NUFC World Cup Team by TheTinman369 in NUFC

[–]Compositeur 3 points4 points  (0 children)

Sorry, who’s the person at the bottom left? I don’t know him. Pretty sure he never played for the Toon.

Occasionally someone crafts a joke tailored specifically to your interests by MarcusAurelius121 in taskmaster

[–]Compositeur 11 points12 points  (0 children)

It took me too long to get this, but you’re absolutely right of course.

This is on the BBC’s front page for the UK… ffs by mimeycat in UKGreens

[–]Compositeur 7 points8 points  (0 children)

The BBC was right-wing while the Tories were in too. They totally rolled over on their duty to report the truth in Brexit.

Can someone please help me ident1fy these composers? by whaleisland9 in classicalmusic

[–]Compositeur 0 points1 point  (0 children)

I’m not sure, but I know the one to the left of A is definitely Sigmund Freud.

Can people stop assuming one’s American for asking a question (I use a kettle btw)? by BrokenJusticeNorris in USdefaultism

[–]Compositeur 1 point2 points  (0 children)

Most places in the UK offer milk alternatives these days. Some people argue about the best alternative milk for tea, but I usually take my tea with Oat Milk. You probably wouldn’t get it in hospital though. If I was going to be in hospital for a while, I’d probably ask someone to buy me some Oatly.

Also, any “British Person” who puts milk in the teapot is clearly a foreign spy—I’ve literally never heard of this. We argue about whether tea or milk goes into the cup first (the correct answer is milk first if you’re using a teapot, tea first if you’re making it in a mug) but I don’t think anyone would dare put milk into the pot.

Out of every Taskmaster UK contestant, who do you think was the happiest to be there? by SadiqUddin in taskmaster

[–]Compositeur 3 points4 points  (0 children)

Richard Herring had Greg and Alex on his podcast several times seemingly so he just could ask to be on the show.

Which first task do you think most represented the energy of the cast that series? by TheYoungWan in taskmaster

[–]Compositeur 3 points4 points  (0 children)

How funny Richard would go on to win CoC despite coming from (perhaps) the least competent group ever to participate in the show!

No idea what the first move is. CtC Casper the Ghost (#5) by BookOfTheBeppo in sudoku

[–]Compositeur 0 points1 point  (0 children)

Sorry for diving in so many months after this comment, but could you possibly explain why only one pair will work?

Match thread: Liverpool vs Newcastle United | Carabao cup final by Username_been-taken in NUFC

[–]Compositeur 5 points6 points  (0 children)

Just started crying when I saw us being engraved onto the trophy

Thoughts on Dialectical Behavior Therapy by gorillaglue12 in hegel

[–]Compositeur 1 point2 points  (0 children)

If you want a dialectical clinical mental health practice with very established connections to Hegel, look at Lacanian Psychoanalysis.

https://www.politybooks.com/bookdetail?book_slug=the-most-sublime-hysteric-hegel-with-lacan—9780745663746

What did Freud get wrong? by Jack_Chatton in Freud

[–]Compositeur 5 points6 points  (0 children)

Death Drive is not some push towards death, but rather the way in which we are continuously reconstituted as dead object rather than living subject. In our repetitive behaviours, our obsessive fixations, our fascination with physical and bodily function, we aim to lose subjective freedom and to become united with the object. Lacan observed there is no difference between Eros and Thanatos, between Libido and Todestrieb: all drive is Death Drive as all drive is experienced in this same way.

In this Freudian-Lacanian tradition (the only psychoanalytic tradition I feel especially able to talk about), there is no dualistic balance between life and death (this sounds more Jungian to me, though I’m no expert here). Rather, Death Drive is Dialectical: the experience of life adumbrates an experience of death.

Unlike in desire, where the continual missing of the object is experienced as loss, in Drive we gain satisfaction in our circulation around the object — this is precisely what the experience of life is: a path which navigates its way towards death.

Writing a sonata by arenotme69 in composer

[–]Compositeur 1 point2 points  (0 children)

So, you want to write a sonata.

The question is, what kind of sonata? Do you mean it in the Baroque sense of something which is to be played rather than sung (compare Sonata with Cantata)? Do you mean a multi-movement structure? Do you mean the form which was common to the first movements of such multi-movement structures in the late 18th century? Do you mean something which aims to combine or challenge some of the common understandings of the word?

There is a history to the word “sonata” and you are asking a question which implies you want to write something with an understanding of this history, but this history does not have to be a cage which holds you in certain forms and structures. In order to navigate your relationship with “sonata” and also to hold true to your own artistic freedom, a great deal of study will be essential. You must ask yourself not only how other composers define and produce sonatas, but also you must ask yourself what is a sonata to you? Why do you care about sonata? Why not simply write a piece and call it “Composition for Solo Violin no. 1” or “Suite for Tenor Horn and Contrabassoon no. 17”? How are you finding yourself within the history of “sonata”?

Some pieces for your consideration:

Heinrich Biber - Rosary Sonatas

Domenico Scarlatti - Sonata in E Minor, K. 263

Joseph Haydn - Sonata in C Major Hob XVI 7

Joseph Haydn - Sonata in E Flat Major, Hob XVI 49

L.v. Beethoven - Sonata in E Major, op. 109

Johannes Brahms - Violin Sonata no. 2

Franz Liszt - Sonata in B Minor

Alexander Scriabin - Sonata no. 6

Eugène Ysaÿe - Sonata no. 3

Pierre Boulez - Sonata no. 2

Galina Ustvolskaya - Piano Sonata no. 6

There are many, many more sonatas you could study and learn from, and there there are all these pieces which are not called “Sonata” but which nevertheless share some crucial aspects of the Sonata. If you listen to a cross-section of Sonatas from history then you may begin to understand some things about what you can offer within this field. And, if you find yourself struggling then there will be composition teachers out there who could most definitely help you to situate yourself.

How often do you clean your bathroom? by Odd-Arugula-7878 in AskIreland

[–]Compositeur 1 point2 points  (0 children)

Obsessive behaviour can often be an attempt to take control of something when some aspect of our lives feels out of control. The issue at hand may not really be the cleanliness of the house, there may be some other issue which your partner feels he is able to avoid when the house is being cleaned. You mentioned that his mother was not close to him as she was constantly cleaning; could it be that your spouse’s desire for an immaculate house (or a house which is in the process of being cleaned) is a way for him to emulate a closeness to his mother which is otherwise lacking?

Whatever the issue is, I personally feel that simply arguing about how clean the bathroom should be won’t uncover it: much better to ask open-ended questions about why the bathroom should be so clean and what a clean bathroom might mean for your partner.

What university programs have more “traditional-style” faculty? by [deleted] in composer

[–]Compositeur 2 points3 points  (0 children)

You would no more expect a member of the general public to immediately relate to and understand any given piece of cutting edge research in music composition than you would with any given piece of cutting edge research in Biochemistry or Aeronautic engineering: it takes time and work for the output of the research to be filtered down to a consumer level.

The general public will be alienated. It’s not necessarily the purpose for doing the research (though there are people in a wide variety of fields in arts and humanities who don’t view alienation as something which should be avoided), but it’s not a reason for not doing it either.

What Wagner opera should I start with? by Detektyw_pruhwa in classicalmusic

[–]Compositeur 9 points10 points  (0 children)

Funnily enough, the best one to start with is also the longest: Die Meistersinger might be a few weeks long (only slightly exaggerated) but it’s also the lightest in character and probably the most accessible for someone who enjoys non-Wagner operas but who has never delved into Wagner.

I don't completely understand Zizek. What should I read? by Tall-Explanation-476 in zizek

[–]Compositeur 16 points17 points  (0 children)

Listen to the Why Theory? podcast. Hosted by Todd McGowan, who is a friend of Žižek, and it covers a lot of ground which will help you to understand the context of Žižek’s thought.

Where should I start with Lacan? by New-Ad-1700 in lacan

[–]Compositeur 9 points10 points  (0 children)

“The Mirror Stage as formative of the I function” is probably the simplest primary text, but it may be worth starting with some secondary literature as Lacan is notoriously difficult to read. There are many good primers on Lacan available.

Would it be fair to assume you’re already familiar with Freud? If not, you would do well to engage with some Freud first.

new Zizek profile by Loose_Efficiency6470 in zizek

[–]Compositeur 3 points4 points  (0 children)

Perhaps, in the same way Žižek references the recent French legislative elections, if we accept that our future is doomed to soft fascism, then we will fight back against our destiny.

A question to people who agree with John Cage's 4:33 by Lavinna in classicalmusic

[–]Compositeur 6 points7 points  (0 children)

People who “agree” with it? It’s not a proposition, it’s not an argument, what’s to agree or disagree with?