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Having Eaten One's Ears

Summary/Abstract: By means of developing some hints encountered in the works of Roland Barthes and Jean-Luc Nancy, the text tries to displace the traditional notions concerning validation of the site of meaning production, when it comes to discussing the issue of concert hall vs. popular music. What is left out in both supportive or denigrating arguments is always the body as the site of pre-mimetic musical production and also as the place of fruitful material resistance (body vs. instrument). It is claimed that only music understood as 'bodily' practice, and not as meaning, can realise historically the act of communication implied in Adorno's understanding of promesse du bonheur as productive contradiction of human freedom.

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