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Music and ontological incompleteness...

Peuquet, Sean.

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Music and ontological incompleteness: A speculative approach to composition.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Music and ontological incompleteness: A speculative approach to composition./
Author:	Peuquet, Sean.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	221 p.
Notes:	Source: Dissertations Abstracts International, Volume: 76-01, Section: A.
Contained By:	Dissertations Abstracts International76-01A.
Subject:	Art Criticism. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3584489
ISBN:	9781321048865

Music and ontological incompleteness: A speculative approach to composition.
Peuquet, Sean.

Music and ontological incompleteness: A speculative approach to composition. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 221 p.

Source: Dissertations Abstracts International, Volume: 76-01, Section: A.

Thesis (Ph.D.)--University of Florida, 2013.

This item must not be sold to any third party vendors.

Across the twentieth century, music has become emancipated from any notion of strict adherence to a prevailing style or narrative governing either its poietic conditions or esthesic access. However, the plurality of musics may be identified as contemporary music's overarching 'non-style'. Taking pluralism as the base-condition for any compositional activity, the author asserts that the composer's ability to know the effect of the music he writes becomes increasingly limited the more differentiated compositional practice becomes. Such epistemological limitation is argued to reflect post-Kantian philosophical prerogatives concerning the finitude of one's perspective. Finitude is demonstrated to be the consequence of reflexivity, of being (either physically and/or discursively) in the place one seeks to know. Quentin Meillassoux's term correlationism is used to describe the various discourses that maintain finitude as a fundamental limitation on knowledge; thinking and being cannot be addressed independently, for each is only-ever correlated with the other as a consequence of reflexivity. Max Neuhaus' Times Square is considered as an example of an aural situation wherein listener experience is not subject to the listener's limited knowledge or perspective regarding the context of listening. Slavoj Zizek's notion of parallax, or the shift in epistemological perspective that reflects an ontological shift in the perceived object itself, inverts our understanding of situated listening, vis-a-vis Times Square. The epistemological limitation becomes an indication of an ontological incompleteness regarding reality itself. With recourse to Meillassouxian absolute contingency, material reality is maintained. However, by analyzing the minimal ontological difference between John Cage's 4'33" and his propositional Silent Prayer, the necessarily contingent basis for our material encounter with vibrational sound requires a further consideration of contingent necessity regarding the quality of sound's appearance for us. A model of composition is developed by first distinguishing between the totalizability of chance procedures and the un-totalizability of contingent outcomes. Subsequently, Robert Irwin's notion of site-conditioned artistic intervention is identified as an imperative regarding one's frame of access. Particular Irwin works are shown to model a 'speculative' art, an art through which one retroactively posits the presuppositions of art appearing at all, by not operating under the epistemological limitation, but rather, by being ontologically incomplete. Finally, the author's own work is presented as an engagement with these theoretical considerations. Convergent and divergent algorithmic processes are discussed as a means to modulate ontological appearances. A gallery exhibition featuring the artist's works, Mildly Sympathetic Conversationalist and Given the Materials at Hand, put these ideas into practice.

ISBN: 9781321048865Subjects--Topical Terms:

637082
Art Criticism.

Music and ontological incompleteness: A speculative approach to composition.
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500 $a Source: Dissertations Abstracts International, Volume: 76-01, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
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506 $a This item must not be sold to any third party vendors.
520 $a Across the twentieth century, music has become emancipated from any notion of strict adherence to a prevailing style or narrative governing either its poietic conditions or esthesic access. However, the plurality of musics may be identified as contemporary music's overarching 'non-style'. Taking pluralism as the base-condition for any compositional activity, the author asserts that the composer's ability to know the effect of the music he writes becomes increasingly limited the more differentiated compositional practice becomes. Such epistemological limitation is argued to reflect post-Kantian philosophical prerogatives concerning the finitude of one's perspective. Finitude is demonstrated to be the consequence of reflexivity, of being (either physically and/or discursively) in the place one seeks to know. Quentin Meillassoux's term correlationism is used to describe the various discourses that maintain finitude as a fundamental limitation on knowledge; thinking and being cannot be addressed independently, for each is only-ever correlated with the other as a consequence of reflexivity. Max Neuhaus' Times Square is considered as an example of an aural situation wherein listener experience is not subject to the listener's limited knowledge or perspective regarding the context of listening. Slavoj Zizek's notion of parallax, or the shift in epistemological perspective that reflects an ontological shift in the perceived object itself, inverts our understanding of situated listening, vis-a-vis Times Square. The epistemological limitation becomes an indication of an ontological incompleteness regarding reality itself. With recourse to Meillassouxian absolute contingency, material reality is maintained. However, by analyzing the minimal ontological difference between John Cage's 4'33" and his propositional Silent Prayer, the necessarily contingent basis for our material encounter with vibrational sound requires a further consideration of contingent necessity regarding the quality of sound's appearance for us. A model of composition is developed by first distinguishing between the totalizability of chance procedures and the un-totalizability of contingent outcomes. Subsequently, Robert Irwin's notion of site-conditioned artistic intervention is identified as an imperative regarding one's frame of access. Particular Irwin works are shown to model a 'speculative' art, an art through which one retroactively posits the presuppositions of art appearing at all, by not operating under the epistemological limitation, but rather, by being ontologically incomplete. Finally, the author's own work is presented as an engagement with these theoretical considerations. Convergent and divergent algorithmic processes are discussed as a means to modulate ontological appearances. A gallery exhibition featuring the artist's works, Mildly Sympathetic Conversationalist and Given the Materials at Hand, put these ideas into practice.
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