Note: as of January 2013, the present page will list published material only (though previously written work will still be shown here).
Ludic Dreaming: How To Listen Away From Contemporary Technoculture (Jan. 2017)
Co-authored with Marc Couroux, Ted Hiebert, and Eldritch Priest (Bloomsbury).
In a decidedly playful way, Ludic Dreaming exaggerates philosophy's and the arts' shared fondness for fabulation and the role it performs in forging images of "truth" from what has no need to be true—a fondness for purely expressive correspondences or what Deleuze (after Nietzsche) called "the powers of the false." Here, style and invention do not obscure truth or multiply errors but rather incant forms of thought that affirm the part nonsense plays in our attempts to make sense of things. Such an approach is "post-critical" precisely to the extent that waking life is characterized by the kind of radical proximity of things that gives dreaming life its discomfiting immediacy. A post-critical thinking, therefore, substitutes vital involvement for analytical duty. As such, we affirm dreaming as a technique (for thinking how) to engage with a world where the goings-on of dreams are no longer wholly the prerogative of sleep. Ludic Dreaming proceeds, then, to performatively instruct how dreaming's peculiar thoughtfulness can bear on a world whose events are as over- and underdetermined as any happening we might concoct in repose. Contemporary life, whether taken in its slumbering or stirring profile, can from this point be approached as a dream because its flows of images, sounds, feelings, ambiences, ideas, promises, and meanings are as proximate and promiscuous as any fantasy. Dreams have never been accountable to the immediacy of the reality that they are. Now it's life's turn.
Phono-Fictions and Other Felt Thoughts (ed.) (2016)
Volume 2 of the Catalyst Book series.
Eldritch Priest's work does not often figure sounds as waves, but instead favours earworms and egregors...abstractions that are themselves equally figured through sound. This field is one of phono-fictions, and the contributions to this volume variously figure out (and in) Priest's work by leveraging, interrogating, and promulgating the waves of boredom, bullshit, imagination, and analysis that drive it. These contributions are thus (sometimes true) fictions of a special type: they redound in (non)sonic bodies that are never isomorphic with themselves, instead moving parasitically in modulatory resonances that aggregate and dissemble according to logics that exceed sensibility.
An( )Alibic Aural Tetrad: A Fourfold Structure of Ecologicity (2016)
Chapter in Plastic Blue Marble. Volume 1 of the Catalyst Book series, edited by Ted Heibert.
"An( )Alibic Aural Tetrad: A Fourfold Structure of Ecologicity" examines the idea of relationality from a slightly more technical (if no less poetic) perspective, exploring the complex nuances of mobile technology and embodied experiences of vertigo, with particular attention to the ways that experiential living, and especially sound, accentuate the generative potential of relationships. Atuning his thought to Boetzkes's theorization of "ecologicity" as a form of self-aware environmental consciousness, Cecchetto holds together three meditations--on listening, on gathering, and on distributed agency--such as to attune to the registers of embodiment and disappearance: the non-saying of saying, sums that are more and less than their parts, and the idea of second-order misdirection taken to the level of autonomic reaction. In this way Cecchetto recasts the act of listening for its resonance with the spirit of ecologicity such as to position listening as an act of questioning rather than simply a process of perception. In many ways, listening seen through Cechetto's constitution, becomes less about hearing in an informatic sense and more about productive disorientation, and the feelings that rise to the surface as autonomic directives at the moment when embodied vertigo sets in.
One night, I dreamt my head was 1,000 feet wide. The expansion was executed between the outside edge of each of my eyes and the inside edge of each corresponding ear; the distance between my eyes remained the same, but that between my ears increased greatly.In the dream, I’m sitting dead center in the Alix Goolden Hall in Toronto listening to a pianist (I can’t say who it is) play Bach’s Goldberg variations, specifically the Aria. The playing is beautiful, perhaps the more so because there is a half second delay between the visible actions of the pianist and the music I am hearing. The delay is unsettling: I feel at once as though I am acutely present and strangely distant. Present, because I’m buzzing with the new configuration of my senses, my eyes scrambling for a purchase that would let them skip the beat that insists on separating them from what I hear. Strangely present, too, because there are weird congruencies of timing when what I’m hearing does seem to line up, a temporal coincidence that isn’t really that surprising given both the world of “continuous multiscalar transition” that we live in (Hansen 2012) and specifically the performance space of the concert hall which (insofar as it acts as a space of inscription) increases the “probability of capturing instances of differential repetition” and therefore also the discovery of coincidences (Hansen 2012). And yet, there is also a certain self-dissociation...
Modernism and Music in Canada and the United States (2015)
Chapter co-authored with Jeremy Strachan in The Modernist World, edited by Stephen Ross and Allana C. Lindgren (Routledge). Click title for purchasing information (or email me for the complete text of the chapter).
Musical modernism in North America is most notable for the ways it restages musical practice as a means of engaging the question: of what does music actually consist? To pursue this question, we discuss the North American postserialisms of which the indeterminacy pioneered by John Cage is emblematic, but which also include graphic scoring, minimalism, happenings, and other practices that substitute an emphasis on process for European serialism’s engagement with the biases built into conventional notation. From there, we discuss jazz and improvisation, where we suggest that 'music' is taken to reside primarily in its practice such that compositional creativity is inseparable from the ability to perform. Finally, we consider technical innovations in the study of sound as a physical phenomenon, showing how electronic innovations are enabled by acoustic experiments with alternate tunings and just intonations that predate them. Taken together, these three lines of thought by no means exhaust what musical modernism in North America is, but they point towards contributions to modernism in general that are emphasized by North American practitioners.
The Sonic Effect: Aurality and Digital Networks in 'Exurbia' (2013)
Published in Evental Aesthetics, Vol. 2, No. 2. Click title to view complete text.
This essay examines the problem of medial specificity in music and sound art, giving particular attention to Seth Kim-Cohen's call for a non-cochlear sound art based on the notion of "expansion" that has been decisive in visual arts discourses. I argue that Kim-Cohen's non-cochlear intervention in In the Blink of an Ear might be productively pressured towards the concept of a "sonic effect" that acknowledges the material-discursive particularity of sound without recourse to the phenomenological claims of authenticity that Kim-Cohen correctly abhors. In service of this argument, the essay extensively discusses a sound and media artwork - Exurbia, created by myself and William Brent - that leverages the metaphorics of sound against existing understandings of specific forms of network communication. I argue that the conceptual and material dimensions of the project stridulate in a hum of recursive vectors for considering the constitution and consequences of networked aural interaction. Exurbia can thus be parsed in terms of medial specificity precisely because its digital aural materials are themselves discursive.
Humanesis: Sound and Technological Posthumanism (2013)
Published 2013 from the University of Minnesota Press (Posthumanities series).
Humanesis critically examines dominant strains of posthumanism, searching out biases in the ways that human-technology coupling is narrated. Specifically it interrogates three strains of posthumanist discourse: scientific, humanist, and organismic. The analyses in the book lead to a significant unpacking of these perspectives, revealing how each continues to hold onto elements of the humanist tradition that it is ostensibly mobilized against. To materially ground the problematic of posthumanism in fuller complexity, Humanesis interweaves its theoretical chapters with discussions of artworks. These focus on the topos of sound, demonstrating how aurality might offer new insights in a field that has been dominated by visual theorization.
Listening aside: an aesthetics of distraction in contemporary music (2013)
Chapter co-authored with eldritch Priest, in Resonances: Noise and Contemporary Music (Continuum) .
In this chapter, we discuss distraction as a key aesthetic vector--both witting and unwitting--of contemporary concert music, and moreover one that places the tangibility of the latter in a persistent feedback relation with broader cultural shifts in listening practices that are regularly attributed to the proliferation of recorded music. To this end, we begin by characterizing the concert music paradigm as a "concentration machine," which serves as a synecdoche for music whose experience is organized around the perception of its internal formal relations. From here, we argue that one way to narrate post-1945 music is by locating its reflexivity in this field of concentration as a tendency to collapse this formal concentration into the content proper of music. A corollary to this, we argue, is that by insisting on the protocols of concentration composers as varied as Cage and Lachenmann mobilize a catachrestic materiality of music that involuntarily (and paradoxically) teaches us to be bored and to listen away from music. In this boredom, we conclude, a listener’s inattention is forcefully directed towards the affective content of music, a situation exemplified in composer Martin Arnold's Burrow Out; Burrow In; Burrow Music (1995). In short, we suggest that Burrow Music retains the alibi of music as an object of attention that coincides with concert music’s idealized materiality, while also palpating a broader cultural tendency--amplified by recording technologies--to listen to the side of music.
Nonsense Aesthetics: (Imaginary) Living After the Death of Falsity (2012)
Review essay of Ted Hiebert's In Praise of Nonsense.
[...] But what if we weren't quite satisfied with physical impossibility as grounds for dismissal? That is, what if we took this physical impossibility not as a cue to look to another explanation, but rather as a method of sustaining and focusing the imaginative possibility that underwrites impossibility, as well as the impossibility that underwrites possibility itself? In short, what if we recalibrated the (humanist) injunction to mean away from the goal of understanding what is possible and towards the goal of imagining new impossibilities?
Deconstructing Affect: Posthumanism and Mark Hansen's Media Theory (2011)
Complete text available in Theory, Culture, and Society. Vol. 28, no. 5 (September, 2011), 3-33. Please email me if you require access.
In the context of the highly contested discourse of posthumanism, this essay examines Mark B.N. Hansen's attempt to give a robust account of technology in its extra-linguistic dimension by evincing an "'originary' coupling of the human and the technical" that grounds experience as such. Specifically, I argue that Hansen's perspective is haunted by the representational logic that it moves against. In this, I do not repudiate Hansen's argument as such, but rather reject one of its central underlying implications: that the extra-discursive materiality of technology might be accessed, linguistically, without attaching a meaning to it that is foreign to this materiality. To this end, the essay begins with an examination of technesis as it is initially developed by Hansen, demonstrating the necessity from which it sprang, the contribution that Hansen's reading makes, and its ultimate limitations. From here, the essay articulates Hansen's argument for an affective topology of the senses, corroborating the increased importance of digital technologies in this perspective through a brief comparison of Roberto Lazzarini's skulls (as read by Hansen) and my own piece Sound. Finally, this comparison pivots the essay towards a critical analysis of Hansen's account of primary tactility that demonstrates its dependence on the (representational) logic of language. In closing, then, I argue that what is accomplished by Hansen's putting-into-discourse of technesis is, paradoxically, a re-staging of the constitutive ambivalence of deconstruction that reinvigorates the posthumanist elements of that discourse.
A Review of "The Tuning of Place: Sociable Spaces and Pervasive Digital Media" by Richard Coyne (2012)
Complete text available in The Information Society. Vol. 28, no. 1 (2012).
Like the idea it advocates, The Tuning of Place begins with the suggestion that "the influences people exert on one another go beyond those between two agents seeking to affect each other's behavior" (xviii). From here, the text repeatedly appeals for an attendance to the "subtle shifts secreted within apparently bold moves" (185) that are "the currency that enables innovation" (240). In particular, Coyne notes the ways in which our contemporary culture of ubiquitous media amplifies the importance of these "incremental operations." To this end, The Tuning of Place mobilizes myriad ideas and examples around the central concept of "tuning," a metaphor that Coyne successfully stages as a tension between its status as (on one hand) a means of collecting the hugely disparate disciplines and ideas that he discusses and (on the other hand) an engine of difference that continually undermines any positive-substantial definition of itself. Put simply, by exhaustively considering pervasive digital media through the kaleidoscopic lens (sic) of tuning, the micropolitics and complex causalities of the former are desublimated.
Derrida and Luhmann in a Theatre of Posthumanism, review of
What is Posthumanism? by Cary Wolfe (2010)
Click title to download a printable version of the complete text (3 pages).
What is Posthumanism? begins from the observation, via Foucault, that "humanism is its own dogma" (xiv) in the sense that the term "human" always naturalizes the distinctions that constitute it. In this light, Cary Wolfe"s posthumanism intervenes both prior to and after humanism: on one hand, it is anterior in that "it names the embodiment and embeddedness of the human being" (xv) in biological and technical worlds; on the other hand, posthumanism also names a contemporary historical moment in which it is increasingly impossible to ignore the decentering that is worked on the human through "its imbrication in technical, medical, informatic, and economic networks" (xv). In this sense, then, the endeavour that Wolfe shoulders in WIP is not simply to contribute to a "thematics of the decentering of the human" (xvi), but—more importantly—to explore "what thought has to become in the face of" the challenges posed by that decentering (xvi).
Response to Harry Lehmann's "Digitization and Concept" (2010)
Click title to download a printable version of the complete text (2 pages), which is also available here.
The article to which this review responds is available here.
[...] And isn't this the point? Rather than fortifying the borders of New Music—a practice that inevitably leads to a reciprocal celebration of the hybridity that comes with these borders' transgression, which has its own problems—why not place New Music and digital technologies in a feedback relationship that isn't concerned with categorization? From this perspective, we might begin to learn something from the myriad practices of digital sound that already obtain, ranging from Second Life performance ensembles to tactile musical interfaces for the deaf to medical, military and advertising sound technologies such as "sound bombs" and ultra-/infra-sound [which Aden Evens has argued might actually inform the affective dimension of our listening more than our conscious aural perceptions, and which Steve Goodman has recently connected to a general "(sub)politics of frequency"]. Indeed, why not similarly probe digitization in search of the ways that it supplements the normalizing force of the "finite number of intrinsic aesthetic values in human perception" with the infinite variability of (post)human embodiment? In this, the goal would be to develop new concepts that are open to at least the possibility that digitization might bring with it new modes of sensation, perception, and movement.
|Self-Portrait Fictions: Giants #3|
Ted Hiebert, 2007-08
Dark Matters [Ghosting Judith Butler] (2009)
Click title to download a printable version of the complete text (2 pages).
Reading again Žižek’s account of the Real, I am reminded of 'dark matter,' that undetectable hypothetical substance that is said by some to structure the entire universe. Eluding the ubiquitous pull of electromagnetic force, this dark matter is visible only through its invisibility, through its gravitational pull on visibility itself. Darkness, it seems, is what we are really perceiving when we see the spectacular explosions of charged atoms that constitutes, equally, the atrocities of Guantanamo and the click of a mouse, the underground activity of the Large Hadron Collider and its full spectrum realization in the language of digital media. History itself, dark matter would suggest, can only be a phantasmatic relation to the real gravitational pull of darkness.
And so we can hear the ambivalence that is performed in, by, and through dark matter. On one hand, dark matter is the outside of special relativity theory, that which is excluded from electromagnetic force, that which exceeds the speed of light; on the other hand, dark matter is included in special relativity as its constitutive outside, as that which is necessary for electromagnetism to be intelligible as a force, as that which has no speed.
Music and Catachresis: Lachenmann’s …zwei Gefühle… in the Theatre of Judith Butler (2009)
Click title to download a printable version of the complete text (9 pages, plus examples).
This paper was presented at the CUMS/CSA joint panel of Congress 2009, and was a finalist for the George Proctor Prize for best paper presented by a graduate student (CUMS).
This presentation considers Helmut Lachenmann’s …zwei Gefühle… (zG) as a radically citational work, the citationality of which can be understood through the rhetorical figure of ‘catachresis.’ Drawing on the methodology of Judith Butler’s critique of the materiality of sex (from Bodies That Matter, wherein she attempts to write the sex of materiality), I argue that zG performs a deconstruction of the sound-music opposition that is implicit in musical discourses.
In this sense, zG remains a strictly ‘musical’ performance, even as it refuses musicality. That is, zG remains a musical question; one that traces sound as the site at which a certain drama of musical difference plays itself out. The construction of ‘event-ness’ implicit in this claim elides with elements of the composer’s own reading of his work, but also speaks to Lachenmann’s implicit awareness of the doubled character of musical discourse: on the one hand, it deprives sound of its soundness; on the other hand, it constructs sound as always already being the sound of music. Ultimately, this position suggests that zG is performative of the claim that sound itself cannot be said to be anything, to participate in musical ontology at all. That is, sounds—eluding grammar—are the disfigurations that emerge at the boundaries of music and, precisely as such, can never be music.
Video Interview with Ollivier Dyens
(with Émile Fromet de Rosnay)
Click image to view video, or click here for audio only.
What does it mean to be human when technology tells us that no such thing exists? Ollivier Dyens, author of La Condition inhumaine, essai sur l'effroi technoloque (Flammarion) and Metal and Flesh (MIT), founder and webmaster of Metal and Flesh (1998-2003), Continent X (www.continentx.uqam.ca), and a Google Earth based project mapping the posthuman (www.theinhumancondition.org), discusses his notion the inhuman condition, which is our inability to define what we mean by humanity.
This 90 minute interview was conducted on 13 March 2009, following Dyens' Lansdowne address at the University of Victoria, Canada.
Melancholy and the Territory of Digital Performance
Click title to download the complete printable version (14 pages).
This chapter is published in Collision: Interarts Practice and Research (Cambridge Scholars Publishing, 2008)
In a time when interdisciplinary artworks are becoming ubiquitous, the question of how to utilize the critical discourse of specific disciplines without refusing a particular work’s broader cultural relevance has become increasingly pertinent. Where works of art have traditionally been assigned to one or another conventional disciplinary field, interdisciplinary practices (particularly of the last sixty years) have convincingly dramatized the fact that cultural influence defines an artwork at least as much as disciplinary status. In this context, the recent proliferation of artworks involving digital technology (i.e. contemporary "media art") serves to at once reveal and challenge the ways in which conventional disciplinary vocabularies limit how we can talk about works of art and, consequently, the possibilities for understanding their larger cultural relevance. Simply put, contemporary media demands a new theoretical framework. I will argue that this framework must necessarily connect to the constitutive subjective ambivalence that Judith Butler (supplementing Foucault and Lacan) has theorized under the rubric of power. Taking account of how paradox structures the debate of subjectivity—always culminating "in displays of ambivalence" (1997, 10)—Butler's account offers a model from which to address digital art performance’s constitutive ambivalence as determinant of and determined by culture; that is, through insisting that the territory of digital performance is the problematic of the subject, I will also argue that contemporary art practices must first and foremost be considered as ethical practices. That is, any “work” that is accomplished in contemporary media art is achieved within the problematic of a code of practices that is itself grounded in the subject’s relation to the social (a relation that is always under erasure) rather in than artistic production. With this territory laid out, then, I will conclude the chapter by suggesting that the performance of media art is a performance of the ambivalence that is constitutive of subjectivity, and thus feeds back as a politicizing performance of Butler’s critique of unilateral narratives.
Sounding the Hyperlink: Skewed Remote Musical Performance and the Virtual Subject (2007)
Click title to download a printable version of the complete text (26 pages).
This article is published in Mosaic: a Journal for the Interdisciplinary Study of Literature (Vol. 42/1, 2009).
This essay contributes to the decentering of vision in the Western sensorium that has been the project of much recent scholarship. Accepting Derrida’s argument, in Of Grammatology, that the sound of the voice is not a sounding of presence, this article nonetheless argues that sound itself remains active as the invisible ground that figures ‘sounds’. Sound is thus presented here as a ‘field-mosaic’ in McLuhan’s sense of the term, indicating a relational ontology wherein this relationality is taken as pre-existent to the terms related. Sound, in this article, thus represents an attempt to grasp the “fieldness” of this ontology precisely by refusing to give sonic instantiations ('sounds') primary status, instead thinking of them in the technological terms of McLuhan’s tetrad. However, if sound is thus understood (in the technological sense) as an extension of the human, and the ‘fieldness’ of sound prevents us from registering the term ‘human’ as prior to its relational status, then sound as it is here mobilized suggests an understanding of human subjectivity as decentered in the technological field (which has no centre) such that subjectivity itself is now understood as a technology, a notion that has been often and variously discussed under the term of ‘posthuman’. Ultimately, then, this article explores sound’s relation to this new subjectivity through an analysis of a practice called ‘Skewed Remote Musical Performance’ (SRMP). The thesis resulting from this exploration is the suggestion that posthuman subjectivity has always been everywhere present (sic) as sound itself; that is, the 'zero-level' of the technology of subjectivity–the zero-level of the posthuman subject—is the field-mosaic that is sound.
Music and Simulation [Ghosting Jean Baudrillard] (2006)
Click title to download a printable version of the complete text (2 pages).
Writing alongside Baudrillard, it is possible to think (in the realm of music) of 'performance' as 'simulation'. Since "to simulate is to feign to have what one hasnÕt", to perform is to feign the 'reality' of music, a reality which is never 'real' outside of the play of simulation. In the presence of musical composition (which is always already there), there is no longer music. Indeed, with the emergence of sound (which is always already there), there is no longer music. Remaining with Baudrillard: the 'western art music' performance is no longer that of a 'piece of music'. Instead, the performance is hypermusic: the generation by musical techniques derived from music that is not musical. The 'piece of music' (embodied in the composition) no longer precedes its performance, nor survives it. Since the performed precedes the piece of music, the difference between the 'piece of music' and its sonic realization disappears. What disappears with performance is the sonic realization's musicality (as well as its composition), without which the music itself disappears. The sound of a performance no longer has to be musical, then, since it is no longer measured against the forms of 'western art music'. In fact, since it is no longer placed within a musical canon, it is no longer music at all. It is hypermusic: the product of a synthesis of musical techniques in a canon without history.
Detritus from (or a Meditation on) Content, Context, and Art (2006)
Click title to download a printable version of the complete text (27 pages).
A different paper preceded this one. The thesis of that paper was that formal and ritual changes effected by an artwork are at their core political. Towards an exploration of the particular aesthetic and political implications of that position I employed the metaphor of 'vagrancy'. This employment allowed me to migrate between disciplines and argue by analogy, a useful allowance in the context of the normalizing and depoliticizing disciplinarization of the arts (in western institutions, especially). 'Vagrancy' related to the body of that paper in a loosely analogous way to Butler's relation of gender and the human body; it was "the repeated stylization of the body [of the paper], a set of repeated acts within a highly rigid regulatory frame that congeal[ed] over time to produce the appearance of substance" (Butler, 91). That paper appeared to be substantially 'vagrant', then, even as it performed untenable philosophical reductions from the fixed monolithic frame of an assumed Real.
The previous paper 'failed' in the way that every dialectic fails: the very thing that constituted its core flipped into its inverse. In this case, the inversion occurred first on the site of the vagrant/fixed binary, so that vagrancy seeped into the very essence of the paper, undermining its most provisional (vagrant) claims by reversing them into fixed Truth statements. This process simultaneously pushed the (previously invisible) fixed assumptions on which these claims rested to the surface of vagrancy. From this first inversion followed multiples of others, the most extensive of which was the disintegration (whether through ecstatic multiplication or an internal aporia, it is not clear) of a context/content distinction. This current paper is a farriginous meditation on this disintegration. It is not an attack on Enlightenment thinking; such an attack would be impossible because that battle has already been waged and won. Rather, this paper represents the soldiers' wading through the wreckage of what was the battlefield, recounting stories from the battle even as they pursue the impossible task of 'cleaning things up'. The paper inhabits and is inhabited by this landscape, and if, periodically, a critique emerges, it is nothing but an indeterminate side-effect of this cohabitation. Perhaps this is too gloomy, though. Perhaps I, as soldier, have been too jaded by the violence of creating this paper to be able to celebrate its completion. Perhaps what has finally emerged in this second paper can be trumpeted as having the (non)form of a nomadic multiplicity, a rhyzomatic (non)structure of meditations that are not organized into a single Meditation. However...
vagrant(ana)music: Three (four) Plateaus of a Contingent Music (2006)
Click title to download a printable version of the complete text (28 pages), or click here to view the complete text as published in the online journal Radical Musicology.
In the body of this paper exist two essays, two efforts, articulated simultaneously. The first, titled Vagrantana Music, posits an idea of Music, however contingent, that is developed from a collection of writing selected through the vagrant scholarship that necessarily emerges in interdisciplinary studies. To this end, the essay employs Music as a site on which to intersect a selection of ideas from Baudrillard, Derrida, and Adorno. In particular, these ideas are explored within the frames of cosmology, ecology, and sociality. Here, 'vagrancy' is understood for its nomadic quality, suggesting that these thinkers have wandered into the scope of the essay on their own, rather than being conjured forth in the service of a thesis. The thinkers are not chosen for their centrality, their ability to reduce the field of Music to their thought, but for their singularity. In this essay, Music is a conceptually malleable site rather than a material entity, so that its analysis allows these thinkers to be positioned relative to one another without creating an environment of rational (Enlightenment) antagonism. Instead, this perspective mirrors a pedagogical model, where we 'learn what we can' from each perspective without casting out the others.
The second essay found here, coextensive to the first, is titled Vagrant Anamusic. This essay traces the wandering of music itself into the discourses of these thinkers, the wanderings of a music that is not Music. Here, 'vagrancy' is invoked for its connotations of a lack of home or employment, its allusion to a weight that is borne by society. On the plane of the social, this Anamusic hides the aporia that is the condition of its existence (Lacan's 'Thing'), from which springs its subjective polyvalence. That is, through a paradoxical singularity, Music becomes a concept (even under erasure) from which meanings can emerge. However, in the realm of cosmology, this Anamusic assumes its full potential in the form of hypermusic, proving to be the negation that masks the absence of Music; indeed, masks the absence of the Real.