I understand that I was using the word “song” colloquially for a piece of music. I was not attempting to initiate a debate on the dictionary definition of a song or its characteristics in relation to other types of music.
The vocabulary you use conveys information about your background, experience, perspective, and conceptual framework—in short, your epistemic state. Someone who un-self-consciously uses the word “song” in the way that you have is unlikely to be familiar enough with music to have good intuitions about its ultimate philosophical nature. My suggestion to you, therefore, is that before attempting to philosophize about the size of musical space and the proportion of it that is occupied by the mass-cultural products that seem to constitute the entirety of your experience, you acquaint yourself further with the higher realms of human possibility in this domain, if not others as well.
I don’t mean this as a slapdown—I genuinely think your beliefs would change if you had more knowledge.
This all being said, the question of the ultimate information-theoretic limits of interestingness in the universe is (plausibly) an important one, and (this being Less Wrong) I recommend the Fun Theory Sequence as a starting point.
I understand your point. My experience is in the genre of rock music (which is songs) and not in classical music, so my explorations into the metaphysical nature of music is based on extensive experience with songs (and not in other pieces of music). However, I believe at the metaphysical level that this idea applies to, there is not a substantial difference in examining the nature of songs and other pieces of music. That may make the perspective I’m coming from clearer to you, or we may have to agree to disagree.
I have not read the Fun Theory Sequence article, but you’re right that is connected to this topic. I appreciate the link. Thanks for your comments!
Aieee! (The tradition of rock music is what you meant.)
However, I believe at the metaphysical level that this idea applies to, there is not a substantial difference in examining the nature of songs and other pieces of music.
Whether or not there is a substantial difference in the metaphysical nature of songs versus other kinds of musical works, there is certainly a substantial difference in the conclusions about musical possibility that one can draw if one’s appreciative apparatus is exclusively (or near-exclusively) derived from mass culture, versus the case where one has a more refined artistic sensibility and greater powers of appreciation.
I understand what you are saying, but I am still curious if you agree that there is a limit of distinctness in music? It seems difficult to argue that there is unlimited distinctness in music, and I don’t think you are, but that you are instead arguing that it requires a certain level of the artistic sensibility to gauge the limits of musical possibility.
If so, who do you think / what type of person would have the requisite artistic sensibility to make such a judgment with some accuracy (but still imperfect)?
If you have the requisite artistic sensibility (I’m not saying you asserted that but I’m curious if you do think that), what is your position on where our current collective body of musical works is in relationship to an objective limit in the distinctiveness of new music?
If you do not think you have the requisite artistic sensibility, are you saying that from your perspective and my perspective that we can make no predictions on whether humanity reaches a certain limit of distinctiveness in music this decade vs in 10,000 years? What I mean is, is your position that there is no way for someone without the necessary artistic sensibility to estimate any limit in the distinctness of music?
The vocabulary you use conveys information about your background, experience, perspective, and conceptual framework—in short, your epistemic state. Someone who un-self-consciously uses the word “song” in the way that you have is unlikely to be familiar enough with music to have good intuitions about its ultimate philosophical nature. My suggestion to you, therefore, is that before attempting to philosophize about the size of musical space and the proportion of it that is occupied by the mass-cultural products that seem to constitute the entirety of your experience, you acquaint yourself further with the higher realms of human possibility in this domain, if not others as well.
I don’t mean this as a slapdown—I genuinely think your beliefs would change if you had more knowledge.
This all being said, the question of the ultimate information-theoretic limits of interestingness in the universe is (plausibly) an important one, and (this being Less Wrong) I recommend the Fun Theory Sequence as a starting point.
I understand your point. My experience is in the genre of rock music (which is songs) and not in classical music, so my explorations into the metaphysical nature of music is based on extensive experience with songs (and not in other pieces of music). However, I believe at the metaphysical level that this idea applies to, there is not a substantial difference in examining the nature of songs and other pieces of music. That may make the perspective I’m coming from clearer to you, or we may have to agree to disagree.
I have not read the Fun Theory Sequence article, but you’re right that is connected to this topic. I appreciate the link. Thanks for your comments!
Aieee! (The tradition of rock music is what you meant.)
Whether or not there is a substantial difference in the metaphysical nature of songs versus other kinds of musical works, there is certainly a substantial difference in the conclusions about musical possibility that one can draw if one’s appreciative apparatus is exclusively (or near-exclusively) derived from mass culture, versus the case where one has a more refined artistic sensibility and greater powers of appreciation.
I understand what you are saying, but I am still curious if you agree that there is a limit of distinctness in music? It seems difficult to argue that there is unlimited distinctness in music, and I don’t think you are, but that you are instead arguing that it requires a certain level of the artistic sensibility to gauge the limits of musical possibility.
If so, who do you think / what type of person would have the requisite artistic sensibility to make such a judgment with some accuracy (but still imperfect)?
If you have the requisite artistic sensibility (I’m not saying you asserted that but I’m curious if you do think that), what is your position on where our current collective body of musical works is in relationship to an objective limit in the distinctiveness of new music?
If you do not think you have the requisite artistic sensibility, are you saying that from your perspective and my perspective that we can make no predictions on whether humanity reaches a certain limit of distinctiveness in music this decade vs in 10,000 years? What I mean is, is your position that there is no way for someone without the necessary artistic sensibility to estimate any limit in the distinctness of music?
Thanks