{"id":1017,"date":"2009-01-15T14:55:00","date_gmt":"2009-01-15T19:55:00","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/2009\/01\/15\/music-as-coffee-and-as-philosophy\/"},"modified":"2009-01-15T14:55:00","modified_gmt":"2009-01-15T19:55:00","slug":"music-as-coffee-and-as-philosophy","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2009\/01\/15\/music-as-coffee-and-as-philosophy\/","title":{"rendered":"music as coffee and as philosophy"},"content":{"rendered":"

I just came across this interesting tribute Brian Eno had written to trumpeter and experimental composer Jon Hassell<\/a>, which gets at a few very deleuzian and immanentist notions: about music as “embodied philosophy”, and Hassell’s idea of a “coffee coloured music of the future” that reflects “a globalised world constantly integrating and hybridising, where differences [are] celebrated and dignified.” Hassell came up with the coffee\/music metaphor well before the era of world music, Starbucks, and Putumayo, before Eno and David Byrne’s “My Life in the Bush of Ghosts” (which arguably launched the era of world music, if not Starbucks), and it certainly doesn’t work as well today as it might have then. If anything, coffee represents the homogenization of differences into a universal currency of caffeine-fueled global service-industrialism. (See Anahid Kassabian’s “Would you like some world music with your latte? Starbucks, Putumayo, and distributed tourism<\/a>” for an interesting take on this.) But Hassell<\/a>‘s music, to my mind, succeeded in integrating its source influences at a level that few hybrid musical forms had before then. “Earthquake Island,” “Aka-Darbari-Java,” and his two “Fourth World” collaborations with Eno were particularly good. At least on the level of content, Hassell’s musical caffeine might be considered “fair trade.” On the level of production, on the other hand, they still constitute something along the lines of cultural appropriation.<\/p>\n

But, then, we live in an era of cultural appropriation run wild (or gone tame and mainstream)… Timothy Taylor’s “Global Pop<\/a>,” “Strange Sounds,<\/a>” and “Beyond Exoticism<\/a>” do a good job chronicling some of this current within western musical culture.<\/p>\n","protected":false},"excerpt":{"rendered":"

I just came across this interesting tribute Brian Eno had written to trumpeter and experimental composer Jon Hassell, which gets at a few very deleuzian and immanentist notions: about music as “embodied philosophy”, and Hassell’s idea of a “coffee coloured music of the future” that reflects “a globalised world constantly integrating and hybridising, where differences […]<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[692399],"tags":[501],"class_list":["post-1017","post","type-post","status-publish","format-standard","hentry","category-music-soundscape","tag-music"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4IC4a-gp","jetpack-related-posts":[{"id":3859,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2017\/05\/08\/greatest-albums-of-the-lp-era\/","url_meta":{"origin":1017,"position":0},"title":"Greatest albums of the LP era","author":"Adrian J Ivakhiv","date":"May 8, 2017","format":false,"excerpt":"The recent social media meme\u00a0listing 10 concerts people have attended accompanied by one they didn't (\"find the lie!\") has incited\u00a0me to complete a list that started out as a \"50th anniversary of the concept album\" brainstorm over drinks one night last year. The question here is a little different: What\u2026","rel":"","context":"In "Music & soundscape"","block_context":{"text":"Music & soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/50fB5L1vmn8\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":11300,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2020\/12\/10\/buddscape\/","url_meta":{"origin":1017,"position":1},"title":"Buddscape","author":"Adrian J Ivakhiv","date":"December 10, 2020","format":false,"excerpt":"Harold Budd's passing yesterday (from coronavirus complications) has inspired me to create a multichannel chamber of his music, which you can enter into and wander around in by clicking on the tabs below. Try them all at once, or mix channels at your leisure. His music, perhaps more than anyone's,\u2026","rel":"","context":"In "Music & soundscape"","block_context":{"text":"Music & soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/1_ieShoi4Ow\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":13535,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2024\/03\/19\/musical-process-and-reality\/","url_meta":{"origin":1017,"position":2},"title":"Musical process and reality","author":"Adrian J Ivakhiv","date":"March 19, 2024","format":false,"excerpt":"A lot has been written about music and the philosophy of Gilles Deleuze: for instance, on Deleuze and music theory, on music after Deleuze, and on Deleuze's \"Thought-Music,\" and there've been some valiant efforts to put Deleuze to music, like this one, this one, and this one, and several related\u2026","rel":"","context":"In "Music & soundscape"","block_context":{"text":"Music & soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/c3xK35N0XKg\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":11737,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2021\/04\/15\/the-real-on-rothko-music-the-global-trends-2040-report\/","url_meta":{"origin":1017,"position":3},"title":"The [Real]: on Rothko, music, & the Global Trends 2040 report","author":"Adrian J Ivakhiv","date":"April 15, 2021","format":false,"excerpt":"Fans of Mark Rothko's color field paintings frequently comment on the spaciousness, immersiveness, and liminality of those works: the way you can stand in front of them and feel as if you are being bathed in some transcendent force that is irreducible to anything else. Great art is (supposed to\u2026","rel":"","context":"In "Anthropocene"","block_context":{"text":"Anthropocene","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/anthropo_scene\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2021\/04\/12ROTHKO-articleLarge-550x644-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2021\/04\/12ROTHKO-articleLarge-550x644-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2021\/04\/12ROTHKO-articleLarge-550x644-1.jpeg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":10206,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2019\/12\/28\/musical-occasions\/","url_meta":{"origin":1017,"position":4},"title":"Musical occasions","author":"Adrian J Ivakhiv","date":"December 28, 2019","format":false,"excerpt":"Music is an occasional topic on this blog (as shown in the Soundscape category). 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