Sound Philosophy

This episode proposes an expansion of Adam Krims's notion of a Hip Hop Sublime (as discussed in episode 46) beyond its application to gangsta rap and involving something other than terror. This is what I term the "numbing or immersive sublime" and it describes that feeling of oneness with infinity (rather than fear of infinity) and is linked positively to Freud's concept of sublimation. The second segment applies the "numbing sublime" to the work of DJ Screw and the third segment considers Cloud Rap and, in particular, the Clams Casino production "I'm God." The episode art is a picture of Clams Casino by Sir Daniel Forte. https://upload.wikimedia.org/wikipedia/commons/4/4b/Clams_Casino.jpg

This episode explores Gangsta Rap and the set of production techniques that musicologist Adam Krims described as the "Hip Hop Sublime." The first segment discusses the rise to prominence of gangsta rap and its social, political, and aesthetic place in the 1990s. The second segment examines the notion of the sublime as illustrated in the writings of Edmund Burke, Immanuel Kant, and Jean-François Lyotard. The third segment examines the notion of the "Hip Hop Sublime" and the manner in which gangsta rap plays on the tension between the mediated and the immediate. The photograph used for the episode art is by Premeditated: Premeditated, CC BY-SA 4.0 , via Wikimedia Commons

This episode looks at Willie Nelson's concept album of 1975, Red Headed Stranger. The first segment explores the interest in murder as a topic within country music--particularly examining the tradition of the murder ballad. The second segment examines the 1870 court case of McFarland vs. Richardson, concerning McFarland's murder of his ex-wife's new fiancee. This segment addresses the "unwritten law" that exonerated husbands killing their wives' seducers, the temporary insanity plea, and the changing position of the woman with respect to independence at the end of the 19th century. The third segment turns to Willie Nelson's Red Headed Stranger as the quintessential country concept album, his role as creator on an album that mostly consists of covers, and the way in which murder is depicted and justified within it.

This episode examines the Outlaw Country genre of the 1970s with respect to freedom: both in the sense of the artistic freedom that figures like Kris Kristofferson, Willie Nelson, and Waylon Jennings sought within the Nashville system and in the sense of freedom as a topic within the songs themselves. The second segment comes to grips with Kant's ideas about freedom and all the potential ambiguities it presents. Then I turn to the issue of US rugged individualism and its impact on Outlaw Country.

This is the third in a series where I'm joined by Eric Taxier to discuss Kant's First Critique, the Critique of Pure Reason. In this episode we discuss the Introduction to the Critique. The first segment discusses Kant's conception of the collaboration between the object and our faculties for comprehending that object as well as the distinction between the a priori and the a posteriori. The second segment turn to the Kantian distinction between the analytic and the synthetic and examines the notion of the analytic as involving containment. The third segment zeroes in on the synthetic and the manner in which we are a necessary component of the act of synthesis. We also examine the troubling (for many) notion that math exemplifies the synthetic rather than the analytic. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app [https://anchor.fm/app]