Kyushu University Academic Staff Educational and Research Activities Database
List of Papers
Daryl Steven Jamieson Last modified date:2020.06.30

Assistant Professor / Department of Communication Design Science / Faculty of Design


Papers
1. Daryl Jamieson, Hollow Sounds: toward a Zen-derived aesthetics of contemporary music, The Journal of Aesthetics and Art Criticism, https://doi.org/10.1111/jaac.12581, 76, 3, 331-340, 2018.08, To attempt to fill a perceived gap in Japanese aesthetics concerning music, this article sketches a possible way into conceptu- alizing a Zen- or Kyoto-school-derived aesthetics of contemporary music. Drawing principally on Kyoto-School philosopher Ueda Shizuteru’s theories of language’s three levels (signal, symbolic, and hollow words), the author proposes a similar distinction between different kinds of musical experience. Analogous with Ueda’s analysis of poetry, the oscillation of signal or symbolic sound and hollow ones is found to be what gives certain contemporary music its spiritual power. By applying this poetic–religious theory of language to music, an entirely new way of understanding contemporary music becomes apparent. As test case of this new approach, Morton Feldman’s 1970 work The Viola in My Life (2) is analyzed. The final section addresses the differences between this method of understanding via nothingness and traditional Idealist approaches via the Absolute..
2. Daryl Jamieson, Uncanny Movement through Virtual Spaces: Michael Pisaro’s fields have ears, MUSICultures, https://journals.lib.unb.ca/index.php/MC/article/view/28943, 45, 1-2, 238-254, 2018.12, [URL], Michael Pisaro’s fields have ears is a series of ten pieces that embody an ecological approach to composition. The guiding idea behind the series is that the location of a sound is as (or more) important than its timing, and that how a listener understands a sound is affected by both the listener’s and the sound’s position in space. This paper uses the series as an exemplary example of James Gibson’s ecological thought in composition through its foregrounding of motion and space, and its creation of uncanny virtual worlds combining musical sounds, noise, and field recordings. It also explores the idea that Gibsonian perception has significant affinities with Kyoto School aesthetics, and analyzes Pisaro’s music utilizing methodologies from both disciplines..