Conserving Rainforest 4: aural geographies and ephemerality

Works of installation sound art are inherently spatial. Documentation of this form, which dates from the 1950s, involves an engagement with diverse histories of geographical knowledge and oral-historical methodology. David Tudor's Rainforest 4 (1973) is a performed sculptural sound installation which remains the best-known of his pieces. Its durability—when most other of his works remain unperformed, partly because they are too hermetic to decipher or depend on unavailable technologies—belies its “score” which consists of a simple diagram and a few words. Oral history, formal and informal, is not only key to understanding the history of the piece, but is integral to its performance. This paper explores some historical geographies of Rainforest 4 and the aesthetic of ephemerality in live electronic music, for which documentation of performance is secondary. In examining the paradoxes of Rainforest 4's conservation, we explore Tudor's engagement with particular notions of nature and spirituality as well as the social hierarchies and conservative impulse which keep the piece alive.     

李斯特《第四号匈牙利狂想曲》连续八度技巧分析

本文主要以19世纪匈牙利作曲家李斯特先生的《第四号匈牙利狂想曲》中的连续八度演奏技巧为研究对象,对作曲家中期的钢琴音乐作品《第四号匈牙利狂想曲》进行了分析,对作品中涉及的最重要的技术课题进行了归纳,并提出了相应的解决办法,希望笔者粗浅的看法能够给钢琴习者有效的解决这些技术问题带来一定程度的帮助。     

Music in factories: a twentieth-century technique for control of the productive self

This paper discusses the historical use of music to produce more efficient, more committed, industrial workers. First emerging in academia early in the twentieth century, psychological interest in the industrial application of music had grown into a topic of popular interest and government investigation by the 1940s. Catalysed by the need for vast increases in production and the desire to cultivate ‘citizenship’ amongst industrial workers which the Second World War produced, consideration of how music could be employed as an affective soundtrack in factories—to raise employees' work rates, to increase their efficiency, to combat fatigue and boredom, to improve morale, to access and manipulate their emotions and loyalties—became a prominent area of psychological research. This paper examines that psychological research and its largest scale application in the BBC radio show Music While You Work, broadcast daily to millions of British factory workers from 1940 until 1967. The paper focuses particularly on conceptualizations of music's affective power and its utilization to exert ‘emotional control’ over spaces of work and the working self. This paper is centrally concerned with the practice of Music While You Work as a programme broadcasting specifically for factory spaces, and how this confronted the BBC's music policies for a national and domestic audience, impacting on the radical nature of the affective soundtrack to work which was produced.     

“Voy a empeñar la Edad de Oro”: Historia,música y política en la crisis española (2011–2016)

ABSTRACT

Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transición, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transición developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernández Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transición's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical canon.     

Conservatism under Napoleon: The political writings of Joseph Fiévée

Antonio Genovesi (1713–1769) is known as the thinker who raised a whole generation of Southern Italian intellectuals, among them Francesco Pagano and Gaetano Filangieri. One of the most influential of his works was the notoriously difficult Diceosina, o sia della filosofia del giusto e dell’onesto (1766), a textbook destined for use in the universities. The Diceosina was a powerful, if controversial, attempt to mediate between the history of moral philosophy on the one hand, and the specific problems encountered by eighteenth-century commercial society on the other. In fact, it contained the greater part of Genovesi's political, philosophical, and economic thought; a synthetic guidebook for Neapolitan economic and social development. This essay explores the work's context, rich intellectual origins, and ultimate significance through its long and complicated reception. The cultural and political connotations of Genovesi's Diceosina become particularly evident through an engagement with the works of Ermenegildo Personè, one of the book's most arduous critics.     

Bernard Mandeville as Moralist and Materialist

Today remembered primarily as an eighteenth-century predecessor of laissez-faire economics, Bernard Mandeville's notorious Fable of the Bees marks the intersection of two modes of thought. On the one hand, Mandeville was a ‘moralist’ heir to the French Augustinianism of the previous century, viewing sociability as a mere mask for vanity and pride. On the other, he was a ‘materialist’ forerunner of economics, concerned to demonstrate the universality of human appetites for corporeal pleasures. The tension between these two modes of thought results in ambivalences and contradictions—concerning the relative power of norms and interests, the relationship between motives and behaviours, and the historical variability of human cultures—that run throughout the Fable. Both traditions, with their attendant difficulties, have a long afterlife in the later history of the social sciences; understanding their origins in Mandeville's thought can help us get a firmer grip on problems that still trouble us today.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

Fragments of the Modern City: Material Culture and the Rhythms of Everyday Life in Victorian London

This essay analyses the influence of Charles Baudelaire's and Théophile Gautier's fetishist poetics on the early works of Algernon Charles Swinburne. If the crucial role played by the Victorian poet as a cultural ‘passeur’ between France and England has often been highlighted in recent criticism, his aesthetic delight in certain forms of sexual deviance such as podophilia has rarely been explored in relation to the verse of his French mentors. Swinburne, Gautier, and Baudelaire may have indeed shared this erotic fascination with feet: this is a fascination that was partly grounded in these poets' common interest in antique literary models, in particular in Sappho's poetry. Rather than extolling the Hellenic ‘sweetness and light’ which some of his contemporaries set so high, Swinburne indulged in dangerously eroticised Dionysian aesthetics which were perceived as both ‘too Hellenic’ and ‘too French’. I argue that the fetishism of the poetic foot may be read as one of the keys to the Victorian poet's subversive shift away from the serenity often associated with Victorian neoclassicism in favour of a Dionysian energy that anticipates Friedrich Nietzsche's works.     

Cultural democratisation and popular music

The article examines ways in which the long-standing ambition to democratise culture in France can be applied to popular music, and to French pop particularly. Theoretically, pop should not need to be democratised at all since it is 'popular' by definition. But the rhetoric of 'popular culture' in France has traditionally been more to do with aspiration than reality. The analysis considers how French sociology and cultural policy have 'democratised' pop in one sense, by helping it find acceptance as a 'legitimate' practice, but have in the process constructed it as a social phenomenon, bypassing the much more complex issue of its aesthetic worth.     

“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)

“Kontakte” – Reflections of Innovative Processes in Science and Technology in Karlheinz Stockhausen's Early Electronic Music (1952–1960). The following article will give an overview of the interdependence of aesthetic and scientific/technical developments in German composer Karlheinz Stockhausen's early works of electronic music. It is an outline of the major steps in his artistic evolution between the works “Etude (Musique concrète)” and “Kontakte”, their relation to innovations in psychoacoustic and sound‐studio technology as well as the impact, that the works from that period had on the fundamental changes in musical aesthetics during the course of the 20th century.     

New‐Build Gentrification and the Everyday Displacement of Polish Immigrant Tenants in Greenpoint,Brooklyn

In response to research that has downplayed or denied the reality of gentrification‐induced displacement, critical urban geographers have called for rethinking the concept of displacement. This article takes up that call by examining the impact of new‐build gentrification on the everyday place‐making abilities of Polish immigrant tenants in Greenpoint, Brooklyn. Based on nearly four years of work as a tenant organizer, this article looks at the forms of “everyday displacement”—the ongoing loss of the agency, freedom, and security to “make place”—experienced by immigrant tenants who struggle to remain in the neighborhood. Drawing upon Lefebvre's spatial triad and Blomley's work on the social relations of property, this article argues that everyday displacement is experienced through the production of new spaces of prohibition, appropriation, and insecurity that constitute a form of neighborhood erasure.     

VISION AS REVISION: RANKE AND THE BEGINNING OF MODERN HISTORY

It is widely agreed that a new conception of history was developed in the early nineteenth century: the past came to be seen in a new light, as did the way of studying the past. This article discusses the nature of this collective revision, focusing on one of its first and most important manifestations: Ranke's 1824 Geschichten der romanischen und germanischen Völker. It argues that, in Ranke's case, the driving force of the revision was religious, and that, subsequently, an understanding of the nature of Ranke's religious attitude is vital to any interpretation of his historical revision. Being aesthetic‐experiential rather than conceptual or “positive,” this religious element is reflected throughout Ranke's enterprise, in source criticism and in historical representation no less than in the conception of cause and effect in the historical process. These three levels or aspects of the historical enterprise correspond to the experience of the past, and are connected by the essence of the experience: visual perception. The highly individual character of the enterprise, its foundation in sentiments and experiences of little persuasive force that only with difficulty can be brought into language at all, explains the paradoxical nature of the Rankean heritage. On the one hand, Ranke had a great and lasting impact; on the other hand, his approach was never re‐utilized as a whole, only in its constituent parts—which, when not in the relationship Ranke had envisioned, took on a new and different character. This also suggests the difference between Ranke's revision and a new paradigm: whereas the latter is an exemplary solution providing binding regulations, the former is unrepeatable.     

Stewart,Kant, and the Reworking of Common Sense

Summary

Dugald Stewart was the first metaphysician of any significance in Britain who attempted to take account of Kantian philosophy, although his analysis appears generally dismissive. Traditionally this has been imputed to Stewart's poor understanding of Kant and to his efforts to defend the orthodoxy of common sense. This paper argues that, notwithstanding Stewart's reading, Kant's philosophy helped him in a reconsideration and reassessment of common sense philosophy. In his mature works—the Philosophical Essays (1810), the second volume of the Elements of the Philosophy of the Human Mind (1814), and the second part of his historical ‘Dissertation? (1815–1821)—Stewart's analysis of Kantian philosophy is far from being uniform. In the first two works, he takes a cautious approach to transcendentalism, showing some interest in the challenge it might represent for common sense; in the last, he turns to rash criticism. This change may appear confusing and inconsistent unless considered in the light of a precise ‘nationalistic’ strategy. In fact, once Stewart had taken from Kantian philosophy what he deemed useful for his own aims, he eventually dismissed it in order to show that his reworked version of common sense was the most original and most consistent outcome of the whole Anglo-Scottish philosophical tradition.     

Julie Taymor,Sony’s Digital Dream Kids,and the Marxist Labor Theory of Value

Julie Taymor is an exemplary artist who has successfully made the transition from avant-garde director of live theatre in the 1980s to become a Broadway director for Disney Corporation with The Lion King, and, more recently, a film director with Sony’s nostalgic look at the music of the Beatles in Across the Universe. Highlights of her career—spanning the latter half of the twentieth century—offer excellent examples of the changes in the economics of creativity and artistic labor for a case study in cultural and aesthetic values under global capitalism. Through interviews, newspapers and financial annual reports, specific moments in Taymor’s oeuvre reveal key distinctions between cultural and intercultural values, between aesthetic and financial exchange values, and highlight themes and limitations in the legacy of the Marxist labor theory of value.     

El laberinto espacio-temporal en dos relatos de El llano en llamas de Juan Rulfo

The pattern of Latin American Boom criticism developed by Donald L. Shaw established that Juan Rulfo's protagonists are universal, not regional. In this interpretative mode, espoused by Graciela B. Coulson and others, Rulfo's characters are viewed as powerless to alter their own destinies. Humans are dominated and doomed by the hostile natural world that surrounds them. However, through a detailed analysis of Rulfo's technique and the internal and external structure of two of Rulfo's short stories in El llano en llamas—“No oyes ladrar a los perros” and “Es que somos muy pobres”—a new theoretical framework emerges for the study of Rulfo's work. In these two stories, Rulfo imagines the llano as a space that individuals control through their personal choices and actions. This article proposes, therefore, that Rulfo's protagonists are not victims of their environment, but rather the perpetrators of its violence.     

L'europe sans illusions

In his doctoral dissertation—The Concept of Criticism in German Romanticism, finished in 1919 and published as a book in 1920—Walter Benjamin explores the epistemological and aesthetic foundations of the concept of criticism expounded by the early German Romantics Friedrich Schlegel and Novalis. Many of the themes in the dissertation recur in his later work, which has led scholars to believe that much of Benjamin's thought is directly influenced by the Romantics. However, a detailed investigation of the origins and development of the dissertation reveals that the picture is much more complicated. Reading the dissertation alongside the biographical material now available, this article argues that the major themes which preoccupy Benjamin in The Concept of Criticism in German Romanticism, including his theories of language and knowledge as well as his messianic philosophy of history, in fact predate his study of the Romantics. As well as being a potential entry ticket to an academic career, the dissertation constitutes Benjamin's first sustained attempt to develop and consolidate his own epistemology and aesthetics in a more or less systematic way. He does so through a series of ‘judicious interpretations’ of the Romantics, whose work he reads selectively, anachronistically and creatively to provide a vehicle for his own thought.     

A global–historical sociology of power: on Mann's concluding volumes to The sources of social power

Michael Mann's long‐anticipated volumes, The sources of social power, volume 3: global empires and revolution, 1890—1945 and The sources of social power, volume 4: globalizations, 1945—2011 complete Mann's career‐spanning project. Compared to previous volumes in the series, these works are much more global in scope. They address topics such as global wars, empires, social citizenship across the industrialized world, economic recessions and climate change. In this way they rectify omissions in Mann's previous work, even while continuing to deploy Mann's previous IEMP (ideological, economic, social, political) model of power. However, three shortcomings remain: first, the books do not adequately deploy the concept of society as power networks; second, they do not offer a conceptualization of global systems or dynamics beyond the sum total of actions by individual states or actors; and third, they retain the standpoint of power in their analyses. Despite these shortcomings, these volumes offer a masterful global history of power over the past century and a half and make long‐lasting contributions to the historical sociology of power.     

Cecil Sharp in Somerset: Some Reflections on the Work of David Harker

David Harker's criticism of Cecil Sharp's work has been called the beginning of serious critical work on the early folk music movement, and it has become an orthodoxy which later commentary has accepted without question, taking its accuracy and the validity of its research base on trust. This article shows that the trust has been misplaced. It uses a fresh, more complete and more rigorous analysis of the Sharp MSS to show that Harker's criticism is inaccurate, innumerate, flawed in its methods, and unjustified in its assumptions. It forces a reassessment both of Sharp's work and of Harker's, and renders untenable many of the assumptions upon which modern interpretations of the early folk music movement in Britain are based.