By George A. Reisch
Crimson Floyd’s sound and lightweight exhibits within the Nineteen Sixties outlined psychedelia, yet their later recordings mixed rock, orchestral tune, literature, and philosophy. Dark part of the Moon and The Wall neglected pop music’s ordinary strictures to target subject matters of insanity, melancholy, brutality, and alienation. right here, sixteen students set delve into the guts of purple Floyd by means of reading principles, suggestions, and difficulties often encountered now not in a rock band's lyrics yet within the pages of Heidegger, Foucault, and Sartre. those contain the that means of life, the individual's position in society, the contradictions of artwork and trade, and the blurry line among genius and insanity. The band’s dynamic background permits the writers to discover controversies approximately highbrow estate, the character of authorship, and no matter if wholes, in particular in relation to rock bands, are greater than the sum in their components.
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Extra resources for Pink Floyd and Philosophy: Careful with that Axiom, Eugene! (Popular Culture and Philosophy)
Smoker and Mrs. Non-Smoker seem to do when they walk away, and laugh. For my part, I like this option. But, the editors of this book tell me that I had better opt for making something else of such skits. To clinch the deal, they recently sent out email letting contributors know that if the book were to sell, and I mean sell big, each author of a chapter would receive a couple of hundred bucks. That was certainly enough to motivate me to make something of the piston engine skit. What I am to make of it exactly, of course, is the rub.
2 In popular fictions, including literature and motion pictures, horror is typically focused upon a particular sort of object, namely, a monster-that is, a creature whose existence is unacknowledged by science and who, in addition, is dangerous and disgusting. For example, the Frankenstein monster is a scientific impossibility-electrifying dead flesh will fry it, not animate it-and the monster is disgusting, an impure being constructed of rotting, dismembered body parts. And perhaps most obviously, the monster is dangerous: it kidnaps, maims, and kills people.
Cries one of them as they whiz offscreen. Mr. Creosote, a gargantuan figure, lumbers into the dining room. The music that accompanies his entry recalls the giant shark's in Jaws, and his belly is so ponderous it nearly scrapes the floor. His face, framed by muttonchops, is swollen to the point of swinishness. He is dressed in a tuxedo but his body is mis-shapen, more like a pyramid of wobbling flesh than a human form. As Creosote ambles to his table, he commands a flurry of attention from the sycophantic maitre d'.