Ivodne is fine - I'm used to it after a decade - some days it's more real.
Collingwood on art is sadly underappreciated, especially when you realise how it dominated post-war. Collingwood's idea of the expressive imagination - the reconstruction of the creative imagination in the audience - is nice.
Yes, re repeated now, that is what I like about the conceptualisation. And it also brings in the experience of things like kecapi suling performance and the suling flights that extend over the ostinati - you could compare Bill Walker's looping with that directly. I always thing of it as a slingshot metaphorically - the successive iterations gathering vigour (crescit eundo) until the musical forces a kind of escape velocity. It has a power of escape that the verse/chorus/verse/chorus/improv fails to have, as that always seems like variation not growth.
An aside for the methodologically-minded, but in response to Sylvain:
Since you are philosophical yourself, then you might appreciate the methodology - it's something I use a bit called docking, whereby a conceptual structure is derived from two intellectual sources and compared. So here I made a list of all observed phenomena in the performance sphere that were cyclically temporal, and arranged them in a hierarchy (standard ontological practice). Then as a triangulation I used conceptual blending (Fauconnier and Turner) to combine a set of Greek prefixes with the Greek root -chronos for the temporal. Hence the list. (Any ontology is a purported general model of the domain in which is concerned, and docking/triangulation is the standard way of checking whether a model is a good one. This is Crombie/Chung Kwa's taxonomic style of knowledge)
Date: Wed, 24 Sep 2014 15:25:09 -0400
Subject: Re: Loopers-Delight-d Digest V14 #174
Ivodne (or whatever your name is),
As a fellow philosopher (who has not been near a philosophy department in a decade), I welcome all of your contributions with great enthusiasm.
I never considered looping through the lens of the philosophy of time, but it seems a very worthwhile line inquiry. I haven't read Kubler or Fraser, but I am familiar with Collingwood's work.
The concept of the repeated now speaks to what is common to Terry Riley's In C and Bill Walker's Sanctuary. Codifying this language may lead to interesting discoveries and I I look forward to your analyses as they may also suggest composition and performance strategies.