Pink Floyd and Philosophy: Careful with that Axiom, Eugene!
George A. Reisch
Open Court Publishing, 2007 - Music - 298 pages
Pink Floyd's sound and light shows in the 1960s defined psychedelia, but their later recordings combined rock, orchestral music, literature, and philosophy. Dark Side of the Moon and The Wall ignored pop music's usual strictures to focus on themes of madness, despair, brutality, and alienation. Here, 16 scholars set delve into the heart of Pink Floyd by examining ideas, concepts, and problems usually encountered not in a rock band's lyrics but in the pages of Heidegger, Foucault, and Sartre. These include the meaning of existence, the individual's place in society, the contradictions of art and commerce, and the blurry line between genius and madness. The band's dynamic history allows the writers to explore controversies about intellectual property, the nature of authorship, and whether wholes, especially in the case of rock bands, are more than the sum of their parts.
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Adorno alienation Animals Arnold Layne artist Atom Heart Mother audience auditory image band’s bass become Birth of Tragedy Brain Damage Buber Camus chords cinematic consciousness Crazy Diamond create Dark Side David Gilmour Dionysian dream Echoes Eclipse evaluate existence feel film Final Cut Foucault Gates of Dawn guitar human I-You idea identity imagine individual insane intentions Interstellar Overdrive Jugband Blues kind Lapse of Reason listener live Madcap Laughs madness mashup mean mode of encounter modern Moon musician Nick Mason Nietzsche Nietzsche’s Non-Being one’s perhaps person Philosophy Pink Floyd album Pink Floyd’s music Pink’s Piper play popular music psychedelic Rasta record Rick Wright Roger Waters Sartre Saucerful of Secrets seems sense Set the Controls singing Sisyphus social solo song sound structure Syd Barrett Syd’s there’s things tion Ummagumma understand visual Wall Waters’s what’s Wish words