I guess this is the closest type of embed I can find.
While it seems somewhat contrary to have all my theoretical/critical posts and essays and then post these songs, such as the one below, the point will be similar to how Harman talks about Lovecraft, or Miellassoux uses Mallarme, or Hiedegger brings in Holderlin. The Covert Sound Philosophy will be shown to behave in the same manner, have the use as the same object that these authors have of their example artists. Yet not only will the Covert Sound be used, many other modern rock music will also be shown to function in the same manner for the Philosophical Hack, as Lovecraft, Marllarme and Holderlin does for those theorists just mentioned.
I am in an effort to describe the situation wherein these authors, and possibly other philosophers, gain their posture, the manner and or mechanism and or juxtaposition of aspects to there by gain the philosophical object, albeit, as a method of proposing philosophical ideas. Who knows if I will succeed in this grand endeavor, but we will see. At least I am fairly certain I will be able to grant a picture of a method to thereby at least call the method out as some sort of game, if not to all together discredit the ideas gained by such a method itself. It seems more consistent with the exposure, though, that the explication of the situation will merely open the door for meaning that will allow the treatment of any occurrence or effect as nothing more than a game, and allow for an ethics based upon this maxim. In short, I mean to describe the mechanism of a particular parallax by exposing how such a view comes into play.
The song below, called “Love’s Kitchen”, is an example of a philosophical situation. The corpus of the Covert Sound Philosophy is one side of the situation, one view of the object, where the Philosophical Hack is the critical theory, the ‘philosophy proper’ of that same object.
I suppose I am beginning to present these views, these “examples of parallax” in order to bring a certain comfort, to arouse a certain familiarity of scene, to there by be able to then at some point in the elaboration of theory, move in by a type of retrogradation to thereby complete the object in-itself through the inclusion of the Covert Sound Philosophy. We will see just how this plays out.
We should also notice or be aware that we should not jump to conclusions. There is indeed a type of music genre associated here in a particular manner that some may not appreciate aesthetically; it may not be the type of music they like. Well, Lovecraft is probably the only artist used by the above artists that I could even come close to enjoying, but I nevertheless can understand each of the authors’ correlative use of the art. In this same way, though, in as much a ‘Love’s Kitchen’ may betray a certain attitude or even bent or take upon life and world, it is, after all, merely one artistic event of the situation, one momentary expression. The Covert Sound will also, though probably abrasive to those who would like to retain a certain ‘not love’ attitude, a certain ‘hard rock’ or ‘dark’, maybe ‘fuck you’ kind of attitude, explain how such moments likewise can be discerned in this parallax view put forth wherein “Love’s Kitchen” likewise hold a place. In short, I will describe the whole of theoretical-aesthetic world, whether it be based in reactionary fear, questioning despair, or accepting love; there will be no place for any individuated attitude to hide in aesthetics.
At least, this is what my big head is telling me; again, we will see how it actually presents itself.
In the mean time, please enjoy..