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Topics - Moses

Interzone / What is Philosophy?
« on: May 29, 2008, 10:04:41 AM »
Now since, as I have said, the existence of God is a matter of revelation and is firmly established thereby, it needs no human verification.  But philosophy is really only the idle and superfluous attempt to leave reason, thus man's ability to think, deliberate, and reflect, entirely to its own devices for once, just as a child on a lawn occasionally has its leading strings removed and is allowed to try its strength, to see what the result will be.

Schopenhauer knew that if absolute Truth was one's ultimate goal, then philosophy was pointless, but this is too often forgotten.

Metal / Music for the Intellectual Elite
« on: May 24, 2008, 06:42:32 AM »
It is in no way surprising for any people, to have witnessed the ever increasing decadence and compartmentalisation of all artistic mediums.  More and more these mediums tend to move towards entertaining the masses, rather than expressing eternal truths accessable now only to a group very small in number.  These people could be called an intellectual elite, however their elite status is no longer recognised, because of the inversion of a hierachy which by its very nature should not be inverted.  

It is undeniable that music has suffered as much as any other art, to the point where the artistic side is now entirely separate from the entertainment, and whilst the latter enjoys enourmous success, the former dwindles and barely even exists at the current time.  These two groups of music can be traced back to two elements within the music itself, these are the intellectual, and the sentimental.  The intellectual element generally corresponds to the overall structure of a piece of music, although a particlar element can be intellectual in itself this rarely occurs in any western music since the renaissance.  The sentimental aspect is more concerned with the character of particular melodic and harmonic features, these can vary in complexity, but without intellectual guidance they have no actual purpose of meaning.  Now some music can be purely intellectual, Bach's 'Die Kunst der Fugue' springs to mind, and this is usually only appreciated by the aforementioned intellectual elite, however it is still valuable as a work of art.  Most recent western music is a blending of the intellectual and the sentimental elements, resulting in music that, whilst still accessable to the masses, retains an esoteric, inward nature that is hidden from all but a few.  The works of many well-known composers, most notably Beethoven, have a strong sense of sentimentality but ultimately still recognise its subordination to the intellectual.  It was only towards the end of the romantic period that the hieracy was inverted, causing works that lost their esoteric meaning in favour of creating pointless humanistic art, guided only by sentiment.  

We have now reached a point where only the sentimental is recgonised, the intellectual being thought of as too complex for the modern listener, it is hard to imagine how anyone could fail to recgonise decadence is this, but yet it goes largely unoticed by our contemporaries.  Looking back it is possible to see, within the realm of what came to be known as art music, some attempts to restore a genuine hierachy in the musical medium.  Against the tide of late-romanticism, the serialists attempted to restore a purely intellectual formal structure to music, unfortunately most who followed this school still wanted to create sentimental works and this showed in their compositions.  Only Webern really succeeded in creating true serialist art, that transcended the decadence of the times, because from this particular school, only he understood what it meant to create purely intellectual music.  One will notice the complete absence of anything accessble to the masses in his music, in other words, a complete detatchment of the intellectual from the sentimental, it seems that in modern times, this is the only way to avoid infestation and eventual destruction of universal hierachy by the chaotic tendancies of the Kali Yuga.

Minimalist music then tried to pull art music back towards popular culture, and eventually succeeded in destroying art music almost entirely, however it brought with it some tendancies, in no way expressed by its best-known composers, that eventually led to intellectual tendancies in some popular music.  Brian Eno and Tangerine Dream, both with a strong influence from minimalism, managed to create works that overcame its inherent obsession with novelty (an entirely modern phenomenon).  It was not until heavy metal music, which had simply been an outlet for youthful anger, latched onto the intellectuality of the aforementioned artists that the first truly promising artistic movement in the world of popular music was born.  Death and black metal both managed to channel a spirit that many had probably thought was lost, however, the decadence of modern times ensured that their possibilities were limited, and within a few years both genres were destroyed before they really had time to develop.  Their intellectual capacity lingered as remnants, which occasionally pop up seemingly spontaneously in certain metal bands on occasion.  This demonstrates the danger of music with intellectual validity existing in the popular music world.  It is impossible to resist the overwhelming tide of decadence which has been attempting for some time to destroy art completely.  If intellectual music, particularly metal, wishes to survive, it must find some way of placing itself above the modern world completely, otherwise it will be washed away by the tide.  To do this is must eradicate every sentimental aspect, and focus purely on intellectual structures, metal needs to do what Bach did with his best works, or what Webern attempted to do in more difficult circumstances.  It needs to leave the modern world behind, to transcend its ephermeral existence, otherwise it will simply be dragged back into oblivion by the dirty and jealous hands of the mob.