Sonu Shamdasani is professor of Jung History at University College London and editor-in-chief at the Philemon Foundation. He is well known for editing the first edition of The Red Book by Carl Jung. If you enjoy our content, please like and subscribe! Question Timestamps: 00:18 Overview 01:36 The role of music in the translation of The Red Book 07:11 Examples of where music has affected translation 10:36 The music of John Zorn & George Gurdjieff 12:10 Interactions between Jung and Gurdjieff 13:55 Music communicating emotion 17:38 Spectating conscious states 19:19 The role of music in philosophy 21:04 Music as "Alchemy of Sound", Schopenhauer's views on music 26:38 The role of beauty 29:39 Lament of the Dead 33:31 Psychology is in a mess, "Tower of Babel" 35:44 Psychology without bias 37:58 Jung's private cosmology, visionary experiences 42:12 Tolkien & Jung 42:38 Did Jung use Psychedelics to create the Red Book? 43:28 Climate change as cosmology 46:28 The need for dogma 48:12 Jung and Meister Eckhart 49:27 Returning to Christianity, religion as a language 52:59 Dreams vs Imagination 55:12 Nietzsche, the need for art, the meaning crisis, advice for artists 1:01:12 How to Listen/Read
A lot of this discussion is treading very closely to The Unanswered Question by Leonard Bernstein, where he discusses actual musical elements in phrenology and how semantics can and cannot be applied. I personally feel music and text or language cannot mix, but they can have a similar inner fundamental tone like Coltrane's A Love Supreme. Bach considered the doctrine of affections where the emotions can be arranged in a kind of colorwheel and have complimentary relationships or contrapuntal juxtapositions. Great unique questions here and it really showed how technical the language of description or expression is and how conscious a person has to be to tread in this area.
I think the questioner in 19:14 meant something very intelligent but did not know how to articulate it. He meant "How does it feel to be the person who translated the works of a person who really lived the myth as an individual, and who did not relegate any of his knowledge or understanding to pre-packaged sources like the example of how concerts are like zoos but for emotions." He is of course speaking as a person who only knows the psyche through the Zoo, meaning that he is still dependent upon Others to complete the myth and meaning FOR him. Whereas Jung, as is evident from his Black Books, would find it absolutely revolting to see his works put up in a zoo. The example Shamdasani brought up about the German words Jung used that do not translate to english perfectly (Jung himself made up a personal secret language in his youth) is evidence to this fact. The man who asked this question, his identity, is diffused into the collectivity. Someone like Jung who contracted and introverted this collective identity into the Self, into something wholly independent and individual necessarily has an influence upon people who have a latent proclivity towards the psyche and are therefore half-way there. Shamdasani himself had a partner whilst working on translating and therefore we must say psychologically not even the translator can answer this question honestly.
How did I miss this one? "The Red Book" Liber Novus C.J. Yung edited and with an Introduction by Sonu Shamdasani. I love Carl Jung. Now I get to hear Professor Shamdasani. Music 🎶
"I listen to music in the foreground and write in the background." Hmmm, very interesting. I'll try this out. I find that I can focus best in a busy bar; where I'm swarmed with noise and activity I'm able to disappear into my work. When I try to read/write with background music, the music becomes a distraction.... and without music, silence is a distraction. ..but putting music in the foreground and choosing music that supports the subject.. I'm excited to try this out.
@@mmiv37 I can never listen to music in the background... Someone has put their time and effort to make interesting patterns of sounds (or boring and repetitive ones in some cases - 4-chord songs for example - which are never easy on the ears and are sounds I would never have the urge to listen to anyways), so I can't help but feel obliged to listen to a captivating artistic creation whenever good music is being played. Good art is hypnotic.
Sonu Shamdasani is professor of Jung History at University College London and editor-in-chief at the Philemon Foundation. He is well known for editing the first edition of The Red Book by Carl Jung.
If you enjoy our content, please like and subscribe!
Question Timestamps:
00:18 Overview
01:36 The role of music in the translation of The Red Book
07:11 Examples of where music has affected translation
10:36 The music of John Zorn & George Gurdjieff
12:10 Interactions between Jung and Gurdjieff
13:55 Music communicating emotion
17:38 Spectating conscious states
19:19 The role of music in philosophy
21:04 Music as "Alchemy of Sound", Schopenhauer's views on music
26:38 The role of beauty
29:39 Lament of the Dead
33:31 Psychology is in a mess, "Tower of Babel"
35:44 Psychology without bias
37:58 Jung's private cosmology, visionary experiences
42:12 Tolkien & Jung
42:38 Did Jung use Psychedelics to create the Red Book?
43:28 Climate change as cosmology
46:28 The need for dogma
48:12 Jung and Meister Eckhart
49:27 Returning to Christianity, religion as a language
52:59 Dreams vs Imagination
55:12 Nietzsche, the need for art, the meaning crisis, advice for artists
1:01:12 How to Listen/Read
Thank you for this discussion and video. What a journey of Jung, philosophy, and creative arts.
Thank you so much!!!!!
Sonu, thank you for your work and for opening up the map.
A lot of this discussion is treading very closely to The Unanswered Question by Leonard Bernstein, where he discusses actual musical elements in phrenology and how semantics can and cannot be applied. I personally feel music and text or language cannot mix, but they can have a similar inner fundamental tone like Coltrane's A Love Supreme. Bach considered the doctrine of affections where the emotions can be arranged in a kind of colorwheel and have complimentary relationships or contrapuntal juxtapositions. Great unique questions here and it really showed how technical the language of description or expression is and how conscious a person has to be to tread in this area.
I think the questioner in 19:14 meant something very intelligent but did not know how to articulate it. He meant "How does it feel to be the person who translated the works of a person who really lived the myth as an individual, and who did not relegate any of his knowledge or understanding to pre-packaged sources like the example of how concerts are like zoos but for emotions." He is of course speaking as a person who only knows the psyche through the Zoo, meaning that he is still dependent upon Others to complete the myth and meaning FOR him. Whereas Jung, as is evident from his Black Books, would find it absolutely revolting to see his works put up in a zoo. The example Shamdasani brought up about the German words Jung used that do not translate to english perfectly (Jung himself made up a personal secret language in his youth) is evidence to this fact. The man who asked this question, his identity, is diffused into the collectivity. Someone like Jung who contracted and introverted this collective identity into the Self, into something wholly independent and individual necessarily has an influence upon people who have a latent proclivity towards the psyche and are therefore half-way there. Shamdasani himself had a partner whilst working on translating and therefore we must say psychologically not even the translator can answer this question honestly.
He's got loads of old school vinyl- nice !
How did I miss this one?
"The Red Book" Liber Novus C.J. Yung edited and with an Introduction by Sonu Shamdasani.
I love Carl Jung.
Now I get to hear Professor Shamdasani.
Music 🎶
Hope you enjoy! 😊
thank you for posting this fascinating discussion. It is especially helpful to have the timestamps.
"I listen to music in the foreground and write in the background." Hmmm, very interesting. I'll try this out.
I find that I can focus best in a busy bar; where I'm swarmed with noise and activity I'm able to disappear into my work. When I try to read/write with background music, the music becomes a distraction.... and without music, silence is a distraction. ..but putting music in the foreground and choosing music that supports the subject.. I'm excited to try this out.
@@mmiv37 I can never listen to music in the background... Someone has put their time and effort to make interesting patterns of sounds (or boring and repetitive ones in some cases - 4-chord songs for example - which are never easy on the ears and are sounds I would never have the urge to listen to anyways), so I can't help but feel obliged to listen to a captivating artistic creation whenever good music is being played.
Good art is hypnotic.