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Subject: Re: Parasitism
From: London Tier <[log in to unmask]>
Reply-To:London Tier <[log in to unmask]>
Date:Wed, 30 Nov 2016 21:39:00 -0800
Content-Type:text/plain
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Yes, that is intriguing. Of course, one intellectual calling another a
“parasite” hardly constitutes a basis for civil discussion. And, secondly,
we have had regimes which attempted to place aesthetic immediacy above all
other modes of thought. Some interesting experiments along these lines were
carried out, starting at Nuremberg in 1933.

George Steiner plays to the gallery in a frankly unworthy pandering to
populist anti-intellectualism. The word, as Carl Dahlhaus once said, plays
a significant role in the evolution of Western art, and in music, as Mozart
said, there are two constituencies: the common music-lover and the
connoisseur, with both parties having a legitimate set of expectations for
artists to address. We should look too at Wagner's critique of this is in
Act Three of *Die Meistersinger*. Hans Keller pursued a similar line with
his 'wordless musical analysis', but, as Milton Babbitt observed, the
analyses are still concept-ridden. I travel with Bertrand Russell's
comment: for responsible judgment we need both sensibility *and learning*.
That means informed writing, academic or not, as well as direct experience.

Hope this doesn't offend.




On Thursday, December 1, 2016, Genevieve Castle Room <
[log in to unmask]> wrote:

> >"Imagine a republic that bans commentary and attempts to reinvest us with
> faith in aesthetic immediacy. The parasitism of academic criticism and
> journalistic reviewing ceases, the unmanageable flood of unreadable
> dissertations subsides, and the interposition of professional opinion
> between work and audience is eliminated [....] Aesthetic perception knows
> no Archimedean point outside discourse.
>
> http://www.lrb.co.uk/v11/n11/wendy-steiner/silence
>
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