The sight of sound de Richard Leppert
Découverte de l’histoire de l’art en Amazon
Un livre suggéré par les algorithmes me tient et me retient. Richard Leppert défend que la représentation de la musique correspond à des enjeux de pouvoirs, entre classes (ou états) et entre sexe. Elle est un instrument de domination du fort sur le faible.
Livre véritablement édifiant, écrit admirablement, qui parcourt les siècles et se prépare à les traverser.
Pleasure by its very nature comes with strings attached. In a culture of scarcity, even among those for whom scarcity is not more than a theoretical possibility, pleasure by deﬁnition is understood to be an unstable and exceptional category of human experience. This is because pleasure is not solely dependent on material excess—ﬁnancial means do not guarantee access to pleasure. It is an uncommodiﬁed commodity. lts materiality is only metaphoric; like music it is immaterial. Further, the consumption of pleasure incorporates loss at the moment of gain. This partly accounts for the desire that pleasure produces, to the extent that we understand by dsrin that which we have not (even in the moment of having). Pleasure in our culture is always on loan, and repayment is invariably demanded.
Even when semantically drained, as in the abstract projection “pleasure for pleasure’s sake”—an ideology but not a lived reality—pleasure remains semantically rich. lt is experiential; it involves consciousness and intentionality. Even when, as is often the case, it locates itself outside the mind by conceiving of its escape from the bounds of rationalization, pleasure’: contingency is not only a matter of physical-emotional sensing but also the mental awareness of the difference it allows, momentarily, from the mental (or, better, the rationalized). The desire for pleasure of whatever kind is embodied. But the embodiment I refer to is possible only by conceiving embodiment as a (wished-for) totality of body and mind.
Music is a repeatedly inscribing mariner. Its “repetitions,” the result of music as an embodied sound and sight, serve as sensory over determinations of every semantic value it produces. Indeed, therein lies much of music’s power and pleasure: whatever it might mean, it means repeatedly—whether it be a piece of music replayed or the internal repetitions in all music that are especially obvious in formal procedures like dance forms or theme and variations. Repetition inscribe: reassurance and predictability; it is the sonoric-visual simulacrum of contentment, the promesse de bonheur Stendhal described as art, which was taken up by the Frankfurt School in their account of the utopian moment in culture.” What I mean is that music, like dance, with which it is closely associated, both visually and sonorically enacts a stylized and aestheticized order that human beings valorize highly, especially in light of its abundant opposite, chaos or disorder: noise.