Music is the equivalent of some of man’s most significant and most inexpressible experience
From pure sensation to the intuition of beauty, from pleasure and pain to love and the mystical ecstasy and death—all the things that are fundamental, all the things that, to the human spirit, are most profoundly significant, can only be experienced, not expressed. The rest is always and everywhere silence.
After silence that which comes nearest to expressing the inexpressible is music. (And, significantly, silence is an integral part of all good music. Compared with Beethoven’s or Mozart’s, the ceaseless torrent of Wagner’s music is very poor in silence. Perhaps that is one of the reasons why it seems so much less significant than theirs. It ‘says’ less because it is always speaking).
In a different mode, on another plane of being, music is the equivalent of some of man’s most significant and most inexpressible experiences. By mysterious analogy it evokes in the mind of the listener, sometimes the phantom of these experiences, sometimes even the experiences themselves in their full force of life—it is a question of intensity; the phantom is dim, the reality, near and burning. Music may call up either; it is chance or providence which decides. The intermittences of the heart are subject to no known law. Another peculiarity of music is its capacity (shared to some extent by all the other arts) to evoke experiences as perfect wholes (perfect and whole, that is to say, in respect to each listener’s capacity to have any given experience), however partial, however obscurely confused may have been the originals thus recalled. We are grateful to the artist, especially the musician, for ‘saying clearly what we have felt, but never been able to express.’ Listening to expressive music, we have, not of course the artist’s original experience (which is quite beyond us, for grapes do not grow on thistles), but the best experience in its kind of which our nature is capable—a better and completer experience than in fact we ever had before listening to the music.
[...] the act of reading is a secret, and sometimes fertile, ceremony of communion. Anyone who reads something that is really worth the trouble does not read with impunity. Reading one of those books that breathe when you put them to your ear does not leave you untouched: it changes you, even if only a little bit, it integrates something into you, something that you did not know or had not imagined, and it invites you to seek, to ask questions. And more still: sometimes it can even help you to discover the true meaning of words betrayed by the dictionary of our times. What more could a critical consciousness want?
Source : Past, Present, and Future: Interview with Eduardo Galeano, December 25, 2008, mronline
One piece of information followed by a denial, that's two pieces of information.
The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning. It’s not something that committees can do. It’s not a task achieved by groups or by movements. It’s done by individuals, each person mediating in some way between a sense of history and an experience of the world.
The only morality of the algorithm is to optimise you as a consumer and in many cases you become the product. There are very few examples in human history of industries where people themselves become products and those are scary industries – slavery and the sex trade. And now we have social media.