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The occasions of surplus on which one register overflows into the other, and the occasions of deficit on which one register breaks down into the other, thus form a cardinal source of what I have elsewhere called hermeneutic windows, sites of engagement through which the interpreter and the interpreted animate one another. 41 What we see or hear at such windows can, of course, always be recuperated for the symbolic order. But by resisting or deferring that recuperation, that perhaps inevitable normalization, we can understand more than the symbolic order allows.

44 Although Helen is no musicologist, she can hear a turning point as a change of mode. More importantly, she can hear the change of mode as communicative action and connect what she hears to the understanding that appearing in person is the primary technique or figure of human agency in the Fifth, and < previous page page_22 next page > < previous page page_23 next page > Page 23 that the locus of appearing in person is a threshold, a transitional passage. ) Admittedly, this account of the musical subject and its knowledge is overidealized and therefore too simple.

If I enjoy Beethoven's Fifth Symphony, my pleasure coaxes me to find edification in violent struggle, spiritual value in heroic ordeal. If I enjoy Ice-T's rap revengetragedy "Cop Killer," my pleasure coaxes me to find edification in violent scapegoating, social value in ritual sacrifice. That my pleasure may include an appreciation of organic form in the Fifth or visual rhythm in the "Cop Killer" video does not interdict the processes of subject formation, but interacts with them. The character of aesthetic pleasure varies with that of the subject who enjoys it, and vice versa.

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