Singing Philosophy: Deviating Voices and Rhythms without a Time Signature
This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sing...
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2021
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ftdoajarticles:oai:doaj.org/article:4bda211ff3fa43aa94fbbbcc7871a230 2023-05-15T16:36:06+02:00 Singing Philosophy: Deviating Voices and Rhythms without a Time Signature Voegelin Salomé 2021-10-01T00:00:00Z https://doi.org/10.1515/opphil-2020-0186 https://doaj.org/article/4bda211ff3fa43aa94fbbbcc7871a230 EN eng De Gruyter https://doi.org/10.1515/opphil-2020-0186 https://doaj.org/toc/2543-8875 2543-8875 doi:10.1515/opphil-2020-0186 https://doaj.org/article/4bda211ff3fa43aa94fbbbcc7871a230 Open Philosophy, Vol 4, Iss 1, Pp 284-291 (2021) song voice simultaneity time space sounding listening philosophy polyphony body Philosophy (General) B1-5802 article 2021 ftdoajarticles https://doi.org/10.1515/opphil-2020-0186 2022-12-31T08:10:09Z This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. Article in Journal/Newspaper Humpback Whale Directory of Open Access Journals: DOAJ Articles Open Philosophy 4 1 284 291 |
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Open Polar |
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Directory of Open Access Journals: DOAJ Articles |
op_collection_id |
ftdoajarticles |
language |
English |
topic |
song voice simultaneity time space sounding listening philosophy polyphony body Philosophy (General) B1-5802 |
spellingShingle |
song voice simultaneity time space sounding listening philosophy polyphony body Philosophy (General) B1-5802 Voegelin Salomé Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
topic_facet |
song voice simultaneity time space sounding listening philosophy polyphony body Philosophy (General) B1-5802 |
description |
This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. |
format |
Article in Journal/Newspaper |
author |
Voegelin Salomé |
author_facet |
Voegelin Salomé |
author_sort |
Voegelin Salomé |
title |
Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
title_short |
Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
title_full |
Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
title_fullStr |
Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
title_full_unstemmed |
Singing Philosophy: Deviating Voices and Rhythms without a Time Signature |
title_sort |
singing philosophy: deviating voices and rhythms without a time signature |
publisher |
De Gruyter |
publishDate |
2021 |
url |
https://doi.org/10.1515/opphil-2020-0186 https://doaj.org/article/4bda211ff3fa43aa94fbbbcc7871a230 |
genre |
Humpback Whale |
genre_facet |
Humpback Whale |
op_source |
Open Philosophy, Vol 4, Iss 1, Pp 284-291 (2021) |
op_relation |
https://doi.org/10.1515/opphil-2020-0186 https://doaj.org/toc/2543-8875 2543-8875 doi:10.1515/opphil-2020-0186 https://doaj.org/article/4bda211ff3fa43aa94fbbbcc7871a230 |
op_doi |
https://doi.org/10.1515/opphil-2020-0186 |
container_title |
Open Philosophy |
container_volume |
4 |
container_issue |
1 |
container_start_page |
284 |
op_container_end_page |
291 |
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1766026407625883648 |