></div>
<div> But if you love yourself more than the tune, or are using
the tune as vehicle for display of your powers of critique, or even
for worthy ideological causes, fe'get it! No
pleasure/meaning-ful cor-respondence with the original is possible.
Of course, good jazz always approaches the tune with with an ironic
smile, but a smile meant ultimately to seduce the original into
complicity, even against itself. What Aristotle called, and
Heidegger noted as the "unity of analogy."</div>
<div><br></div>
<div>"All you need is love, dum da dum da dum. . . "</div>
<div><br></div>
<div>Allen</div>
<div><br></div>
<div><br></div>
<x-sigsep><pre>--
</pre></x-sigsep>
<div> Allen Scult<x-tab>
</x-tab><x-tab>
</x-tab><x-tab>
</x-tab><x-tab>
</x-tab><x-tab>
</x-tab>Dept. of Philosophy<br>
HOMEPAGE: " Heidegger on Rhetoric and Hermeneutics":<x-tab>
</x-tab>Drake University<br>
http://www.multimedia2.drake.edu/s/scult/scult.html<x-tab
> </x-tab>Des Moines, Iowa 50311<br>
PHONE: 515 271 2869<br>
FAX: 515 271 3826</div>
</body>
</html>
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