The politics of transformative harmony

This paper explores the idea of transformative harmony as a concern of the political. It proposes that the cultivation of harmony as a project of the Self is closely related to the political project of democracy as a quest for social harmony. This is in light of the view that social conflict can be seen as a collective manifestation of individual struggles to establish inner harmony. The paper, firstly, explores the idea that the quest for harmony is an intersubjective, as well as an intra-subjective, undertaking. This is in line with the Gandhian principle that societies ultimately reflect the level of enlightenment of the actors who form them. It also critiques the use of violence as a means of securing transformative harmony and social change. Finally, the paper discusses the way in which transformative harmony, in terms of its focus on the Self as the site for attaining the type of altered consciousness required to bring about social change, shares a philosophical basis with both ideas of ‘deep democracy’ and Habermasian discourse ethics. It is proposed that the project of transformative harmony represents, by default, a project to transform democratic praxis. Keywords: Harmony, politics, ethics, rights, duties, Gandhi, democracy, risk.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.