We are living in a future where the original, the physical, and the political are increasingly eclipsed, replaced by virtual, mediated realities in which things are copied and re-copied in an endless distorting chain.

…music has – indeed, music arguably is – the capacity to create a set of common affects, enabling otherwise disparate bodies to resonate in harmony, with political consequences that can be either progressive or reactionary depending on circumstances.

[The] combination of intimacy and artificiality is one of the things that makes singing compelling and more than a little eerie: The singer squeezes breath from the moist, abject depths of their physical interior to create sound-shapes that seem transcendent and immaterial. Singing is self-overcoming, pushing against the limits of the body, forcing air into friction with the throat, tongue, and lips in exquisitely controlled and contrived ways.

…the making of art is never itself in the past tense. It is always a formative process, within a specific present.

If the social is always past, in the sense that it is always formed, we have indeed to find other terms for the undeniable experience of the present: not only the temporal present, the realization of this and this instant, but the specificity of present being, the inalienably physical, within which we may indeed discern and acknowledge institutions, formation, positions, but not always as fixed products, defining products.

“I know I have feelings but I don’t feel them”

Without words, big things still get imparted.

There is always a gap between affect and representation. But representations have their own affects.

Sound, Music, Affect: Theorizing Sonic Experience

In presenting forms of feeling music is not articulating any particular affective state so much that it is an event by which one may get a sense of how the world could be felt in its qualitative-relational order.

Sound, Music, Affect: Theorizing Sonic Experience