In this meditation, I introduce the musical metaphor of 'mood' to play with Heidegger's category of 'mood of attunement' (der Stimmung). I write: "if mood if understood to be the capacity of flexibility, then it relates to the term as it used in the lexicon of musical performance. Here temperament refers to the adjustment of tone of an instrument to fit the scale in any key, especially with those instruments that have fixed intonation, like a piano....The key here is that mood, as mode and temperament, is a way of describing the result of an adjustment or, to push the point a-tuning." In the beginning of the video, I note the connections between this writing and the most recent writing I have completed on music-making philosophy.
February 13, 2014 was the 10th anniversary of the original experiment that produced 363 phenomenological mediations, published as 'Being and Learning' (Brill: 2012). Each day between Feb 2014-15, I returned to the original meditations, and my commentary is documented here. And then, again, on February 15, 2024, on the 20th anniversary of the first days of the original experiment, I revisit and comment on a daily basis, once again.
In yesterday's 3.0 (20/10 later) commentary, I noted how the implication today for heeding the message of the word, namely, the silence that is evoked, is located in the listening to music, to 'being all ears.' And thus naturally today's meditation indicates that pivot of poetic praxis not only towards music-making philosophy, but to philosophy making music, or better and more to the point, philosopher making music, but only if 'philosopher' is the thinker as denoted by Arendt, Heidegger, Irigaray, even Du Bois, the one who is capable of the receptive modality, the evocation of the essential. This thinking occurs in the 'mood of attunement,' the reception that is first and foremost an evacuation of the willing subject, or the subject's will; thinking as the receptive letting-be and letting-go of the ego.
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