Martin Flašar: Mankind – Music – Technology

by Anders Flodin

The book Mankind – Music – Technology: Technology in the Musical Thinking of the 20th and Early 21st Centuries examines the modalities of human relationships and technology as reflected in the musical thinking of the authors of art music of the 20^th and early 21^st centuries. The discursive and reference frame of the treatise consists mainly of individual artistic poetics and more general musical-aesthetic reflections embedded in the basic theoretical concepts of technology and its functions in culture and society.

The departure point for the work is the German philosopher Martin Heidegger, best known for contributions to phenomenology, hermeneutics and existentialism, and his lecture Die frage nach Technik, in which he suggests humanizing technology through art. The following chapters examine the relationships between man, music, and technology from three points of view. Chapter 3 deals with musical artifacts in the developmental arch, chapter 4 analyses the transformation of the musical artifact in the developmental arch of the 20th century from numerical abstraction through digitization to materialization in musical as well as non-musical art forms. Chapter 5 is a representation of man and his thinking in relation to technology in music. Here he distinguish between four basic types of attitudes in musical thinking on technology, categorized by the degree of influence attributed to technology: techno-utopian/techno optimistic, techno-realistic, techno-sceptic, and post-technological. In the latter, he define four basic artistic strategies forming separate types: critical attitude, adaptation of technological models, recycling, and inspiration. These strategies are ranked from generally negative attitudes through specifically positive to generally positive. 

Martin Flašar’s intellectual capacity is considerable and he expresses himself not only with sharpness in his music as a composer and interpreter, as I know him, but also through numerous articles.

In Mankind – Music – Technology, Martin Flašar tackles an urgent and contemporary topic that resonates deeply with today’s society. The ambition behind this book is commendable, as it explores the intersection of human experience, the evolution of music, and the role of technology in shaping our cultural landscape. Flašar’s thoughtful examination highlights the profound impact that technology has on music production, distribution, and consumption. He effectively sheds light on how these changes affect our connection to music and, in turn, our collective humanity. The book navigates through complex themes, making it not only informative but also relevant to current discussions about the future of music in the digital age.

If you are interested in understanding the significant challenges and opportunities that arise from the interplay between technology and the arts this book is a good choice. Flašar’s insights are crucial for anyone who seeks to grasp the evolving dynamics of today’s world, where music remains a powerful means of expression and connection. During the time I read the book, I will think of other philosophers who are not always as progressive as Heidegger, for example texts of the German philosopher Günter Anders (born: Günter Sigmund Stern), who attended classes by Edmund Husserl and Martin Heidegger. 

Overall, this book is an important contribution to the ongoing dialogue about technology’s role in our lives and the arts.

References

Anders, Günter. https://www.guenther-anders-gesellschaft.org/vita-english [20241215]

Flašar, Martin (2024). Mankind – Music – Technology: Technology in the Musical Thinking of the 20th and Early 21st Centuries, Masaryk University Press, Brno.