{"id":2796,"date":"2017-04-07T10:42:58","date_gmt":"2017-04-07T08:42:58","guid":{"rendered":"https:\/\/www.culturestreetofficial.com\/home\/?p=2796"},"modified":"2017-04-07T18:32:02","modified_gmt":"2017-04-07T16:32:02","slug":"philosophical-perspective-about-hip-hop-by-benjamine-weill-part-2","status":"publish","type":"post","link":"https:\/\/www.culturestreetofficial.com\/home\/philosophical-perspective-about-hip-hop-by-benjamine-weill-part-2\/","title":{"rendered":"Philosophical perspective about Hip Hop by Benjamine Weill (Part 2)"},"content":{"rendered":"

The International Underground Rap & Hip Hop connexion has the immense pleasure to greet into its writers team the French Philosopher Benjamine Weill.<\/p>\n

With a solid background into Contemporary philosophy at the University of the Sorbonne (Paris) she grew up with Hip Hop and is currently writing a book about it, that will be released within the year!<\/p>\n

Benjamine is already writing also some articles about the movement and the culture with always some kind of a philosophical approach and a larger vision\u2026 You will find below the first part of \u201cPhilosophical perspective about Hip Hop by Benjamine Weill\u201d.<\/p>\n

We will be publishing this part of her work for the movement as a series offered to our readers little by little and also some of her other articles within the year.<\/p>\n

We will also keep you up to date with her upcoming book and we really do hope that you will be as interested as we are by her peculiar approach of both, Hip Hop and Philosophy.<\/p>\n

Article written by Benjamine Weill and translated from French to English by Isa Nahila S-Bigini<\/p>\n

First below you will find her text in French and then its translation into English.<\/p>\n

Lire l’introduction (Part 1) – Read the introduction<\/strong> [LINK]<\/a><\/p>\n

Part 2<\/h1>\n

 <\/p>\n

Ma d\u00e9marche para\u00eetra insolite car, a priori, la philosophie et le Hip-Hop n’ont rien \u00e0 voir, comme le soutiennent certains “penseurs”, qualifi\u00e9s de philosophes par les m\u00e9dias. Ils voient dans ce mouvement, une “am\u00e9ricanisation” de la soci\u00e9t\u00e9, un “abrutissement des masses”, une “perversion des valeurs r\u00e9publicaines”… Cette vision du Hip-Hop et du rap fran\u00e7ais – ce sont essentiellement les rappeurs fran\u00e7ais qui sont vis\u00e9s – rel\u00e8ve d\u2019une appr\u00e9hension trompeuse du mouvement, de ses enjeux et de ses textes. Il s’agit d’une lecture superficielle, qui s’arr\u00eate \u00e0 un premier niveau, le plus imm\u00e9diat, sans s\u2019interroger sur le sens sous-jacent aux mots, sur le sens de la structure m\u00eame des textes.<\/p>\n

Ils n’y voient aucune esth\u00e9tique, \u00e0 l\u2019encontre d\u2019Hegel lui-m\u00eame (une r\u00e9f\u00e9rence en mati\u00e8re d’esth\u00e9tique pour les intellectuels\u00a0!) quand il \u00e9crit\u00a0: ” pareille musique ne nous touche que dans la mesure o\u00f9, jaillie de la vitalit\u00e9 propre du rossignol, sans aucune intention, elle ressemble \u00e0 l’expression de sentiments humains”1.<\/p>\n

Il nous alerte sur le fait que l’art n’a pas vocation \u00e0 rendre compte d’une suppos\u00e9e r\u00e9alit\u00e9 vraie, \u00e0 \u00eatre ressemblant, mais qu\u2019il humanise la nature, non par la raison, non par objectivation mais par subjectivation. Autrement dit, il ouvre la voie sur la transformation du monde en quelque chose de sensiblement accessible. L\u2019art, selon Hegel, ce n\u2019est pas une pure et simple imitation \u00ab\u00a0objective\u00a0\u00bb de la nature, mais bien la mani\u00e8re dont l\u2019artiste la per\u00e7oit pour lui-m\u00eame et ainsi renvoie chacun des auditeurs \u00e0 leur propre existence, leur propre perception du monde\u2026<\/p>\n

Il poursuit en nous invitant \u00e0 penser qu’ “\u2026 il convient mieux \u00e0 l’homme de trouver la joie dans ce qu’il tire de son propre fond”2, \u00e0 savoir ses \u00e9motions, ses affects et tout ce qui fait de lui son unicit\u00e9.<\/p>\n

Ainsi, la question de savoir si le rap rel\u00e8ve du beau n’appartient pas \u00e0 une \u00e9lite intellectuelle puisqu’en mati\u00e8re d’art, ” on s’en remet au go\u00fbt subjectif, qui ne peut \u00e9dicter aucune r\u00e8gle et ne peut \u00eatre discut\u00e9”1.<\/p>\n

Ce qui est beau, c’est ce qui nous parle, ce qui nous touche, ce qui r\u00e9sonne en nous, fait \u00e9merger une forme d’humanit\u00e9 insoup\u00e7onn\u00e9e et non ce qui est d\u00e9duit d\u2019un raisonnement. Le beau pourrait se r\u00e9sumer, selon la conception h\u00e9g\u00e9lienne, en ce qui nous meut. On pourrait le rapprocher du d\u00e9sir, de ce qui nous met en mouvement pour aller vers l’autre. Toutefois, il ne peut s’y r\u00e9duire, il va au-del\u00e0 du d\u00e9sir, qui se perd en s\u2019assouvissant. Ce que suscite l’art en nous est d’un autre ordre. Il ne vise pas la satisfaction individuelle, il d\u00e9passe l’individu en r\u00e9unissant des individus autour d’un m\u00eame objet. En ceci, il est \u00e0 la fois de l’ordre du d\u00e9sir (qui met en mouvement et en attrait pour l’autre et le monde), et par del\u00e0 le d\u00e9sir, puisque ce dernier s’annule par sa satisfaction, alors que l’art augmente par la communion qu’il inspire autour de l’objet de d\u00e9sir.<\/p>\n

Il y a donc quelque chose du d\u00e9sir dans l\u2019art, puisqu\u2019il met en mouvement et qu\u2019il g\u00e9n\u00e8re du plaisir (au sens fort du terme), mais il ne s\u2019y r\u00e9duit pas. Ce quelque chose du d\u00e9sir que rec\u00e8le l’art, je fais l’hypoth\u00e8se qu’il s’inscrit, se comprend du c\u00f4t\u00e9 du f\u00e9minin, d’un d\u00e9sir qui ne serait pas an\u00e9anti par sa satisfaction, mais bien augment\u00e9, amplifi\u00e9 par sa satisfaction.<\/p>\n

Plus j\u2019\u00e9coute du rap, plus j\u2019ai envie d\u2019en \u00e9couter. De m\u00eame que la philosophie peut me faire exactement le m\u00eame effet. Plus j\u2019avance dans un raisonnement, plus j\u2019ai envie de le continuer. Plus je m\u2019approche de quelque chose qui me semble \u00eatre \u00e0 la fois nouveau et \u00e9vident, plus la joie me prend, au sens de la jouissance spinoziste1. Cette jouissance \u00e0 la fois intellectuelle et physique, je l\u2019ai ressentie plusieurs fois tant avec l\u2019un qu\u2019avec l\u2019autre. Nous le connaissons tous sans forc\u00e9ment le relier \u00e0 un \u00e9v\u00e9nement particulier. Chacun d’entre nous a exp\u00e9riment\u00e9 au moins une fois, ce plaisir intense, presque physique d’ailleurs, o\u00f9 l’on a le sentiment d’avoir saisi quelque chose de nouveau, d’original. C’est le fameux Eur\u00eaka! La d\u00e9charge de plaisir qui s’op\u00e8re alors est tout aussi r\u00e9elle que celle qui am\u00e8ne au plaisir physique. C’est de ce type de d\u00e9charge qu’il s’agit ici justement.<\/p>\n

En ceci, l’art vise quelque chose d’universel, sans toutefois, l’avoir d\u00e9j\u00e0 pr\u00e9vu. Cet universel, \u00e0 savoir ce qui vaut pour tous indiff\u00e9remment de nos particularit\u00e9s individuelles, c’est bien le Beau. Ce Beau a connu plusieurs d\u00e9finitions selon les \u00e2ges et les \u00e9poques. Pour les grecs anciens (et notamment pour Platon qui d\u00e9veloppe sa conception dans le Banquet), le Beau relevait de l’harmonie procur\u00e9e par la reproduction fid\u00e8le de la nature.<\/p>\n

L’apoth\u00e9ose du Beau, son arch\u00e9type, \u00e9tant la nature. C’\u00e9tait donc par comparaison objective qu’on \u00e9valuait la force esth\u00e9tique. Cette conception a guid\u00e9 longtemps l’art picturale notamment, consid\u00e9r\u00e9 comme art premier, supr\u00eame. La musique, en soi, ne peut pas \u00eatre reproduction fid\u00e8le de la nature. Elle fait d\u00e9j\u00e0 appel \u00e0 l’imagination puisque l’harmonie se situe autant dans les notes elles-m\u00eames que dans leur encha\u00eenement, \u00e0 savoir ce qui se joue entre les notes. Par ailleurs, la musique \u00e9veille des sensations et des images en nous, elle n’est pas purement intellectuelle et rationnelle. Ce qui la rend belle, au sens esth\u00e9tique, ce n’est pas tant la mani\u00e8re dont elle repr\u00e9sente quelque chose de d\u00e9j\u00e0 connu \u00e0 son auditeur, mais bien la mani\u00e8re dont elle l’\u00e9veille \u00e0 lui-m\u00eame, aux autres, la mani\u00e8re dont elle r\u00e9unit les subjectivit\u00e9s. C’est pourquoi, elle vise quelque chose d’universel (le Beau) autour duquel, les individus \u00e9pars peuvent se retrouver, sans pour autant le chercher. Elle se donne \u00e0 entendre et c’est \u00e0 partir de l’effet produit qu’on peut la qualifier de belle ou non (pour soi d’abord : est-ce que \u00e7a r\u00e9sonne? est-ce que \u00e7a me parle?), mais aussi pour l’humanit\u00e9 qu’elle porte en elle.<\/p>\n

La musique, en tant que telle, met en perspectives l’universel et le particulier. A travers le plaisir individuel que me procure un morceau, je rejoins la communaut\u00e9 de ceux qui l’\u00e9coutent, l’ont \u00e9cout\u00e9s, l’\u00e9couteront. Par cette joie qu’elle g\u00e9n\u00e8re, la musique me relie \u00e0 l’humanit\u00e9 toute enti\u00e8re. Elle me r\u00e9veille \u00e0 mon humanit\u00e9 sensible, auditive et non seulement intellectuelle.<\/p>\n

Cette vis\u00e9e de l’art, et a fortiori de la musique si elle n’est pas purement intellectuelle, c’est qu’elle s’apparente \u00e0 une pulsion, un \u00e9lan, ce que Spinoza appelle le “conatus”. Celui-ci loin de viser sa satisfaction, permet sa propagation, son augmentation. Le terme latin signifie litt\u00e9ralement l’\u00ab\u00a0effort\u00a0\u00bb\u00a0; Spinoza nomme conatus la puissance propre et singuli\u00e8re de tout \u00ab\u00a0\u00e9tant\u00a0\u00bb \u00e0 pers\u00e9v\u00e9rer dans cet effort pour conserver et m\u00eame augmenter sa puissance d’\u00eatre. Le conatus est un terme dont l’extension \u00e0 tout \u00e9tant-existant singulier est universelle (puisque tout \u00eatre vivant vise \u00e0 la pers\u00e9v\u00e9rance de son \u00eatre).<\/p>\n

English version<\/strong><\/p>\n

My approach will seem peculiar because a priori, philosophy and Hip Hop have nothing to do together as certain “thinkers” qualified of philosophers by the media, sustain it. They see into this movement an “americanization” of the society, a “mindlessness” of the masses, a “perversion of the republican values”… This vision of French Hip Hop and rap (because French rappers are essentially the ones that are concerned by this thinking), comes from a misleading perception of the movement, of its issues and of its texts. It is a superficial reading that stops to a first level, the most immediate, without wondering about the meaning underlying within the words. The meaning itself of the structure of the texts.<\/p>\n

They see no esthetics running counter to Hegel himself (a reference within the esthetics matters for intellectuals!), when he writes: “pareille musique ne nous touche que dans la mesure o\u00f9, jaillie de la vitalit\u00e9 propre du rossignol, sans aucune intention, elle ressemble \u00e0 l’expression de sentiments humains” (additional explanation not to translate this thought wrong: he is saying that the same music that touches us as far as possible as the vitality is coming from the nightingale, without no intention, and it looks as the expression of human feelings).<\/p>\n

He warns us about the fact that art has no vocation to account for a supposed ‘true’ reality (to similar humans), but that it humanizes the nature, not through the purpose, not through the objectification but through the subjectification. In another words, it opens the path to the transformation of the world into some accessible sensitivity. Art according to Hegel is not a pure and simple “objective” imitation of the Nature but the way the artist perceives for himself and then sends back to the audience their own existence, their own perception of the world.<\/p>\n

He continues by inviting us to think that it fits more to the man to find his joy it what comes from his own substance, his emotions, his affects and all that makes his unicity.<\/p>\n

So, the question about knowing whether rap belongs to the “beautiful” does not belong to the elite of the intellectuals because when it comes to art we rely on subjective tastes that cannot enact any rule and that cannot be discussed.<\/p>\n

What is beautiful is what is talking to us, what is touching us, what is resonating within ourselves, making emerging a form of unexpected humanity and not what is deducted from a reasoning. The beautiful could be summed up according to the Hegel conception, by what is moving us. We could link it to desire, to what puts us into movement to go towards to others. However it cannot be reduced within it, it goes further than desire that is losing itself into the satiating. What generates Art within us is from another order. It does not aim at the individual satisfaction, it goes further than the individual by reuniting them around the same object. For that it is coming at the same time from the desire (that puts into movement and into attraction for the others and the world), and further than the desire, because this last one cancels itself through the satisfaction, when Art increases through the communion that it inspires us around the object of the desire.<\/p>\n

There is something from desire into art as it puts into movement and generates pleasure (in the strong meaning of the term). But it does not reduce itself into it. This something from the desire that comes from Art, I make the hypothesis that it logs itself, it undestands itself from the feminine side, from a desire that would not be annihilated by the satisfaction, but rosed, amplified by its satisfaction.<\/p>\n

The more I listen to rap the more I want to continue. The more I approach from some that seems to me at the same time new and evident, the more the joy takes me in the sense of the Spinoza’s enjoyment. This pleasure that is at the same time intellectual and physical, I felt it many times with one and the other. We all know it without always linking it to a particular event. Each of us experimented at least once this intensive pleasure, almost physical even, when you have this feeling that you seized something new, original. This famous “Eur\u00eaka”! The discharge of the pleasure that occurs then is all as real that the one that leads to physical pleasure. This is the type of “discharge” that applies here.<\/p>\n

Into this Art aims at something that is universal without having already predicted it. This universal, that applies to all no matter what the individual particularities are, is the Beautiful. This Beautiful encountered many definitions according to the ages and the periods. For the ancient Greeks (particularly for Platon who developped his conception within the Banquet), the Beautiful came from the harmony brought by the true reproduction of the Nature.<\/p>\n

The apotheoses of the Beautiful, its archetype being the Nature. So it was by an objective comparison that we were evaluating the esthetics. This conception long guided the apotheoses of the pictorial Art for instance and is considered as “primary Art”, supreme. Music in itself cannot reproduce the Nature with fair views. It already is appealing to the imagination as the harmony is lying in at the same time within the level of the musical notes itself than into their sequences (what is between the notes).<\/p>\n

Furthermore, music wakes up sensations and images into us, it is not only intellectual or rational. What makes her beautiful from an esthetic point of you is not so much the manner it represents something already known by its auditors but really the way it wakes the auditor up to himself, to the others, the way it unites subjectivities. This is why it aims at something that is universal “the Beautiful” around which the individuals can meet up with each others without searching for it. It gives itself to be heard and it is from the effect that is produced that we can qualify it from Beautiful or not (for ourselves at first: is this resonating? Is it talking to me?), but also for the Humanity that is held into itself.<\/p>\n

Music, as itself, puts into perspectives the Universal and the particular. Throughout the individual pleasure that a track brings up I join the community of those who listen to it, those who have listened to it and those who will listen to it. Through the joy it generates, Music links me to the entire Humanity. It wakes me up to my sensitive, auditory and intellectual humanity.<\/p>\n

This aiming of the Art is (and a fortiori of the Music if it is not purelly intellectual), is that it relates to a pulsion, an impetus, what Spinoza calls the “conatus”. This one far from aiming at its satisfaction, enables its propagation and its increase. The Latin word means literally “the effort”. Spinoza calls “conatus” the equity and singular extension of all “being” to persevere into the effort of keeping and even rising its power of being. The “conatus” is a word which extension to all that exists singularly is universal (as all human beings aims to the perseverance of very being).<\/p>\n","protected":false},"excerpt":{"rendered":"

The International Underground Rap & Hip Hop connexion has the immense pleasure to greet into its writers team the French Philosopher Benjamine Weill. 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