Object Complicity

This investigation is predicated on the following axioms:

1. As concept users, we are constituted by our commitments.
2. We are constituted as such in relation to a preexisting network of conceptual relations.
3. Aesthetics refers to the domain of forces that govern how desire organises material
4. Dancing along requires one to adopt a primeval sense of correctness.
5. Musical refers to those aesthetic forces that contain an invitation to dance along.
6. This primeval sense of correctness is constituted by a set of indeterminate, implicit commitments.
7. Such commitments become both determinate and explicit retroactively, via discourse.

This paper can be understood then, as an investigation into the ways in which the following objects can be said to be musical:

• the pipe organ / piano / synthesiser
• the flat-screen television / humurously oversized family 4WD
• the printing press / mobile phone