Based on what you point out, it seems the audience should also think about what they do, and why they do it.

Lately, I’ve been looking at it from both perspectives. I have regular conversations about music obsessions with other equally obsessed people, and I’m also in a pickle about what music to make, and why even to make it. But that’s my problem.

Thanks for joining in the conversation!

Jon

but for the public, the listeners, isnt the pleasure in the first case more of a “dyonisian” kind (partying, passionate, related to identification, immediate enjoyment ), and in the latter “apollinian” (taking distance, obsessively collecting, acquired taste ) ? Meaning-wise, the first would be equating music with entertainment; the latter with other considerations : place in the history of music, innovation, for example.

I’m not necessarily trying to prove anything with this post, but I’ve been thinking a lot lately about the reasons work is done and how people react to that work. I think there are fewer differences within the situation than people assume, and therefore I think it’s important for people to question their own actions – why they are doing what they do.