1.
The most mysterious of the paradoxes, the original coincidence of self and other, the lack of distinction of internal and external, seems to characterize the source of life for every individual, in this strange world-before-the-world is the womb breast. The heartbeat the mother is, perhaps, the first perception of absolute, it is the rhythm, vibration, by which the fetus melts and blends. But in each womb "experience" is pervasive. There is no distinction between fetus and womb, between one and many, including himself and another, between existence and nonexistence. This is a very limited world, from our point of view, but that is enough in itself. It 'the only "memory" of a primitive being to which the child may cling after the traumatic event of birth.
Among the studies that relate to the original report, and so decisive, that is established between the infant and mother (1), we are interested in some particular observations of the Chilean psychoanalyst Ignacio Matte Blanco.
His belief is that the study has opened the door to the unconscious knowledge of a way of being deeply rooted in man, yet difficult to express in words. One way to "think feel to be" themselves and the cosmos as indivisible. This ability to bring all-in-all with us, in fact, from birth, and is opposed to another (and more usual) way of looking at the world the way "heterogenic-divisible," the more "natural", through which we know (in the sense of empirical science) everything apart from the other, classifying it as clear and understandable to us and others, which indicates a precise sense and localizable.
In his research, Matte Blanco has brought the way of being divided in heterogenic-conscious thought, the logic routine based on the principle of non-contradiction, and the mode of being indivisible, the logic of the unconscious, based upon the princes of simmetriaÂS, according to which, for example, "the part is identical to all" and "everything can be included on every side." The logic is not symmetric
"error" of the mind, and also is far from being exploited by a potential little thought. According to Matte Blanco, the two types of logic (ordinary and symmetric) always contribute, although to varying degrees, in the experiences that make the world in one perspective, Therefore, bi-logic. The places to
symmetrical logic (which is, it takes precedence over the ordinary one) are the dreams, hysteria, neurosis, insanity, creation and artistic enjoyment. It is those areas where the non-sense can only rule seems to rise, indeed, are those areas in which psychoanalysis has been able to trace the rules, principles, and thus recover their lost sense.
Among the topics discussed by Matte Blanco, we are interested for the moment to focus on two specific phenomena of the mind, which lie at the edge of conscious thought, on the threshold that divides the conscious from the unconscious:
a) the emergence of consciousness in the infant;
b) the perception of self (ie, the consciousness of being conscious).
a) In the experience of birth is the discovery of self and other, but in an ambiguous way, through a chain of confused exchanges between self and non-self. The coming into being, as the transition from intrauterine to a new situation in which it is naked and helpless, no longer protected, is the first real experience of novelty and therefore the perception of diversity by the newborn. The self is seen as another (the interior is treated as outside) because the actual in-the-belly is just a memory, is something different from what is now. So is the discovery of "Â'nella comparison between the current feeling of grief and its former condition" that now, in retrospect, appears as a state of bliss. (2)
This reflection suggests that the intrauterine world, ie the lost paradise, is the other (which we were) no longer recoverable. All that can in any way to allude to this lost world, we might be seen as the last attempt to return to that condition, and thus to recover the drive with another.
The baby, however, currently unable to appease his sense of pain between the mother's arms, in the act of sucking. During this activity (which is basically the necessary food supply) and seems also to recompose the unity that characterized the indistinguishability intrauterine life. The location, the respiratory activity, the adjustment of the rate of breastfeeding in the mother's heartbeat, alluding to the attempt to restore lost unity. And once again the detachment from the breast-mother gives rise to a feeling of frustration caused by the loss. Once again it is lived experience itself is ironic that something that is detached from himself. The harmonious union of the infant with the breast is broken and the child learns to conceive it as a separate who considered together (self and otherwise): the dawn of conscious thought (as stated Matte Blanco), who knows for division and confrontation. Nevertheless, this act of translation of the original symmetrical (there is only one I-Everything ") in terms of asymmetry (" there is not many and I-I ") arises from a primordial condition of serenity, and will be preserved in us as the truth of some deeper levels (more unconscious) psyche: "the unity of all beings, beyond the individuality of each of them" (3).
b) In the mind of self-perception has to chase itself, move in a paradoxical experience: "thinking of thinking" or, in other words, "be conscious of the fact that they have conscience." Matte Blanco reflects on the question: "When we become fully aware of our being conscious, our consciousness of being conscious becomes blurred. We can become conscious of being conscious only in a tangential way, passing, fleeting, we can not stop and remain to contemplate full extent of our understanding, at least we can not do under normal conditions "(4). The mind finds itself in a deadlock when the object of thought is really thinking. This situation is compared to the situation that is created when a mirror is a mirror to reflect identical to itself. In modern terms we get the same result with a framing camera screen which should contain the image of what "looks" LDZ? Eye-camera: the screen represents himself as the mirror as himself. But it is, to be precise, of an infinite self-representation, because the self-image is contained and repeated countless times, becoming smaller and more subtle. You can not properly define such a representation: it goes beyond a description that does not use the limit concept of infinity.
may be that in fact also happens to consciousness something similar, that is, when represents the act of being conscious (ie itself) are sanctioned by a dizzying experience infinitely self. But think about the infinite is impossible, and that consciousness can not be-conscious-to-be-conscious in a "ring road passing fleeting." Speaking of the relations established between infinite, unconscious and conscious thought, as Matte Blanco points out at more than one case, the logical thinking (heterogenic-dividing) when trying to think what is One, what the unconscious lives as indivisible can not help but share, it ends to divide what can not be infinitely divided.
The One and the infinite would be (in this view) the two ways of thinking about Being, respectively, by the unconscious and conscious thought. Elsewhere
Matte Blanco uses different words to explain the same phenomenon: "We can not think of something and at the same time think that we are thinking that something. In spatial terms, we can perhaps say that we have sufficient size to experience both simultaneously. " Even when we do introspection on our emotions, "we must interrupt our conscious experience of emotion to become aware that we are trying." Again, therefore, "our thoughts can be more aware than one thing at a time. "It follows, therefore, that the unconscious works and thinks in a space with a number of dimensions greater than that of conscious thought. (5)
Conscious thought is not able (by nature, being governed by the principle of non-contradiction) to think the same as two different things. When you try to treat him as something else can not stop. Only the unconscious thought (on the principle of symmetry) can experience the differences in an identity, to bring the multiplicity to unity: what often happens in dreams and aesthetic enjoyment (as examples of non-pathological cases.) Rational thinking tends to locate with some precision the meaning of a sign (action, word, image, etc ...) by marking the limits not to be confused with others. The symmetrical unconscious thought (the thought of emotion) amplifies the semantic value of a sign, to the point that in some deeper levels can also mean something the opposite, in fact there is coincidence and lack of distinction between opposite signs. As in the original state of the baby, everything is themselves and the entire world. In the very depths of all levels can mean everything, anything can stand in place of "anything, but will not involve any sense of confusion, if anything, this disorder is perceived a conscious level, when we think (asymmetrically, ie consciously) that it is unthinkable if not "emotionally" unconsciously.
2.
The poem, in an exemplary fashion in this game can override the limits of the usual meanings, without confusing, but, rather, into a world where the only possible way to communicate is typically unconscious, that is simmetrizzante. The power of words to go beyond the words themselves refers to the ability of conscious thought to overcome himself and look out over the realm of the unconscious.
also logical paradoxes are slits of thinking non-adversarial; conscious thought putting himself in check. One of the oldest and most amusing is the statement of Epimenides, that reformulated, which looks like this: "all men lie."
This simple sentence is a funny paradox, because as soon as we assume that the same is true then it must necessarily be false (because it is saying something true); equally, if we think it is false (it is a lie that "all men lie ' ) instantly becomes true (just because he's lying). The sense of paradox is to destabilize the normal perception of the elements against each other as irreconcilable. Each window is a funny paradox of thought aware that opens onto the realm of the unconscious, where it is possible a different logic, contradictory, homogenizing. That is, the paradox is no longer perceived as such, because the semantic horizons are widened to the point that something can be even the opposite! In the paradox that truth back to the surface of some deeper levels of the psyche: "the unity of all beings, beyond the individuality of each of them."
In mathematics, the De Morgan's paradox represents a relatively coherent reasoning lead to the conclusion that something illogical: that the number 1 corresponds to any other number. Each paradox, even in its linear and logical process, is capable nell'insensato to fall suddenly. Represents the stumbling of logical thought, and this has a strongly humorous connotation.
In many paradoxes is easy to find the "jump" improper that they do and that allows him to surprise so ably common sense, nevertheless, we are interested in the fact that manage to allude to the ineffable, to represent the unthinkable, throwing look beyond the limits of conscious experience, and being able to vibrate the strings of our emotional world, unconscious, symmetrical. In
lithographs and woodcuts of MC Escher, we are faced with the incredible feeling that the figures are perfectly impossible exist. It 'an obvious truism that the device used by Escher's illusion that the two-dimensional graphics, expertly articulated, may cause our perception. But this game has very significant consequences for our emotional thinking.
Sometimes the world represented by the artist turns out to be the condensation of different perspectives and radically clashing among themselves, but on closer examination are the different views of one world simultaneously observable. Opera gallery prints (1956) observe that the whole gallery of paintings is housed in a picture of the gallery itself: internal and external finish to match (just like in some limit-experiences of consciousness!). Again, we can perceive the inner being-being-as something contemporary exterior, the two opposing perspectives find a way to be present together.
In dreams there is a strange experience for which a multiplicity of different elements is contained in one. And 'the work of the condensation process. So it may happen that the characteristic of a person reminds us of that of another person, and again we returned to another characteristic of another person, and this constant metamorphosis is not surprising (at deep levels of the psyche ) and naturally perceive the condensation of a variety of items. Sometimes these multiple elements are intertwined, follow each other back even starting to feature in an impossible circolodi metamorphosis. But basically, this is the circle between identity and diversity that we find paradoxes in logical-mathematical and artistic performance, such as graphics of Escher.
In these experiments the "strange circle" that is triggered between the concepts of self and other (including internal and external) is capable of generating the ambiguous feeling that when we seem to catch one, it escapes and we find ourselves in front of the other. And the leak continues, in an interweaving of opposites intangible (or coincidental?). This last sentence sounds like the definition a cursory of musical art (that of the Escape, in fact) that is based specifically sull'intreccio of "identities". This oxymoron (which etymologically means "acute stupidity") far from fanciful interpretation of the musical, fully describes the essence of music and perhaps some of the music in general. The Canons and Fugues (to quote the most popular forms) play, so varied and amazing with a simple principle: a musical theme is capable of combining with itself or with a reflection of himself (when the subject is translated to melodic to another grade level, or is upside down or flipped, etc. ...). The unity of music and its beauty, the results in such cases, a clever interlocking between an identity and something different but can be attributed to that identity.
tender music of Johann Sebastian Bach are a canon for three voices ("Canon Tonos") that starting from the key of C minor, through a perfect modulation, arrives in D minor, without the listener noticing. Continue through the next tonal regions and therefore more and more away from the initial one, to restore "suddenly" the original key of C minor (exactly an octave higher than at the beginning). (6) The peculiarity of this song is that to create a "Screw tone," in which are no longer at a level only harmoniously interwoven themes identical / different, but it creates a chain of rings in melody that will astonish the listener, because through the subtle movements across all tonal regions before returning to the initial . One has the feeling of constant change without changing anything. Again, therefore, we face the possibility that identity and diversity are the same, creating a magical circularity, just as in the first report with the other-mother, or as in not aware of being conscious, in the condensation of several elements in one only in dreams, in logical paradoxes, and in the Metamorphoses (1939-40 and 1967-68) of Escher.
3.
that music is the bearer of a mysterious modes of being (both "expressive and inexpressive, serious and frivolous, superficial and deep) is convinced Vladimir Jankelevitch. (7) According to this perspective, a profound ambiguity and contradiction is an inherent the very essence of the musical event.
The musical language was the subject of the most varied and interesting studies since ancient times and from many different points of view. The core of the issue in terms of its semantic-evident, which is also clashes with the power strongly suggestive and evocative, equally, it is impossible to deny. Fubini notes that 'since the eighteenth century, states generally that the music has a special relationship with our emotional world, rather than with reason and concepts "(8), in other words, through the lens matteblanchiana,' there is a structural isomorphism between deep emotional musical language and reality '(9). But even Plato, Republic, said that Â'l'educazione music is of extreme importance to the fact that the rhythm and harmony penetrate deeper into the soul [...].
who has been educated properly in this field will know with great acuteness of what is faulty and poorly constructed [...] and impatience with the right praise the good things and accept with joy in eating them will be able to become an honest man, and blame, and rightfully detesterà bad things from an early age, even before able to rationally understand the reason, and once you're the reason the salute with affection, recognizing his great affinity with the upbringing "(10). Plato was convinced that music was extremely influential in the spirit of a person and that he owned, For this reason, a function of ethical and educational (able to talk to the spirit of the children even before the right) came, even to distinguish a music "healthy" by another "Deviant", "songs and melodies we will not need a lot of sounds and harmonies not so complicated [...] manufacturers will keep stingrays, pectidi and all of the tools and policordi panarmonici" and the flutes of Dionysus and Marsyas would prefer the lyre and the harp of Orpheus and Apollo. The music finds its completion, according to Plato, in the love of beauty, and above all, the real music is simple music, not double, or multiple (as the true man can not be double or multiple) (11). Psychoanalysis, however, has shown us that man is by nature double, multiple, and especially that this condition has nothing to do with a problem of a moral nature, but rather existential and structural.
However, what seems clear from the considerations made so far now, is that music is able to establish direct contact with our emotional world. Benedict suggests a real musical isomorphism between language and emotions (ie, between music and "kingdom" of the unconscious).
The ability to broaden the horizon of possible meanings of a word or phrase, as already mentioned, is a property typical of poetry. The painting and other forms of artistic expression are the codes which, very often, a new look each offering a new perspective that amplifies the obvious meaning. Sometimes the impression is that certain works have not yet revealed the full load of meaning that they have.
Of all the arts, music has always been unique, for the failure to refer to anything external, but to be, so to speak, surely tautological. But where they come from his unrestricted semantic power, the ability to potentially alluding to everything that exists, especially to what a rational level remains untold because ineffable (12)? Why is there an essential pleasure in being able to "say" something musically that does not actually say anything? And how did you feel as much pleasure in singing a simple melody note? How does each kind Music, printed literally in the mind of at times, even if you want, can not drive them away? Rather than
groped in vain to give a direct answer to these questions and accurate, we continue to reflect on a central question of our discussion: the ability that music has (probably to a greater extent than the other arts) to live the contradictions without discard. Quality also specifies the size of the unconscious psyche. As work in this world (according to the theories of Matte Blanco) a principle of symmetry which makes it possible to identify different elements in music must be able to find a basic and fundamental element in the same time realize that the differences the unity and distinction.
And there is indeed a very significant phenomenon at the root of the musical event, known as the phenomenon of overtones (or harmonics of the series). The sound produced by an instrument is, in most cases, a sound made up. Do emitted by the vibration of the strings of a violin is not a simple sound (pure), but is composed of a series of elementary sounds, or rather a series of frequencies. Of these, the slowest, that is, the more serious, is that important, and gives its name to the sound made up. Do the sound is made, then, by the following set of frequencies: DO1, DO2, SOL2, DO3, MI3, SOL3, SIb3, DO4, RE4, MI4, FA # 4, SOL4 ...
This means, simply, that every sound is made by a number of different sounds by itself, in other words, what makes it such a sound is a series of simple sounds, other than that, but regardless of what the sound is not would be what it is. The same, therefore, is composed of structurally different. And in every sound echoes this extraordinary truth: that the self and others contribute to a harmonious unity. The other, while simultaneously being together, not in contradiction, the contradiction is not destructive, and the profound paradox, that reveals the phenomenon of harmonics, is not that (if not a logical level-conscious). So if
the music is contradictory, it is also because the contradiction is in its deepest nature, physical acoustics.
4.
Our discussion runs the risk of taking on a dangerously complex. Because, besides the sound element, is the basis of the musical rhythm, and therefore the time. All'insostenibile not to give in depth reflection on the philosophical and musicological time, we will just follow the above-mentioned Jankelevitch illuminating reflections. Which, in the third part of the text to which we have repeatedly referred, said (not transpire without the imprint of Bergson) that "the music should be as objective, penetrates into our privacy, and we live like we live in time: through the enjoyment and participation of all our ontological being "(13). If consciousness is deprived of its light from the night of the unconscious (of the light that distinguishes clearly the contours of objects and people), then the unconscious dimension that belongs to musically define as the "night." And this is not just one of many forms of musical language. In music, the meanings are possible, evocative, as are the shadows of the night. His gait is, in fact, a walking aid at all times a bit 'dreamy and night ... which is called becoming "(14).
" Becoming does not allow the rounding item within its limits body, but rather the dimension along which the object is discarded without rest, is formed, deformed, and then turns reform: the succession of bodily states, namely the change, melts solidified the limits of our subdivisions. The change and metamorphosis correspond perfectly to this relentless regime change which is the regime of music par excellence: the theme [...] vanishes in reincarnation and transformation "(15). You cancel (because it becomes different from itself) and at the same time is omnipresent (as in diversity has always been himself).
intrinsically linked to the temporal scale of becoming (and not to an alleged timelessness static and perfect), "the music develops extreme that ineffable aroma of the memories that crowd and slowly soaked mind from being a drunk-past his past. [...] The event fleeting and irreversible, the evanescent quality, the lack of time spent and the fact that never again will be: these are the privileged objects of sweet melancholy music. [...] In fact, while entirely temporal, is also a protest against ' irreversible and, thanks to the remembrance, a victory sull'irreversibile itself, a way to relive the same in the other. "(16)
He still insists, then, on this extraordinary ability to" live " Typical of the contradictions within the musical experience: to revive the same in the other, a particular event and time, however, lead to a solvent effect against the passage of time, managing to bring back what has been, making the current past. This makes reverse what is irreversible, symmetric asymmetric is precisely what is the main characteristic of the unconscious (17). The question arises once again: where does this fraternal musical inspiration from the event and the deeper reality of the unconscious? Why the music and the unconscious reveal a deep isomorphism? It may perhaps sound implement a process similar to that of the resonance (For which vibrations with a certain frequency to vibrate away string capable of producing similar frequencies) even in the depths of the human soul, which manages to vibrate "at a distance" feelings, emotions, thoughts dormant? Because music has evidently, at least in some cases, privileged access to a region of our being so deep and remote?
Franco Fornari's reflections in The Sane music tries to explain precisely where and when our soul has been able to establish a connection so deep with the sound and rhythm, in a sense originally very primitive. If
earlier words Jankelevitch us even more convinced inevitably means that talking about music (but not only, of course) to allude to the unconscious and its specific way of being, Fornari goes further by inverting the lens (thus implementing a symmetry, that the nature of our discourse now, can only be profitable) and trying to bring the music itself psychoanalytic investigation.
The hypothesis from which the student is that the music only appears to be meaningless, that is, its meaning is not overtly obvious (nor is that of dreams and other phenomena "anomalous" of the mind). In the belief that the essence of psychoanalysis is not to submit any phenomenon to its indisputable opinion, but only to try to open new and unexpected glimmers of meaning in those events that seem to be lacking, Fornari back the general feeling of pleasure that can cause the whole load of music and performances that drags with him to that strange dimension "life before life" which is the intrauterine world.
Freud had already noted that the pleasure derived from the fun of rhyme that the child tries to play with homophony. This is a pure game-rhythmic noise, which makes no sense other than to create a mirror relationship between the sounds, that is to cause a reflection of sounds. Its purpose is to keep company the child himself who sings (18). The theory of transitional objects tells us that an object can acquire a meaning "magic" if you take the function to represent an imaginary object. An external element can then become a sign of the inner world (typical semantic expansion of the sphere of the unconscious mind). Therefore, Games-rhythmic sound engineers of the child, "he needs to recover the original unity through the restoration of an original sound and rhythm, which, while speaking in this world, speak of another world."
Based on some studies, notes Fornari, the baby would be able to recognize, once came to the world, those specific words that were uttered when he was still in womb. So, the baby shows to give meaning to the reflected sound in the sound prenatal postnatal (19). This recognition is manifested in the child with the transition from a state of agitation to one of calm and relaxation, as if, already listened to the sound heard in the prenatal situation after the disaster of the birth, giving the significance of the discovery of a well lost. For this reason, the rhyme symbolically represents the recovery of something that was and is no longer, but nonetheless returns. This recognition of the sound in the prenatal postnatal life represents, according to Fornari, an experience of sound primary mirror.
It still insists, then, on this extraordinary ability to "live" within the contradictions typical of the musical experience: to revive the same in the other, a particular event and time, however, lead to a solvent effect against the passage of time, managing to bring back what has been making the past present. This makes reverse what is irreversible, symmetric asymmetric is precisely what is the main characteristic of the unconscious (17). The question arises once again: where does this fraternal musical inspiration from the event and the deeper reality of the unconscious? Why the music and the unconscious reveal a deep isomorphism? Can he the sound implementation of a process similar to that of the resonance (for which vibrations with a certain frequency to vibrate away string capable of producing similar frequencies) even in the depths of the human soul, which manages to vibrate "at a distance" feelings, emotions , dormant thoughts? Because music has evidently, at least in some cases, privileged access to a region of our being so deep and remote?
Franco Fornari's reflections in The Sane music tries to explain precisely where and when our soul has been able to establish a connection so deep with the sound and rhythm, in a sense originally very primitive. If
recently words Jankelevitch us even more convinced that inevitably means talking about music (but not only, of course) to allude to the unconscious and its specific way of being, Fornari goes further by inverting the lens (thus implementing a symmetrization, that the nature of our discussion, now, can only be profitable) and trying to bring the music itself psychoanalytic investigation.
The hypothesis from which the student is that the music only appears to be meaningless, that is, its meaning is not overtly obvious (nor is that of dreams and other phenomena "anomalous" of the mind). In the belief that the essence of psychoanalysis is to refer all phenomena to its indisputable opinion, but only to try to open new and unexpected glimmers of meaning in those events that seem to be lacking, Fornari back the general feeling of pleasure that can cause the whole load of music and performances that drags with him to this strange dimension of "life before life" which is the intrauterine world.
Freud had already noted that the pleasure derived from the fun of rhyme that the child tries to play with homophony. This is a pure game-rhythmic noise, which makes no sense other than to create a mirror relationship between the sounds, that is to cause reflection of sound. Its purpose is to rejoin the child himself who sings (18). The theory of transitional objects tells us that an object can acquire a meaning "magic" if you take the function to represent an imaginary object. An external element can then become a sign of the inner world (typical semantic expansion of the sphere of the unconscious mind). Therefore, Games-rhythmic sound engineers of the child, "he needs to recover the original unity through the restoration of an original sound and rhythm, which, while speaking in this world, speak of another world."
Based on some studies, notes Fornari, the baby would be able to recognize, once came to the world, those specific words that were uttered when he was still in the womb. So, the baby shows to give meaning to the reflected sound in the sound prenatal postnatal (19). This recognition is manifested in the child with the transition from a state of agitation to one of calm and relaxation, as if, already listened to the sound heard in the prenatal situation after the disaster of the birth, giving the significance of the discovery of a well lost. For this reason, the rhyme symbolically represents the recovery of something that was and is no longer, but nonetheless returns. This recognition of the sound in the prenatal postnatal life represents, according to Fornari, an acoustic mirror of primary.
This process of primary mirror, the original symmetry is essential for the child, who knows the outside world only insofar as it found in reflections or images of something that has already experienced in the situation in utero. The other is known only because it brought back, initially, the identical. In this respect the primary experiences of sound and rhythm are key.
After the birth (as we have mentioned before, about the theories of Matte Blanco) the baby tries to recompose the unity lost ideal that universe, re-establishing a relationship with her mother to look like the most can than intrauterine. In fact, shape the rhythm of feeding on the rate of maternal heart rate, and during suckling has an activity of REM, as if dreaming. The feeding is a deeply complex and multi-dimensional, revealing first the possibility to recreate the extraordinary condition in which internal and external coincided, in which the same and different form one indivisible being. The feeding is so like the dream of something that the child has already experienced!
feeding occurs in "a kind of tautology important prerequisite in the bathroom of sounds and rhythms (postnatal) is the bath of sounds and rhythms (prenatal). As in the tautology is a kind of mirroring the subject in the predicate, we find the relationship of acoustic mirror, which we have linked the deep sense of meaninglessness that is repetitive in the game of homophones and rhymes, which serves to keep the child company ", ie to recover Paradise Lost (20). The frequent frustrations with the dismissal of the breast used to, however, the child to adapt to the prospect that paradise may no longer coincide with his current life.
This is paradise, however, recoverable (at least in hallucinatory form) in some experiments inevitably linked to the affects and emotions. In an extreme way, for example, through its usual is called the experience of trance. The possibility to model their heart rate (and that of body movements) on the basis of a "beating heart" amplified (in the case of the infant is the maternal heart) comes up again, in fact, produced in trance music. In many cases the sound of drums from external element is perceived as internal, and is able to "break" the ordinary consciousness, crossing the threshold of the unconscious, and creating a hallucinatory perception of reality (as if you were dreaming) again, therefore, the external reality is confused and identified with the inner one, in an experience that combines new music and unconscious (21).
In conclusion, the music is able to represent another world, forever lost, but without which it seems we can not live, something that was (perception of a perfect unity) and then it was no longer (beginning of life regulated by the principium individuationis), and yet he left behind him a keen sense of absence and longing, which led him to rediscover the "lost object" as the only one that really counts. In this perspective, Fornari said, music has the same origin which Plato gave Eros.
(1) The reference is bound to the text of DN Stern, The mother-child interactions, Corona, Milan, 1998.
(2) I. Matte Blanco (1975), Creativity and Orthodoxy in dz? Journal of Psychoanalysis', n ° XXI - January-December, p. 266.
(3) Ibid.
(4) I. Matte Blanco (1975), The unconscious as infinite sets. Essay on the bi-logic, Einaudi, Torino, 2000, p. 256.
(5) I. Matte Blanco (1988), Thinking, feeling, being, Einaudi, Torino, 1995, p. 104, 105.
(6) Hofstadter talks about "Canon Eternally Ascending" by inferring from Bach allusion to its appearance potentially infinite. See D. Hofstadter (1979), Gödel, Escher, Bach: undz? Eternal Golden Braid, Adelphi, Milano, 2001, p.11.
(7) V. Jankelevitch (1961), Music and the ineffable, Bompiani, Milan, 1998, p. 1.
(8) E. Fubini, Music and suffering, the report proposed Workshop on "Music and affection", organized by the Permanent Seminar of Philosophy of Music in collaboration with the Department of Philosophy, University of Milan, March 13, 2002. The report concludes with a reflection that is similar to the concept expressed by Di Benedetto, about the music and its isomorphism with the world of suffering: "A sort of language that is prior to language, language that is before the power of the word denoting but which is full of references and resonances, perhaps even in favor of a certain isomorphism with the sounds of the language of feelings and emotions. " On the question of the relationship between music and feelings also refer to the text of Franco Fornari (which is often used as a reference to the location of this article) The Sane music, Longanesi, Milan, 1984, pp. 25-27.
(9) A. Di Benedetto, Before the speech, Franco Angeli, Milano, 2000, p. 90.
(10) Plato, Republic, the third book, vv. 399c, 399 D, 399th, 401d, four hundred and first, the 402nd.
(11) Ibid, v. 397th.
(12) "LDZ? [...] Ineffable is ineffable because on it is infinitely, interminably to say: this is the unfathomable mystery of God, and the inexhaustible mystery of love, the mystery of poetic excellence. Jankelevitch V., op. cit., P.62.
(13) V. Jankelevitch, op. cit., p.82.
(14) Ibid, p. 80.
(15) Ibid.
(16) Ibid, p. 83, italics added.
(17) . Matte Blanco (1975), The unconscious as infinite sets, cit., pp. 42-44.
(18) F. Fornari, Sane music, Longanesi, Milan, 1984, p. 9-10.
(19 ) Of course, the baby recognizes what is the sound, the timbre of the words. The "meaning" to be attributed to the words he is in fact independent of the meaning usually they have for an adult. Simply means that their sound magical world that is the womb and refers to the feeling of being connected to it (See F. Fornari, op. Cit., P. 14).
(20) Ibid, p.
21 (21) Ibid, p. 30. The phenomenon of trance music produced important insights that merit can not be treated here. It refers, however, the main text: G. Rouget, Music and trance, Einaudi, Torino, 1986, in addition to the specific section contained in F. Fornari, op. cit., pp. 28-33, and the important work of M. Schneider, The Meaning of music, Rusconi, Milano, 1970. Http://statidellamente.blogspot.com
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