ZIG skrev:Jeg var selv for slidt til at give et ordentligt svar til kibri i aftes. Så nu vil jeg prøve igen.
Jeg tror, jeg har tre kodeord for det her: Arcs, Loops og Tid
En Arc er en lige linie mellem start og slut. Ligesom i en god bog kan det være spændende at nå frem til slutningen, men der er ikke nogen grund til at læse bogen en gang til, når den først er læst. Slutningen ophæver nyhederne.
En Loop skaber nyheder undervejs. Man kommer konstant ud på små afveje - "Hvad var det, jeg lige har hørt?" Go' musik giver mange muligheder for mange loops.
Men på et eller andet uforudsigeligt tidpunkt bliver musikkens loops forvandlet til en arc. Og når jeg lytter til en arc, så føler jeg, at jeg spilder min tid.
Van Morrisons klip fra i aftes holdt min opmærksomhed i 20 sekunder, og så blev den til en arc, for jeg har hørt den så mange gange før og holdt så meget af den. Det er en uudholdelig fornemmelse for mig.
Umiddelbart efter havde jeg den samme oplevelse med:
Jeg har nok hørt dette retrospektive sæt med Pearl Jam 3-5 gange - og jeg har været meget begejstret, for jeg syntes, jeg kunne høre deres kreativitet udvikle sig. Men i aftes var det pludseligt blevet kedeligt. Dårlig lyd og sjuskede gengivelser.
En arc der hurtigt blev til en frisbee.
Z.
It certainly feels helpful that music can adjust our mood and emotions. The question is why we’d be built with something so expensive as our mood adjustment knobs. If we needed conscious control of mood, why not just evolve a direct control? I’m also struck by how important lyrics are to music – none of the above functions explain why we prefer songs with meaningful words.
Compared to other sorts of speech, we especially like stories to be accompanied by music. And the lyrics of songs are similar to stories in many ways. This suggests that stories and music perform similar or complementary functions.
If the lower levels of our minds tend to treat story events like real events, then we can use our stories to influence our beliefs about what happens in the real world. By consuming stories socially, and preferring stories preferred by our leaders and created by impressive story tellers, we coordinate to believe what our associates believe, and what our high status leaders choose us to believe, even against the evidence of our eyes. And by letting others see the stories we consume, we can signal this choice to others.
Thus we can use stories to signal our allegiance to our leaders’ and groups’ norms. Of course if some people evolved an ability to prevent stories from influencing their expectations about real events, they’d be able to fake this conformity signal. Which might be why we feel revulsion for “inhuman” folks who are not moved by stories.
Similarly, imagine music can directly influence our emotions and moods, but that we have only limited direct conscious control over such things. In this case by associating music with people and verbal claims, we can influence our attitudes toward such things. And by sharing music with our groups, and preferring music preferred by our leaders and created by impressive artists, we can coordinate to have have the attitudes our associates do, and the ones our high status leaders prefer. By consuming music together, we can signal this choice to others. And we’d naturally feel revulsion against those who could fake this signal, because music didn’t influence their moods.
Homo hypocritus likes to think that his beliefs and attitudes are based only on his evidence; he doesn’t believe things just to please his associates or leaders. But he in fact needs to believe what his associates do, and what his leaders like, often against his evidence. And he needs to signal this fact to his associates and leaders.
By visibly exposing himself to shared stories and musics, that directly influence his beliefs, while consciously believing that stories and music do not change his beliefs about the world, homo hypocritus can accomplish all these things. Which explains why we are reluctant to seriously examine the function of music (and stories) in our lives.
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