Probably Halloween, but I'm not sure. But look at those super inspired drawings. I must say, my country's art education didn't do well in recognizing and fostering my potential (lol).
And there was a huge (at least it was for this little boy) underground arcade where my mom did part-times. One of those Christmas seasons, obviously.
So, my favorites. Things I remember. One of them was Disney animations, and particularly the "Silly Symphony" series (I learned the title of it only recently). I loved it so much that my parents asked the video rental shop guy to make a copy of it (it was still the VCR era). I must have watched it some dozens of times. You know how kids are.
And, the number 1 -- Silly Symphony, Music Land.
I still enjoy watching this. So very much.
Horn people (Trombone? Tuba? I'm not sure), Cello people, just fascinating.
But let's say people are really like that. That the world is populated with musical instrument people. And imagine there's a historian who looks and thinks just like Foucault. And let's say he's a Viola. Foucault the violan. I'm already excited.
So, this Violan Foucau (the ancients didn't want the superfluous 'lt' dangling at the end) studies, of course, a certain kind of genealogy. He writes in one of his books, titled Piano and Cello: the History of Sound. Since this is the world of People of Music, of people who sound-speak, "sound" means, from our point of view, language, or more precisely, the ways in which people articulate their thoughts.
In the history of this world, the relationship between the Pianos and the Cellos is similar to the relationship between the Romans and the Greeks, in the sense the latter exited before the former, and the former overwrote the latter in many ways, including, most importantly, the fundamental nature of language.
What happened? According to our renowned Violan historian, the transition from the Cellos to the Pianos resulted in the compartmentalization of sound. The Pianos preferred precision. They desired a sound standard, the universal notes, so that anyone within the boundaries of the Great Piano Empire would hear the exact same notes when the same music is played. Now there were Tuners, working at the Universal Keys Institutes all over the empire.
The Universal Keys Institutes. Foucau emphasizes the significance of the word "keys", making a critical note here: now the Pianos virtually replaced, at least in the official realm, the notion of sound with notes. Before, sound was continuous. Also, the Cellos music was predominantly oral. The notion of writing down notes and keeping scores didn't exist then. But now, with the advent of the Pianos, the continuous scale of sound began to be compartementalized; sound was divided into notes, and then assigned to individual keys.
It was, of course, a relatively gradual change. Chronologically speaking, in the earlier period it was enough to differentiate each note from others (compartmentalization); then, the Institutes began to established throughout the empire, standarizing notes.
Another interesting, and quite fascinating. point Foucau makes is that the development of orchestra during the Pianos era does not signify the development in our thinking. It has been a common belief that the invention of orchestra marked the monumental leap in the history of our mental faculty, on the account that orchestra made it possible to create more complex ideas by playing multiple streams of sound simultaneously and harmoniously. However, Foucau argues that orchestra was in fact an effort to reclaim the polivocality and the free association of sounds the Cellos had, while maintaining the Pianos control over sound. While Foucau doesn't manifestly advocate the Cellos ways, he makes it clear that the our current civilization built upon the Pianos civilization is actually in many ways a detour, a perpetual pursuit of the lost sound between the keys.
Horn people (Trombone? Tuba? I'm not sure), Cello people, just fascinating.
But let's say people are really like that. That the world is populated with musical instrument people. And imagine there's a historian who looks and thinks just like Foucault. And let's say he's a Viola. Foucault the violan. I'm already excited.
So, this Violan Foucau (the ancients didn't want the superfluous 'lt' dangling at the end) studies, of course, a certain kind of genealogy. He writes in one of his books, titled Piano and Cello: the History of Sound. Since this is the world of People of Music, of people who sound-speak, "sound" means, from our point of view, language, or more precisely, the ways in which people articulate their thoughts.
In the history of this world, the relationship between the Pianos and the Cellos is similar to the relationship between the Romans and the Greeks, in the sense the latter exited before the former, and the former overwrote the latter in many ways, including, most importantly, the fundamental nature of language.
What happened? According to our renowned Violan historian, the transition from the Cellos to the Pianos resulted in the compartmentalization of sound. The Pianos preferred precision. They desired a sound standard, the universal notes, so that anyone within the boundaries of the Great Piano Empire would hear the exact same notes when the same music is played. Now there were Tuners, working at the Universal Keys Institutes all over the empire.
The Universal Keys Institutes. Foucau emphasizes the significance of the word "keys", making a critical note here: now the Pianos virtually replaced, at least in the official realm, the notion of sound with notes. Before, sound was continuous. Also, the Cellos music was predominantly oral. The notion of writing down notes and keeping scores didn't exist then. But now, with the advent of the Pianos, the continuous scale of sound began to be compartementalized; sound was divided into notes, and then assigned to individual keys.
It was, of course, a relatively gradual change. Chronologically speaking, in the earlier period it was enough to differentiate each note from others (compartmentalization); then, the Institutes began to established throughout the empire, standarizing notes.
Another interesting, and quite fascinating. point Foucau makes is that the development of orchestra during the Pianos era does not signify the development in our thinking. It has been a common belief that the invention of orchestra marked the monumental leap in the history of our mental faculty, on the account that orchestra made it possible to create more complex ideas by playing multiple streams of sound simultaneously and harmoniously. However, Foucau argues that orchestra was in fact an effort to reclaim the polivocality and the free association of sounds the Cellos had, while maintaining the Pianos control over sound. While Foucau doesn't manifestly advocate the Cellos ways, he makes it clear that the our current civilization built upon the Pianos civilization is actually in many ways a detour, a perpetual pursuit of the lost sound between the keys.
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