DOCSLIB.ORG

Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Alison Warrenburg, M.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee: Daniel Shanahan, Advisor David Huron Anna Gawboy Dónal O’Mathúna Copyright by Lindsay Alison Warrenburg 2019 2 Abstract Music, perhaps more than any other art form, is able to influence moods and affect behavior. There are limitless accounts of music eliciting feelings of nostalgia, transcendence, and other seemingly ineffable emotions. In the scientific study of music and emotion, however, only five music-induced emotions have been studied in depth: happiness, sadness, fear, anger, and tenderness (Juslin, 2013). Although these emotions are certainly important and can be expressed and elicited through music listening, a pertinent question becomes the following: do these five words accurately capture all affective states related to music? Throughout my dissertation, I argue that in order to better understand emotional responses to musical stimuli, we need to change the way we use emotional terminology and examine emotional behaviors. In the first part of the dissertation (Chapters 1-4), I review how emotional music has been theoretically characterized and which excerpts have been utilized in research. I will show that the field of music and emotion is fraught with conceptual difficulties and that passages of music expressing a single emotion (e.g., sadness) span an unmanageably large area of emotional space. The second part of the dissertation (Chapters 5-8) provides an in-depth analysis of music that has been classified by other researchers as sad. I will show that previous research has conflated at least two separable emotional states under the umbrella term sadness: melancholy and grief. Through a series of behavioral ii experiments, I argue that melancholic and grief-like music utilize different kinds of music-theoretic structures, are perceived as separate emotional states, and result in different feeling states. In the last part of the dissertation (Chapters 9-11), I offer two possible interpretations of the research findings, drawing first from the field of ethology to show that melancholy and grief could be separable emotion states that have different biological functions and vocal characterizations (e.g., Huron, 2015). Then, I advocate for the adoption of a psychological phenomenon called emotional granularity (e.g., Barrett, 2004). Emotional granularity refers to the specificity with which a person labels their emotional states, and is both an individual characteristic and a learnable skill. The dissertation concludes with ideas for future research, including the investigation of how the musical structure may result in subtle shades of emotion previously unrecognized in the music psychology literature. iii Acknowledgements Those who know me best are familiar with the story of how I became interested in music research. When I was in college, I attended a performance of Bach’s St. Matthew Passion by the Philadelphia Orchestra. Although I had never heard the work before, when the bass soloist began to sing “Mache dich, mein Herze, rein” in the second act, tears immediately came to my eyes and I felt a sense of total tranquility. After the concert concluded, I conversed with fellow concert-goers and we all shared the sentiment that everyone in the audience became friends simply because we had all experienced the masterwork together. Intrigued, I began to question my family and friends about whether they had experienced a similar phenomenon from listening to music. Most—if not all— said yes. Between these conversations and my flow experiences conducting research on Mahler, I felt like I had to understand why (and how) music can lead to strong and emotional experiences. The truly amazing part of the story involves the reactions from those close to me when I relayed the fact that after eight years of intensive physical science training and medical school preparation, I was going to enter a graduate program centered on music theory. In response, I only received positive feedback, hugs, and supportive smiles. Anyone who has attended graduate school can attest to the fact that it is a journey. Committing yourself to an academic program for a large portion of your twenties means iv that you will not only learn about your chosen area of study, but you will also discover who you are as a person. Accompanying me on this journey were the most wonderful people, whom it would be impossible to thank adequately in words. To these people, please know how grateful I am to have you in my life and how fortunate I feel to have you to keep me going through all the highs and lows of this period. My first thanks, of course, goes to those who have mentored me throughout the years. Particular shout-outs go to Diane Dollak, for teaching me piano performance, aural skills, and music theory over many years, Andrew Hayes, for instilling in me a love of statistics and behavioral research methods, Amelia Aldao, for introducing me to the science of emotion, David Clampitt, for his enthusiasm in all aspects related to the history of music theory, and Baldwin Way, for his willingness to take me on as a graduate student, even though I was based in a different department. Thank you also to Anna Gawboy and Johanna Devaney, who have been incredible sources of academic and personal support, and who motivate me every day with their strength and compassion. Special thanks goes to Lawrence Bernstein, who is one of the most brilliant and eloquent scholars I know, and is certainly the one with the most gracious spirit. You were the person that encouraged me to foster my love of music and to turn it into a professional career. Your classes still remain the most pivotal experiences in my academic life and certainly changed the way I view the world. To Daniel Shanahan, you have continually made me feel academically inspired and proud of my work and of myself. Your patience, generosity, and vision have made this last year of graduate school the best it could possibly be. I owe you so much and am excited to see how you continue to lead students to their maximum potential. Finally, to David Huron, thank you for v believing in me and for guiding the way I think about music and about the world. I have never met anyone with a more curious spirit or with a more jovial attitude. It has been one of the greatest pleasures of my life to see how you take an intuition and develop it into a fully-formed and realizable theory (the pleasurable-compassion theory) over a period of five years. Like many others before me, I am forever indebted to you for your expertise as a mentor. Thank you to my Allied friends, Penn friends, Monell family, and my colleagues in the Cognitive and Systematic Musicology Lab. It has been a pleasure to learn alongside you and each person has contributed to my development as a scholar. Among many others, I would like to express gratitude for Nataliya Nedzhvetskaya, Amanda Howson, Nitasha Khanna, Chandni Bardolia, Sindhoori Nalla, John Thiel, Rachel Mathisen Fink, Megan Coffin, Elaine Fitz Gibbon, Yunica Jiang, Baker Beers, Davis Butner, Zhenyu Zhao, Joel Mainland, Casey Trimmer, Wendy Yu, Deborah Lee, Nick Shea, David Orvek, Andrew Brinkman, and Hubert Léveillé Gauvin. Special thanks to Amalya Lehmann for keeping me grounded and for being an incredible friend through thick and thin. To my twin-of-mind, Lindsey Snyder, you have opened your heart and home to me more times than I can count. Each time, you have made me feel at peace and like I am loved. Lissa Reed, you have given me the strength and courage to be authentically myself, for which I can never thank you enough. Lindsey Reymore, you have proven to be one of the most important people in my life. In addition to your incredible dedication and intellect, you encourage me to be better, in every sense of the word. Finally, to Caitlyn Trevor, with whom I started this journey half a decade ago. Your light, fire, and ability to make me smile no matter what has meant the world to vi me. I couldn’t imagine going through grad school without you by my side to keep me motivated, inspired, and happy. One of my favorite quotes is by Charles Dickens, who says in Doctor Marigold, “No one is useless in this world who lightens the burden of another.” Amalya, both Lindseys, Lissa, and Caitlyn, you lighten my burden every day and make life filled with joy. Thank you. I am blessed to have the most wonderful family imaginable. Throughout my entire life, each one of you has been an endless source of support and reassurance. To Terrill, my best friend, I never feel complete until you are with me. I know I am never alone, because you will fight for me no matter what—a sentiment that I reciprocate. It has been the greatest joy of my life to see you grow into such a beautiful woman, inside and out. Mom, you have the most caring and loving soul of anyone in the world. Your heart of gold has inspired me to always try to do the right thing, to show compassion for others, and to treat myself with love and respect. Dad, I couldn’t imagine being able to complete this degree without you. In addition to all of the academic and moral support you’ve provided over the years, you have shown me by example what it means to lift others up, how to experience joy from learning, and how to protect and advocate for those you love.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • A Psychological Approach to Musical Form: the Habituation–Fluency Theory of Repetition
    A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition David Huron With the possible exception of dance and meditation, there appears to be nothing else in common human experience that is comparable to music in its repetitiveness (Kivy 1993; Ockelford 2005; Margulis 2013). Narrative arti- facts like movies, novels, cartoon strips, stories, and speeches have much less internal repetition. Even poetry is less repetitive than music. Occasionally, architecture can approach music in repeating some elements, but only some- times. There appears to be no visual analog to the sort of trance–inducing music that can engage listeners for hours. Although dance and meditation may be more repetitive than music, dance is rarely performed in the absence of music, and meditation tellingly relies on imagining a repeated sound or mantra (Huron 2006: 267). Repetition can be observed in music from all over the world (Nettl 2005). In much music, a simple “strophic” pattern is evident in which a single phrase or passage is repeated over and over. When sung, it is common for successive repetitions to employ different words, as in the case of strophic verses. However, it is also common to hear the same words used with each repetition. In the Western art–music tradition, internal patterns of repetition are commonly discussed under the rubric of form. Writing in The Oxford Companion to Music, Percy Scholes characterized musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration” (1977: 289). Scholes’s characterization notwithstanding, musical form entails much more than simply the pattern of repetition.
    [Show full text]
  • Cognitive Processes for Infering Tonic
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 8-2011 Cognitive Processes for Infering Tonic Steven J. Kaup University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Cognition and Perception Commons, Music Practice Commons, Music Theory Commons, and the Other Music Commons Kaup, Steven J., "Cognitive Processes for Infering Tonic" (2011). Student Research, Creative Activity, and Performance - School of Music. 46. https://digitalcommons.unl.edu/musicstudent/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COGNITIVE PROCESSES FOR INFERRING TONIC by Steven J. Kaup A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Stanley V. Kleppinger Lincoln, Nebraska August, 2011 COGNITIVE PROCESSES FOR INFERRING TONIC Steven J. Kaup, M. M. University of Nebraska, 2011 Advisor: Stanley V. Kleppinger Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings.
    [Show full text]
  • Emotion Work and Psychological Well-Being a Review of the Literature and Some Conceptual Considerations
    Human Resource Management Review 12 (2002) 237–268 www.HRmanagementreview.com Emotion work and psychological well-being A review of the literature and some conceptual considerations Dieter Zapf* Department of Psychology, Johann Wolfgang Goethe-University Frankfurt, Mertonstr. 17, D-60054 Frankfurt, Germany Abstract In this article, the state of the art of research on emotion work (emotional labor) is summarized with an emphasis on its effects on well-being. It starts with a definition of what emotional labor or emotion work is. Aspects of emotion work, such as automatic emotion regulation, surface acting, and deep acting, are discussed from an action theory point of view. Empirical studies so far show that emotion work has both positive and negative effects on health. Negative effects were found for emotional dissonance. Concepts related to the frequency of emotion expression and the requirement to be sensitive to the emotions of others had both positive and negative effects. Control and social support moderate relations between emotion work variables and burnout and job satisfaction. Moreover, there is empirical evidence that the cooccurrence of emotion work and organizational problems leads to high levels of burnout. D 2002 Published by Elsevier Science Inc. Keywords: Emotional labour; Burnout; Service interaction; Action theory 1. Introduction Emotions in organizations have found increasing interest among scientists and practi- tioners in recent years (Ashforth & Humphrey, 1995; Briner, 1999; Fineman, 1993). One of the topics is emotional labor or emotion work, in which the expression of organizationally desired emotions is part of one’s job. Emotion work occurs when one has to work with people * Tel.
    [Show full text]
  • The Notion of Song, Identities, Discourses, and Power
    The Notion of Song, Identities, Discourses, and Power: Bridging Songs with Literary Texts to Enhance Students’ Interpretative Skills Elroy Alister Esdaille Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2020 © 2020 Elroy Alister Esdaille All Rights Reserved Abstract Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations.
    [Show full text]
  • PAMM Presents Cashmere Cat, Jillionaire + Special Guest Uncle Luke, a Poplife Production, During Miami Art Week in December
    PAMM Presents Cashmere Cat, Jillionaire + Special Guest Uncle Luke, a Poplife Production, during Miami Art Week in December Special one-night-only performance to take place on PAMM’s Terrace Thursday, December 1, 2016 MIAMI – November 9, 2016 – Pérez Art Museum Miami (PAMM) announces PAMM Presents Cashmere Cat, Jillionaire + special guest Uncle Luke, a Poplife Production, performance in celebration of Miami Art Week this December. Taking over PAMM’s terrace overlooking Biscayne Bay, Norwegian Musician and DJ Cashmere Cat will headline a one-night-only performance, kicking off Art Basel in Miami Beach. The show will also feature projected visual elements, set against the backdrop of the museum’s Herzog & de Meuron-designed building. The evening will continue with sets by Trinidadian DJ and music producer Jillionaire, with a special guest performance by Miami-based Luther “Uncle Luke” Campbell, an icon of Hip Hop who has enjoyed worldwide success while still being true to his Miami roots PAMM Presents Cashmere Cat, Jillionaire + special guest Uncle Luke, takes place on Thursday, December 1, 9pm–midnight, during the museum’s signature Miami Art Week/Art Basel Miami Beach celebration. The event is open to exclusively to PAMM Sustaining and above level members as well as Art Basel Miami Beach, Design Miami/ and Art Miami VIP cardholders. For more information, or to join PAMM as a Sustaining or above level member, visit pamm.org/support or contact 305 375 1709. Cashmere Cat (b. 1987, Norway) is a musical producer and DJ who has risen to fame with 30+ international headline dates including a packed out SXSW, MMW & Music Hall of Williamsburg, and recent single ‘With Me’, which premiered with Zane Lowe on BBC Radio One & video premiere at Rolling Stone.
    [Show full text]
  • A Comparative Study of the Bell Jar and the Poetry of a Few Indian Women Poets
    AKHTAR JAMAL KHAN, BIBHUDUTT DASH Approaches to Angst and the Male World: A Comparative Study of The Bell Jar and the Poetry of a Few Indian Women Poets Pitting Sylvia Plath’s speakers against male chauvinism is a usual critical practice, but this antinomy primarily informs her work. Most of her writings express an anguish that transcends the torment of the individual speakers in question, and voices or represents the despair of all women who undergo similar anguish. As David Holbrook writes: “When one knows Sylvia Plath’s work through and through, and has penetrated her inner topography, the confusion, hate and madness become frighteningly apparent” (357). The besetting question is what causes this angst. Apparently, a stifling patriarchal system that sty- mies woman’s freedom seems to be the cause of this anguish. However, it would be lopsided to say that Plath’s work is simply an Armageddon between man and woman. This paper compares Sylvia Plath’s novel The Bell Jar (1963) and the poetry of a few twentieth-century Indian women poets such as Kamala Das, Mamta Kalia, Melanie Silgardo, Eunice de Souza, Smita Agarwal and Tara Patel to study the angst experienced by the speakers and their approaches to the male world. Here, the term ‘male world’ refers to any social condition where man overtly or tacitly punctuates a woman’s life. Thus, it precisely refers to a patriarchal social order. Talking about twentieth-century poetry and making references to the posi- tion of women poets, John Brannigan writes: “In their time, Elizabeth Jennings, Sylvia Plath and Eliza- beth Bishop seemed isolated and remote from the male-dominated generation of the fifties and sixties” (Poplawski 632).
    [Show full text]
  • Anxiety, Angst, Anguish in Fin De Siècle Art and Literature
    Anxiety, Angst, Anguish in Fin de Siècle Art and Literature Anxiety, Angst, Anguish in Fin de Siècle Art and Literature Edited by Rosina Neginsky, Marthe Segrestin and Luba Jurgenson Anxiety, Angst, Anguish in Fin de Siècle Art and Literature Edited by Rosina Neginsky, Marthe Segrestin and Luba Jurgenson This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Rosina Neginsky, Marthe Segrestin, Luba Jurgenson and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4383-8 ISBN (13): 978-1-5275-4383-6 TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Introduction .............................................................................................. xiv Part I: Thresholds Chapter One ................................................................................................. 2 Le Pays intermédiaire saloméen: un lieu entre expérience de l’angoisse et libération créatrice – The Salomean Land Between: A Place between Experience of Anguish and Creative Liberation Britta Benert Chapter Two .............................................................................................
    [Show full text]
  • Panel to Summon KAC Board, KIA Officials 2002, When He Fled the US Military Presence in Brought to the United States
    SUBSCRIPTION MONDAY, MARCH 3, 2014 JAMADA ALAWWAL 2, 1435 AH www.kuwaittimes.net Minister admits Will Smith flop Rio revels Man City hit Iran cannot ‘After Earth’ in ‘greatest back to beat block Facebook crowned show on Sunderland in forever9 at36 Razzies Earth’40 League20 Cup Panel to summon KAC Max 23º Min 12º High Tide board, KIA officials 00:52 & 13:31 Low Tide 07:33 & 19:46 40 PAGES NO: 16093Kuwait 150 FILS Airways insists Airbus deal transparent, touts gains By Velina Nacheva and B Izzak Kuwait Airways is in the multi-year process of privati- conspiracy theories zation, but the state’s sovereign wealth fund owns the KUWAIT: Parliament will summon the board of troubled airline during this period and has the final say on all Kuwait Airways as well as officials of its owner Kuwait financial deals. Allegations of kickbacks and other irreg- Ward 10? Investment Authority as it investigates an estimated ularities have plagued the deal from its initial signing in $4.4 billion deal with Airbus. Kuwait December. Airways finalized the deal in February to “There is no commission or any buy 25 new Airbus jets - 10 A350-900 benefit for any middleman,” said long-haul jets and 15 A320 neo aircraft - Roumi, adding that all the require- along with 12 more leased aircraft, seven ments have been met and the agree- A320s and five A330s. ment is “fair” for both parties in the By Badrya Darwish Questions over the transparency of the deal. “All issues were taken into deal have fueled the controversy.
    [Show full text]
  • DOCUMENT RESUME Dimensions of Interest and Boredom In
    DOCUMENT RESUME ED 397 840 IR 018 028 AUTHOR Small, Ruth V., And Others TITLE Dimensions of Interest and Boredom in Instructional Situations. PUB DATE 96 NOTE 16p.; In: Prbceedings of Selected Research and Development Presentations at the 1996 National Convention of the Association for Educational Communications and Technology (18th, Indianapolis, IN, 1996); see IR 017 960. PUB TYPE Reports Research/Technical (143) Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Academic Achievement; Brainstorming; Cognitive Style; College Students; Educational Strategies; Higher Education; Instructional Development; *Instructional Effectiveness; Instructional Material Evaluation; *Learning Strategies; Likert Scales; Participant Satisfaction; Questionnaires; Relevance (Education); *Stimulation; Student Attitudes; *Student Motivation; Teacher Role; Teaching Methods IDENTIFIERS ARCS Model; *Boredom; Emotions ABSTRACT Stimulating interest and reducing boredom are important goals for promoting learning achievement. This paper reviews previous research on interest and boredom in educational settings and examines their relationship to the characteristics of emotion. It also describes research which seeks to develop a model of learner interest by identifying sources of "boring" and "interesting" leaming situations through analysis of learners' descriptions. Participants is, the study were 512 undergraduate and graduate students from two universities. Descriptive responses were elicited from 350 students through brainstorming
    [Show full text]
  • It Was Shock, Angst, and Inescapable Panic That Introduced Me to the Work of Mounir Fatmi, a 'French Artist in USA, an African Artist in Europe'
    HOME ART CULTURE FILM MUSIC STYLE E MAGAZINE A STRUGGLE WITH MEANING - THE ART OF MOUNIR FATMI It was shock, angst, and inescapable panic that introduced me to the work of Mounir Fatmi, a 'French artist in USA, an African artist in Europe'. His kinetic installation Modern Times – A History of the Machine, on show in Denmark's Brandts 131 gallery, sends the viewer into somatic A portrait of Mounir Fatmi overdrive, yet remains acutely conceptual, as it employs referential elements pertaining to both Western and Eastern (Islamic) aesthetics. Visual repetition, perpetual circular motion, illegible Arabic calligraphy, and aggressive sound create a sense of danger, announcing an imminent clash of worlds embracing the mechanics of modernity, but struggling to grasp the essence of it. At times, Fatmi's works tap into strands of speculative philosophy, often breaking down bonds of meaning: objects are dislocated, taken beyond their instrumentality, reconceptualized, separated from the burden of a necessary relation to their qualities, in a potential attempt to explore what Graham Harman would call the 'object oriented ontology'. In Between the Lines, a steel circular saw blade becomes the inscription surface for Quoran verses, which undergo a process of being emptied of semiotic content and rendered decorative elements. The defining qualities of both the object and of language are suspended, and the image becomes the new bearer of knowledge. Between the lines, 2010, saw blade in steel, 150 cm. Courtesy of the artist and Goodman Gallery, Johannesburg-Cape Town. Photo credit: Mia Dudek In his creative process, Mounir Fatmi uses a variety of media and materials, and appropriates objects at hand, in attempts to question their materiality and attributed function.
    [Show full text]
  • 1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
    1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29.
    [Show full text]