Damien Broderick wrote:
...the singer not the song...
Emlyn wrote:
Any good singer listens to the song,
pays attention to the environment
(audience? other musicians?),
and modifies the song appropriately.
But does the song listen to the singer,
and also make modifications?
William Butler Yeats, (in "Among School
Children," 19287 wrote:
(VIII)
Labour is blossoming or dancing where
The body is not bruised to pleasure soul,
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?
So, how can we know the dancer from the dance?
Israil M. Gelfand (now at Rutgers University)
studying commutative C*-algebras found (1943)
an amazing representation theorem:
every commutative C*-algebra is *-isomorphic
to an algebra of continuous functions
vanishing at infinity on some topological
space with the sup-norm.
Dancers are points, dances are functions.
Points presuppose functions.
Dancers presuppose the existence of dances,
the existence of all possible dances.
There is, of course, a correlation between
dancers and dances, singers and songs.
In which consciousness "resides".
-scerir
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