By Franz Simandl
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Extra info for 30 Etudes for the String Bass
Constantly there is the effort to sharpen the perception of the instrument for man, but where is the man in all this, what is happening to him? Too often I feel, while reading science, that the author forgets that he is the final super-instrument, that he forgets mankind altogether along with himself, so submerged is he in the instrumental world. Nature is not a machine. Does man rely too much on the instrument, so much that today he permits it to deceive him because he assumes it no longer supplies a chain of causality?
That what is necessary is a less mechanistic attitude toward determinism, the inheritance from the old mechanics, that it can be replaced by a creative notion of determinism? ” I can only imagine it as a delusion induced by opium, the artist managing to forget the determining role of the opium. Artists of our century, by the car load, presume to possess such a freedom but, as you will note in my writing, I find it to be a fictional freedom at the sacrifice of the unlimited freedom which nature opens to the artist, as it always has.
How in the world does one ascertain with any semblance of confidence, that a “particular form of determinism becomes A New Vision of Totality 25 irrelevant”? How does one decide whether it’s the particular form of the notion of determinism, or whether it is the general notion of determinism, that is irrelevant? ” You repeat the question, but I could not see that you answered it. Why is there always so much obscurity on this issue? I have the impression that faith is posing as fact. Here is a sentence that I quote from your book, a kind of sentence that I frequently encounter in science literature: “Because of the random distribution of the particles an almost continuous pressure is produced on the walls” (italics mine; p.