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Which clippings match 'Formation Of Form' keyword pg.1 of 1
20 AUGUST 2014

Musical sense-making and the concept of affordance: an ecosemiotic and experiential approach

"Is music something 'out there', a kind of structure or artefact, that can be dealt with in a static way? Or does it rely on processes which call forth interactions with the sounds? Should we conceive of music users besides the music, and think about music as something which is perceived, conceptualised and enacted upon in order to be meaningful? Is music an ontological category, or a sounding phenomenon that calls forth epistemic interactions with the sounds? And can music be considered as a sonic environment and the music user as an organism that generates music knowledge as a tool for adaptation to the sonic world?

These questions revolve around the ecological concept of coping with the (sonic) world (Reybrouck, 2001a, 2005a, b). Musical sense–making, in this view, can be addressed in terms of interactions with the sounds, both at the level of perception, action and mental processing. It is a position that broadens the scope of music research, encompassing all kinds of music and sounds, and going beyond any kind of cultural and historical constraints. Music, in this broadened view, is to be defined as a collection of sound/time phenomena which have the potential of being structured, with the process of structuring being as important as the structure of the music. As such, it is possible to transcend a merely structural description of the music in favour of a process–like description of the ongoing process of maintaining epistemic contact with the music as a sounding environment. A central focus, in this approach, is on the role of musical experience and the way how listeners make sense of music as it sounds (see Blacking, 1955; Määttänen, 1993; Reybrouck, 2004; Westerlund, 2002)."

(Mark Reybrouck, 2012)

Reybrouck, M. (2012). "Musical sense–making and the concept of affordance: an ecosemiotic and experiential approach". Biosemiotics, 5 (3), 391–409.

TAGS

2012 • adaptive control • affordancesbiology • biosemiotic claims • Charles Sanders Peircecircularityconceptual framework • consummation • coping with the environment • cybernetics • ecological approach to perception • ecological psychology • ecosemiotic claims • empirical evidence • enactive cognition • epistemic interactions • epistemic interactions with sound • experiential cognition • formation of formfunctional significance • functional tone • interaction with the environmentinterdisciplinary focus • interpretant • Jakob von Uexkull • James GibsonJohn Deweylistening • Mark Reybrouck • music • musical behaviour • musical sense-making • neurobiological research • ontological category • operational description • perceptual phenomenonpragmatismsensemaking • sounding music • sounding phenomen • systemic cognition • William James

CONTRIBUTOR

Simon Perkins
27 MAY 2005

Differance: the formation of form

"The word 'differance', spelled with an 'a', is a coined term, and Derrida contrasts it with the vernacular term 'difference'. Patterns of 'Difference,' he explains, [are ] ...'produced' – deferred –– by 'differance' (Derrida, 1982, p.14). But what does this mean? That difference is deferred by differance? Imagine observing a quilt on the wall with patches of yellow, blue and white. If you notice the yellow and the non–yellow, you see a pattern of concentric boxes. If you notice the blue and the non–blue you see a chequered design. Each pattern is a play of differences, but it is a different set of differences when yellow is differentiated from non–yellow than when blue is differentiated from non–blue, a different set of differences that shows us different patterns. What is interesting about this shift from one pattern to the other is that it not only calls our attention to a new pattern, but that it suppresses our awareness of the other pattern. DifferAnce, defers a pattern of differences (say the pattern of differences between the blue and the not–blue). That is, one pattern of differences pushes into the background another possible play of patterns. You cannot study the pattern of yellows and the pattern of blues at the same time because differance causes one or the other patterns to be 'deferred'. DifferAnce is the hidden way of seeing things that is deferred out of awareness by our distraction with the imagery that captures our attention. Because it contains this other way to see things 'DifferAnce is the...formation of form.'(Derrida, 1976, p.63)."

(Lois Shawver)

Derrida, Jacques. 1982 Differance. In Jacques Derrida (Ed.), Margins of Philosophy, Chicago, USA: The University of Chicago Press.Derrida, Jacques. 1976 Grammatology, Baltimore, USA: The Johns Hopkins.

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TAGS

defer • deferment • degrees of interrelationdifferanceformation of formJacques Derrida • Lois Shawver • neographism • pattern • patterns of difference • polysemouspolysemyquiltvernacular
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