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I've been spending a bit of time away from here and on The Gear Page as I am still a guitarist with slightly nerdy obsessions. And those afflicted spend half our lives exchanging stories about kit.
I'm quite poor at the moment, which isn't ideal.
A chum of mine, John Adlam, co-edited a couple of academic books which are really impressive; you can get copies on Amazon:
www.amazon.co.uk/Violent-States-Creative-Structural-Structures/dp/1785925644/ref=cm_cr_arp_d_product_top
www.amazon.co.uk/Violent-States-Creative-Violence-Humanity/dp/1785925652/ref=pd_sbs_14_1/258-1023063-7282437
(I played guitar in a band with him, he is/was a bassist; not sure if he's still playing much anymore though. Music's loss is psychology's gain; though all of this is interdisciplinary stuff encompassing many fields.)
Of interest to politicos, artists, musicians, psychologists, sociologists, academic humanists, and informed laypersons. And maybe a few others.
Making obvious the structural violence in society; and how societies use various forms of coercion - and have always done so and will always do so - gives quite a telling picture. Anything which grows from such roots is also shaped by the soil it grows in. Which leads to the question; can any of our creativity be untainted by the structural violences of our societies? We start with the innovation of tools of which weapons are a subset. At base, our creativity depended on violence, or the escape from violence.
(One conclusion seems to be that the move from individual violence to creativity, either separating them and making them distinct, or alternatively subsuming the violent state within the creative state, is something we can work towards; and that seems unarguable. The mechanisms for doing so, and the feedback the data gives us, will give us a chance of retuning and modifying whatever mechanism we attempt. I imagine John and his co-editors/contributors have worked with folk trying to break free of cycles of violence, and I know John contributed to an earlier tome: "Forensic Music Therapy: A Treatment for Men and Women in Secure Hospital Settings" led by Stella Compton Dickinson.)
Maybe there's a reason Leonardo covered his margins in devising weapons of war. I must think more on't.
I'm quite poor at the moment, which isn't ideal.
A chum of mine, John Adlam, co-edited a couple of academic books which are really impressive; you can get copies on Amazon:
www.amazon.co.uk/Violent-States-Creative-Structural-Structures/dp/1785925644/ref=cm_cr_arp_d_product_top
www.amazon.co.uk/Violent-States-Creative-Violence-Humanity/dp/1785925652/ref=pd_sbs_14_1/258-1023063-7282437
(I played guitar in a band with him, he is/was a bassist; not sure if he's still playing much anymore though. Music's loss is psychology's gain; though all of this is interdisciplinary stuff encompassing many fields.)
Of interest to politicos, artists, musicians, psychologists, sociologists, academic humanists, and informed laypersons. And maybe a few others.
Making obvious the structural violence in society; and how societies use various forms of coercion - and have always done so and will always do so - gives quite a telling picture. Anything which grows from such roots is also shaped by the soil it grows in. Which leads to the question; can any of our creativity be untainted by the structural violences of our societies? We start with the innovation of tools of which weapons are a subset. At base, our creativity depended on violence, or the escape from violence.
(One conclusion seems to be that the move from individual violence to creativity, either separating them and making them distinct, or alternatively subsuming the violent state within the creative state, is something we can work towards; and that seems unarguable. The mechanisms for doing so, and the feedback the data gives us, will give us a chance of retuning and modifying whatever mechanism we attempt. I imagine John and his co-editors/contributors have worked with folk trying to break free of cycles of violence, and I know John contributed to an earlier tome: "Forensic Music Therapy: A Treatment for Men and Women in Secure Hospital Settings" led by Stella Compton Dickinson.)
Maybe there's a reason Leonardo covered his margins in devising weapons of war. I must think more on't.
