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logic ,aesthetics

   Now how would one prove that formal logic has any objective truth 
what's assigned to it? I'm inclined to the sort of view at the core of 
bhuddism, ( and  at least implied by Korzybski,Whorf 
Bohm,Kuhn,Goedel,Bohr,etc.)that subject/object is a mental construction, a 
useful  tool for sorting through sense impressions and 'data',but a source 
of illusion if treated as being fundamental.
   I see desire is a key element in aesthetics,if I  had a headache and 
want to sleep the funkiest New Orleans parade band  could be a serious 
bummer,but if I want to feel excited and joyous, loose and rowdy,what 
be better? When I  played a lot of  dance music I observed that the bands 
that made people really give it up and raise a sweat dancing were feeling 
the  rhythm ,and energy of the room,and working with it like someone 
with a partner.
  Some instruments mimic human voice,and players that work that connection 
can elicit emotional responses. As do melodic phrases that mimic speech. 
Those of us who are just fascinated,obsessed with sound,can respond to 
things others don't notice,so I would say one approach to good composition 
is effectivey working with the attention of the listener,providing 
familiar that gives a frame of reference,and then contrasting that with 
something new,that is delightful or profound,or whatever. Since nerve 
endings only register difference,too much of the same stimulus can stop 
registering at all,hence the sensory isolation tanks,and various trance 
music traditions can cause people to not register their physical 
surroundings.  So working with contrast tends to keep the music in the 
of attention. Melody ,melodic phrasing ,ancd certain types of "rhytmic 
driving" affect brain wave freq.s and can cause the brain halves to 
entrain,functioning in a more or less balanced way.
Music that engages listeners and takes them out of their habitual thought 
patterns,so that they forget their troubles and lay down their 
often bring them back for more.The blues among other forms,is rooted in 
approach,though some players don't understand that-or care maybe.
Personally I like really wierd stuff,but I know that  some kinds really 
weird stuff can sometimes be put across to listeners that aren't 
by making it groove.
To judge a piece,of any art form,I try to look at the intent of the 
artist,and wether they use their materials well ,effectively, in pursuing 
that intent. There are artists who are very skillful at the craft aspects 
that don't speak to me.A lot of Mozart ,esp. earlier stuff ,sounds like 
fluff to me,but it seems to reflects the emotional orientation of the 
audience he was writing for,upper crust germans in the days when men wore 
powdered wigs.I recognize that his stuff is well crafted.

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