"Of the technical terminologies that intimidate the lay theorist or amateur philosopher, surely the two most effective and frightening are the musical and the mathematical; and this is no accident, inasmuch as they count among the most abstract languages the human mind is able to handle, and Jacques Attali has indeed on that very basis demonstrated their kinship in his argument, not merely for the kinship of musical innovation with economic structure, but even (in Noise) for the ways in which the former has tended historically to anticipate the latter, so that the music of one moment of the mode of production is often prophetic of the infrastructural development to come in the next.
"Still, from the insertion of musical examples into the text in visual form, to the reading of scores, the assessment of keys and their intrinsic relationships to each other as tonic, dominant, and the like, the role of the modes (major and minor), all the way through to the foreign words that originally designated this or that tempo and later on became the names for kinds of movement or structure (allegro, andante, etc.), ending up with notations to the conductor, such as prestissimo or stürmisch bewegt, we do witness a gradual anthropomorphization of these technical notations, in such a way that proto-narratives seem to emerge, at first visible merely as emotional tonality or mood."
Fredric Jameson, The Ancients and the Postmoderns. On the Historicity of Forms, Verso, London - New York 2017 (first published: 2015), p. 114-115.
Οι φωτογραφίες είναι από μέρη στη Μαύρη Θάλασσα, το 1997.
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