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By Andreev P. D.

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According to this catechism good scientific prose must not use pronouns of the first or second persons, “I, You”, “We”, except in parts of a scientific text which relate to social components of research: acknowledgments, anecdotes and the like. The core text has to eliminate these grammatical categories. Only the object, this third person category, that ob-jectum, which is thrown into ones attention, is valid. The person to which it is thrown, and which would catch the object, is repressed. This staging of the objective theater is not only a lie with respect to the realistic background of scientific processes, it proves also a dramatic ignorance about the importance of the very making as an autonomous ontological layer of scientific knowledge production.

The LP was condemned by many critics as Coltrane’s worst album. Compared to the other LPs of that year, Om lives on another planet. The critics at least felt some comfort in the more familiar modal schemes that were interiorized on the other albums of 1965, but could not find any of their familiar comforts on Om, an album that would later open the path to what would later be called the “creation of structure out of energies for the new free jazz of the turn of the century,” while the historical movement of free jazz had rather departed on the creation of energy from structure.

This extension may include notes or types of sounds that are virtually impossible to accurately notate in the Western (or any) style, and thus creates a bit of tension between different conceptions of what an instrument can do, or how an instrument is to be properly played. Cecil Taylor’s piano technique provoked reactions such as “he doesn’t even know how to use the keys,” a critique which is completely valid if one views the art and technique of playing the piano through the lens of Franz Liszt and his globally dominant school from Theodor Leschetitzki to Ceslav Marek [66].

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A. D. Alexandrovs Problem for CAT(0)-Spaces by Andreev P. D.


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