Ruth Snapper on the Noosphere, Cyberspace and Steely Dan
As such, Steely Dan�s subversive music has the resonance to reach deep into
our emotional psyche and carry us into the noosphere.Their Apollonian perfection
of musical arrangements translate into a thriving community on the internet,
comprised of a fandom that has been able to keep the fires lit since 1980, which
was until February 29, 2000 the last time Steely Dan released an album.
As Euan Ferguson writes in the Guardian (2000), to Steely Dan, time doesn�t
matter;
�What the band has always set out to do......is simple: they wanted to combine
the best of the 20th century�s music into one fine, ever-listenable,intellectually
snobbish slice. It could have been horrendous, but it is glorious. To take the
finesse of jazz without the pseudo meanderings; to take the drive of soul without
the posturing; to take the beauty of classical changes, without the wittering
French longueurs; to take the snap of pop without its zit busting immaturity...the
recipe then and now, is close to perfect. Perfection is their aim and they are
unforgiving in its pursuit...Uncompromising in their conversation, which is
as fiercely clever as their lyrics. It ranges from literary influences (Burroughs,
Gibson, Vonnegut) to political credo, a lengthy discourse on Herbert Marcuse,
the Frankfurt School and the dangers of repressive tolerance, all of which is
fascinating . Their lyrics are both poetic and savagely tongue in cheek, as
they explore the American male psyche and the late 20th century landscape, satirizing
capitalism, trying to reflect their own sense of dislocation in America during
those years, trying to do musically what Don DeLillio has done in print�(A5).
What Steely Dan does well is craft both music and lyrics in a way that allows
the listener to become part of the song. Every sound, every word is chiseled
out of a cerebral marble block. They provide us with a slice of sociology communicated
through their own form of fiction. There music is witty, subtle and expansive.
Paul Zollo writes in Performing Songwriter Magazine (2000) of an interview with
WalterBecker and Donald Fagen concerning the specifics of their song crafting
mechanism:
�The section about West of Hollywood begins with the chorus:
I'm way deep into nothing special
Riding the crest of a wave breaking
just west of Hollywood
It's a single sentence that evolved through a profusion of lyrical permutations
before the ideal form was discovered. "One trick of writing is to use the mechanics
of typing things over and over again as a way of exercising and developing an
idea," Becker said. To illustrate this technique, he shared some of the variations
that he and Fagen generated for this line:
I'm way deep into nothing special...
...coming from a place of power just west of Hollywood.
or
...with a base of support located just west of Hollywood.
or
...in a matrix with its nexus just west of Hollywood.
or
...in a cluster franchise just west of Hollywood.
All of the songs on the new album went through this lengthy process of thought
and revision, each the result of many pages of notes, character development,
and explorations into the best ways to compel and conclude narratives." In regards
to West of Hollywood, Walter says "We have notes which define the idea of certain
songs. In West of Hollywood we had, 'Ideal flatness of field, leveling, nulling
out, zero potential, the tyranny of the disallowed� (27).
By careful consideration of each variation in the lyric and how it blends in
with the music, Steely Dan is able to craft a song with a number of subliminal
meanings to be explored. The music is a vehicle for thought and expansion of
the mind. Things truly resonate and reach into people�s souls when there is
a message that is subtle, when the message is multilayered.
Steely Dan seems closer to the ideals of the global heart and mind than any
other musical entity to date; with their own website, an interactive fandom
and thriving community on the net , Steely Dan is situated for evolution into
popular culture via the internet and maybe reaching towards the noospheric ideal
of Teilhard de Chardin. Ironically, their latest offering, the album titled
Two Against Nature, derives its title from a nineteenth century novel about
a wealthy French aristocrat who decides to retire from the world and live in
the realm of the senses, an ultimate aesthetic life, not that much different
than the noospheric ideal.(Wilkinson 2000).
The Apollonian nature of Steely Dan and the Dionysian nature of Devo are an
example of the duality of the musical aesthetic. One is not possible without
the other. Like a sphere, which is the perfection of form, each side is part
of the other, and needs the other to bring musical dimensions to their whole.
As an evolutionary process, we can envision Devo as the big bang at the dawn
of evolution, a bright light, a supernova that is packed with energy and ideas;
then Steely Dan allowing for a slow cooling off, a quiet expansion of the galaxies;
of enlightened thinking and emotion, and refinement of ideas. Then the cycle
begins anew, each time developing a bit further until the greater global heart,
Teilhard�s Omega Point, is reached. This evolutionary process may take thousands
of years. According to Thomas A. Goudge, in his work The Ascent of Life :
One feature of man�s evolution is that it is certainly incomplete. Throughout
history, anywhere from half a million to a million years has been needed to
produce a true species. Homo sapiens is only about 100,000 years old. Man of
today is a primitive type of moral being. Much of his personal and social behavior
exhibits traces of his animal ancestry just as his physical body does. Yet occasionally
he exhibits the power to make his actions conform to the highest moral ideals.
For the most part he is indifferent to beauty, yet he can catch fleeting glimpses
of it and embody them in artistic form. Because of all this the verdict must
surely be that man is still in the making.Biologically, he is an adolescent
being and does not have a fully developed set of human traits (61).
Scientist Mark Pesce discounts the idea of humans evolving to a higher, more
complicated being. He supports this argument in an interview for the book the
Soul Of Cyberspace (1997) by Jeff Zaleski; Contrary to popular belief that evolution
progresses from simplicity toward complexity, orthodox science recognizes no
direction to evolution, no end...or purpose to its movements. Steven Jay Gould
argues forcefully in his book Full House: the Spread of Excellence from Plato
to Darwin, that evolution is a matter of variation of individuals within populations,
and evinces no evidence of favoring increasing complexity. As an example, Gould
points to bacteria, which he declares to be the most successful adaptation in
the history of life. Future species are as likely to be simple, like bacteria,
as they are to be complex,like us. If Gould ....is right, then the ideas of
Teilhard de Chardin which have inspired much of the more speculative thinking
about cyberspace and its effect on humanity are wrong (268).
This statement proposes that Teilhard de Chardin ideas are a function of carbon-
chemical evolution. But earlier in Zaleski�s book Tom Ray states that:
�The process of evolution is neither limited to occurring on the earth, nor
in carbon chemistry. Just as it may occur on other planets, it may also operate
in other media, such as the medium of digital computation. And just as evolution
on other planets is not a model of life on earth, nor is natural evolution in
the digital medium� (Zaleski, 1997, p. 91).
Teilhard de Chardin�s vision is one of the far distant future of evolution,
a vision that may include ideas that heretofore are unknowable as human beings
trying to envision computers only a century ago. �We tend to project future
technological impossibilities on the basis of current fallible knowledge� (Levinson,
1995,p.99). The failure of scientists being able to envision the mechanism for
Teilhard de Chardin�s noosphere may just be a function of the current knowledge
of evolution, �a case of putting Descartes before the horse, attempting to create
thinking material without a necessary living substrate� (Levinson, 1995, p.
115)
�Thus, we are motivated to develop yet additional technologies that both extend
communication across biological boundaries and retrieve elements of process
and form of pyre technological communication lost in...primitive technologies.
I call this stage- and thus evolution in general-anthropotropic, or evolving
toward human function�(Levinson,1995,p.153).
The movement toward, and evolution of, communication through music is not just
a technological one. Homo sapiens appears to be designed as a hearing machine.
We have eyelids but no ear lids. Sounds are always entering our minds even when
we are asleep; our eyes our closed, but we can not close off the outer world
of sound.
The popularity of radio continues despite the internet and television. The integration
of sound, specifically music, into television shows and movies shows that music
is a necessary component of the human experience. Therefore the integration
of music as a language of the future noosphere can not be discounted. The evolution
may combine the forces of biological evolution and technological evolution,
again pointing to a Dionysian/Apollonian model. The energy, drive,and emotion
of humanity coupled with the perfection and logic of technology could provide
the world with a utopian noosphere. But some call this idea of an evolving utopian
humanity too idealistic. As David Shenk writes;
The misguided utopian faith in technology is as much a part of our American
history as are manifest destiny and African -Americans� long struggle for civil
rights, and it highlights another great paradox of the information age: Our
American democratic culture has dramatically elevated technology, but technology
has not elevated humanity...[we have] been plagued with technological utopianism:
Ever on the horizon sits a wondrous technology promising to deliver a truly
equitable, educated, civil democratic society...and it never quite works out
that way [but] hope springs eternal (61).
Even Teilhard admits that the utopia of the noosphere may have �evil ...growing
alongside the good, and it may too attain its paroxysm at the end in some specifically
new form�(1955). Yet the language that could be the future software of the noosphere,
the language of music, can offer a way to connect all of us with empathy, and
with emotion, enabling the long ago religious ideal of �do unto others as you
would yourself� to finally be realized in the future evolution of man. Thomas
A. Goudge, writes in The Ascent of Life :
The uniqueness of Human evolution, then consists inter alia in the fact that
it has been subject to a new life of inventiveness, a new type of heredity,
and a new type of speciation.....During the millennia between the Pleistocene
period and the present, there took place a gradual evolution of morality which
has culminated in the dawn of conscience. Man�s moral sense began to operate
more and more...Homo sapiens [is moving to] Homo moralis. If [man] is ever effectively
to control his own evolution, moral ideals or values will have to play a central
part in determining its direction. (61)
Music can call us to a greater morality by circumventing the world of spoken
language and objects, and doing this outside the body, free of negative forces
(Chanan 1999). As Schopenhauer writes: The unutterable depth of all music by
virtue of which it floats through our consciousness as the vision of a paradise
firmly believed in, yet ever distant from us, and by which also it is also fully
understood and yet so inexplicable, rests on the the fact that that it restores
to us all the emotions of our innermost nature, but entirely without the reality
and far removed from the pain (Tillman,1969, p. 288).
Susanne Langer in her work Feeling and Form points to music as a way to learn
feeling, noting that the tonal structures of music bear a close similarity to
the form of human feeling; running through excitement and calm, and conflict
and resolution; �music is a tonal analog of emotive life�(1953).
For the internet to touch each one of us, individually and collectively, the
mechanism of music must evolve to span the internet, perhaps via morphic resonance,
perhaps through cultural memes; the music can then evolve and able to reach
into our hearts, to point us to a new humanity,homo moralis. This moral being
will be able to experience through this evolved form of music, a language of
the heart that will communicate across cultural, race, and language barriers,
emoting feeling. Music will inform us. It will answer the questions: What does
it feel like to be hungry, right now, in Ethiopia? What does it feel like to
be homeless, today, wandering the streets with no way out?
Many problems of humanity can be traced to an inability for people to understand
�the other�. Communication and negotiation through language and media are ways
of connecting each of us but they fall short of providing true insight into
what �the other� is feeling. The perception of feeling is so evident in music;
it can been seen demonstrated already on the internet within the various musical
communities online. Enthusiasm to share feelings about the music, and connections
with each other to experience real time sharing of ideas while listening to
music, floods the chat room of the Steely Dan website, and probably others music
sites as well.
The only way humans can hope to understand each other is through empathy of
feeling, not empathy of ideas, of words. Real time empathy, not empathy of �I
went through this too, way back when�. We need to be connected through spirit,
and through the heart, yet retaining our individual identities and creative
impulses. Music may be the vehicle for bringing the heart and the spirit to
each of us, and enhancing the human powers of inventiveness and creativity.
As Langer writes (1942); �not communication but insight is the gift of music...a
knowledge of how feelings go...the real power in music lies in the fact that
it can be true to the life of feeling in a way that language cannot� (207).
Teilhard de Chardin�s idea of the noosphere was perhaps an intangible notion
of a spiritual dimension. To create his noosphere we will have to aspire to
a utopian ideal, an Agora perched above the normal human day to day dealings,
ruled by Dionysus and Apollo, reaching for empathy in humanity; combining the
forces of the tangible , the technical, the musical, and the spiritual to bring
about an evolution of morality and feeling in humanity. Agora was the place
in ancient Greece where Athenian citizens met to discuss ideas for the common
good. It is an ideal that even 21st century humanity can aspire to.
Perhaps we can begin the process of reaching towards Agora by having more direction
and feeling in our music. For example, Steely Dan needs to be more Dionysian,
looking for spontaneous inspiration in their music as well as deliberate perfection.
They have often spoken with envy of the music of early Jazz composers who were
mostly inprovisational and free form in the way that they composed music. Steely
Dan could do well to incorporate these improvisational methods into their style
of composition. Steely Dan could take more risks with their lyrics to try and
craft songs describing not just fictional accounts of drug dealers and wonder
waifs hanging out in Gramercy Park, but rather morality tales espousing idealistic
notions of the greater good, subtilely cloaked in fictional accounts of drug
dealers and wonder waifs hanging out in Gramercy park.
If Devo should ever perform again, they could aspire to the perfection of the
Apollonian model, with a higher technical form attracting converts to their
cause with lyrics crafted in a subtle nuance, performed with the great gusto
and enthusiasm that is the hallmark of a Devo performance . Devo�s messages
are always inspired and insightful; they have the creative impulses to craft
that mass hysteria they desire if they so choose, but they have to do it in
a positive way. The idea of positive music does not mean singing �Oh happy day,
everything is grand�, more that it is a difficult incorporation of dark sarcasm
blended with a message that gives us hope, again (as with Steely Dan ) subtilely
cloaked in a fictional tale of interest to the masses. This is a prescription
that can translate to folk, country, rap, classical, and all music genres.
In fact, this type of musical craftsmanship is already evident in popular music.
French economist Jacques Attali describes in his book call Noise (1985) of seeing
in figures like Miles Davis, Charlie Parker , Jimi Hendrix and Frank Zappa the...emergence
of not so much a new music but a way of making music, the advent of a radically
new form of insertion of music into communication (Chanan, 1999, p.314).
Attali discusses a view of musical history that divides it into four stages.
The first stage he calls sacrifice, where musical codes simulate the social
order, through which the hearts of people are united. The second stage, called
representation, is where the music is tied to the bourgeois society and the
rise of capitalism. The third stage appears at the end of the nineteenth century,
called repetition, meaning the advent of recording and mass production of music.
The fourth stage would develop in the 21st Century, and would call into play
what he describes as the �figure of a semidivine being...delivering forth ineffable
delphic utterances�. (Chanan 1999) Attali appears to be speaking of improvisation;
� inventing the message at the same time as the language...creating the conditions
for new communication� (Chanan 1999).
Interestingly many of these ideas for the 21st century can be seen in the performance
of The Star Spangled Banner at Woodstock in 1969 by Jimi Hendrix and reported
by Samuel Floyd originally in the Jimi Hendrix Companion:
The consecutive descending third that open the introduction, followed by Hendrix�s
unaccompanied talking guitar passage, immediately identify this performance
as ring based. As the performance progresses, Hendrix inserts �calls� at the
rockets red glare and �comments� appropriately at the bombs bursting in air
and other telling points. Here, Hendrix is a musical teller of the narrative,
using his instrument in a manner similar to that of both African callers and
the tone painters of European classical tradition� (Chanan 1999).
So the precedent has thus been established for musical communication. The grand
ideas of Teilhard de Chardin can then have seed in the creative soil of musicians
and MP3 technology across the internet. A grand utopian idea to be sure, a field
of idealized dreams and metaphoric roses, but as David Shenk would say, hope
springs eternal.
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