Phantom Limbs: On Musical Bodies
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The prostheses Peter Szendy exploresâthose peculiar artifacts known as musical instrumentsâare not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.
The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendyâs hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective âsocialâ body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.
Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of musicâs conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk.
The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendyâs hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective âsocialâ body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.
Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of musicâs conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk.
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Peter Szendy is David Herlihy Professor of Humanities and Comparative Literature at Brown University and musicological advisor for the concert programs at the Paris Philharmonie. His books include Of Stigmatology: Punctuation as Experience; All Ears: The Aesthetics of Espionage; Apocalypse-Cinema: 2012 and Other Ends of the World; Kant in the Land of Extraterrestrials; Hits: Philosophy in the Jukebox; and Listen: A History of Our Ears..
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