What is music to our eyes? It is not the metaphorical use of the word for a visual aesthetic substance but an inquiry to understand the coordinated relationship between the two.
It is when the words drenched in rhythm are let loose on one’s senses that one realises the transcending nature of oneself. It is hardly conflicted that music holds potential to transcend our conscience of its physicality. So, how is it that we often find ourselves in a redundancy of materialism where the context of our physical presence does not resonate with our mental understanding of our own existence? Well, that is the extension that I’m seeking to establish here.
Gaston Bachelard, a celebrated French philosopher, talks about paradoxical nature of time. In his seminal work Intuition of the Instant he quite scientifically establishes the paradox of time in which time’s essence lies in duration, but creativity, in everything that breaks free from it. Duration and Time then come across as antithetical to each other. Duration, to Bachelard, is something that is continuous and creates an artificial distinction between present and future. To the contrary, time is something that is ‘instant’ or ‘in the moment’. Therefore, time is a severing away from the linearity of duration (something that he calls mutation) and can only be creative in the present.
It is Bachelard’s fascination with originality and uniqueness that makes him the centre of inquiry in this essay. To him, originality or creativity cannot be understood through Duration because in the realm of Duration, every moment has to have a connection with something in the past. Therefore, he argues that creativity can only happen when action (time) breaks away (sudden mutation) from the historicity of duration. So, the ‘time’ that exists at that moment of sudden mutation is the only action worth understanding and hence is natural. The other distinction of past and future is a mere artificial construction.
We can see the parallel of the same principle in Bachelard’s explanation of science. To him, science rests on an Epistemological Break which says that true creativity in the history of science is possible only when the history is discontinued and the past theory is negated at a particular time.
In the theory of Roupnel, something that Bachelard responded to in his work, art occupies a significant position. According to Roupnel, constant innovation (renewing mutation) is important for evolution and since art is created through original sensations, it becomes an ‘instant’ and hence occupies a key place in this process. In both of these explanations we see a great emphasis being put on the instantaneous nature of creativity, something which I would like to extend to the notion of existence within time.
Coming back to my hypothesis, I’m here to question what is the relationship of music with our eyes. Is it a mere artistic involvement or is it a higher process of transcendence that outs the very idea of existence and time into question?
When we listen to music, we make a choice. The choice, either consciously or subconsciously involves a selection, a song or a beat, that carries a meaning in itself. As a walker, I often listen to music when I’m travelling or walking from work to home or vice versa. So I can say that music is involved in my life when I already exist in a specific spacio-temporal milieu in time which is relative to my surroundings and is universal for each person around me. So it is also safe to say that the involvement of music in my life (for instance while walking from work to home) is a Duration (In Bachelard’s sense). “I listened to 5 songs while walking from work to home”, justifies the same. This principle might please Bergson but I say that it holds only to a voyeur.
The very idea that we choose a particular song at a particular moment speaks a lot about our cognition of letting an external output coordinate with an internal motivation of brain (neurophysiology argument). The decision making process of the brain, an emotional structure that involves hypothalamus and cerebral cortex, evidences that our music selection is a choice that involves a goal orientation approach. We choose a song which our limbic system and reticular formation tells us to be of a good yield in the past.
So it can be safely accepted that involvement of music in our life is mostly a choice. Therefore, it can be said that there is some sense of instantaneous action (sudden mutation) involved in our music listening practice. Hence, I would deduce that when we listen to music we are not just responding to what has happened in the past, or being just a point in the chain of Duration, but we are generating or experiencing something original and unique. We are living in Time and not Duration. Or it can be said, it is a real perception of time within a realm of Duration garbed as artificial Time.
Now, let’s extend this postulate to the question of one’s existence in the designated spacio-temporal environment. So the question that emerges is when I listen to music while travelling from work to home, do I exist in the time and space of my surroundings or do I transcend to a different instant of time. If I rely on the premise forwarded by Bachelard, my process of listening music is mutation from the historicity of the context around me. And since it’s a mutation, whatever is created during that process of listening music, through my cognitive methods, is original, hence creativity. So it would be safe to say that during the music listening process, I exist in Time and not Duration.
Now that my question of existence is sorted, I shall now move on to my question of creation. So, when I use my eyes while listening to music to envisage a deconstruction of the context around me, am I being an artist or maker of that process? Theodor Lipps in his radical hypothesis on art said that the power of an artwork doesn’t lie in the work itself. It is involved in the process where the viewer considers that artwork to be beautiful. It depends on what viewer makes of it. Hence, it is the viewer who becomes the artist of this new creative process. Extending Lipps postulate to the study of music, I realise the parallels can be drawn. Beethoven would not mean the same to the Liberal Arts students in Ukraine as what he stands for a 60 year old housewife in France. However, I do not stop at establishing semiotic nature of music. I want to take the liberty of extending it to the idea of construction (creativity). I believe that sometimes music becomes a catalyst to a higher creative process sourcing from ourselves. It is us who reach a moment in time where it is not the inherent meaning of the music that we are responding to but rather a new construction of meaning that forms a distinct artistic narrative. So it is when we listen to music that we are involved in a process of artistic construction (keeping in mind the Bachelard’s idea of mutation).
After analysing every inch of my mental curiosity, it would be good to condense my conclusion into a nutshell. I believe that when we listen to music (not as a voyeur) we divorce our existence from the spacio-temporal milieu of our surrounding and transcend to a new instant of time (since time has been proven to be relative). This instant of time is marked by a mutation from the Duration that we were involved in while not listening to music. It is in the instantaneous moment of music listening process that we are involved in a creative activity of forming original works (since art is premised on the freshness of original sensations and every moment in music listening process is mutated from any historical attachment). Thus, it is we who are the artist of this new artistic construction that is formed while we exist in space of time that is severed from the historicity of our physical surrounding in the context it exists.
. I feel empowered now of the fact that music no longer alienates me from my own artistic constructions. I wish I could put them down to concrete works of literature (sometimes I do though) but I get too consumed in the momentary meaning of my own constructions.