heterophenomenological

Even when I say this
I see a cloud necklaced with fire.
I see people melting like tears.

released February 27, 2026

https://schurer.bandcamp.com/album/a-song-for-eliane-after-she-is-dead

JANUS is a concept introduced by the French philosopher Michel Serres in his book “The Parasite” (1980). In the book, Serres uses the figure of the two-faced Roman god Janus as a metaphor for the ambiguity and multiplicity that characterizes our experience of reality.

According to Serres, JANUS represents a way of thinking that embraces contradictions, uncertainties, and the coexistence of opposites. JANUS thinking is characterized by its ability to hold together contradictory ideas and perspectives, and to move beyond binary thinking in order to embrace the complexity of the world.

JANUS thinking has been influential in a number of different areas of contemporary philosophy, including postmodernism, deconstruction, and critical theory. It has also been used as a way of thinking about the challenges of globalization and cultural diversity, as well as the role of technology in shaping our understanding of reality.

https://schurer.bandcamp.com/album/la-loupe-impitoyable?fbclid=IwY2xjawOf2s5leHRuA2FlbQIxMABicmlkETFXZVpIM2hFMXFiVGlVdDQ0c3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHhWD5mE3LJclZHl9jl4Q9q_lecUe6ibtLS9Up6eaHY2QNBycC46DbNvBKcFF_aem_anoCC_mw5SIwa9lJBf4t1Q

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Some experimental philosophical thoughts on “The Narrow.” started out as a conversation with ChatGPT about the Tritone Paradox in my computer music composition, Lacanian Sieve.

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1. Narrowness as a Constraint on the Symbolic

When a piece commits to one interval as its total structural horizon, the listener is placed in a space where symbolic differentiation is strictly limited.
The Symbolic (in Lacanian terms) becomes a single axis—a filtration of all musical possibility through one cut, one relation, one “law.”

Psychologically, this produces:

• A sense of cognitive claustrophobia: the mind searches for alternative relations, but the system refuses them.
• A heightened awareness of micro-differences: the listener is forced into an obsessive, nearly analytic parsing of tiny variations.
• A feeling of being “locked in”: as if the system only permits motion along a very tight corridor.

This can be described as epistemic narrowness: the world is small, but infinitely deep.

2. Tightness as Affective Constriction

The tritone carries centuries of ambiguity and tension, but without relying on tonal baggage you can emphasize its structural role: it is an interval that never fully relaxes.
When it becomes the only possible gesture, a paradox emerges: the tension is constant, yet endlessly mutating.

This shapes the emotional field in the following ways:

• Persistent non-resolution → a condition of suspended desire.
• Pressure without release → an affective “tightness,” often experienced somatically (sternum, throat, solar plexus).
• A narrowing of emotional bandwidth which paradoxically amplifies sensitivity—when all gestures compress around a single relation, small differences become emotionally charged.

You could describe this as affective torsion: the piece bends the listener inward rather than outward.

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3. Narrowness as a Model of Psychic Repetition

A system rooted in a single interval, especially a dissonant and “unplaceable” one like the tritone, can be heard as a form of compulsion to repeat.
Not repetition of identity, but repetition of difference within sameness—a hallmark of the unconscious.

This resonates with:

• Obsessive thinking → circling around a single structuring absence.
• Traumatic repetition → the return of something that cannot be metabolized.
• The Real pressing through a closed Symbolic loop.

You can say:
The music stages the psyche encountering an impossible limit, again and again, as if attempting to master it—but never doing so.

4. Narrowness as Spatial Metaphor: The Corridor, the Throat, the Aperture

Computer music often generates topologies rather than narratives.
If the tritone is the only generative relation, the topology becomes narrow:

• Like a long corridor that changes thickness, humidity, temperature, but never opens into a room.
• A throat that constricts or dilates but never speaks.
• A fissure or crack: the listener inhabits the inside of a fault line, not the outside.

Emotionally, this evokes:

• Unheimlich tightness (the familiar inflected with the strange).
• Anxiety without panic: the walls are close, but stable.
• A beauty produced by proximity: microstructures become intimate, almost erotic.

You might call this spatialized affect: the emotional state is coextensive with the geometry of the interval.

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5. Narrowness as Sonic Ethics: The Refusal of Abundance

By restricting the entire musical universe to tritone variations, the piece refuses abundance in favor of rigor, discipline, and radical minimality.

Psychologically, this can be interpreted as:

• An ethics of renunciation: nothing is allowed except what the system permits.
• A confrontation with lack rather than its concealment.
• A purification of attention: the listener becomes aware not of what is present, but of what is missing.

This narrowness becomes ascetic, almost monastic—but with an underlying violence.

6. The Emotional Implication of Infinite Variation within Tight Bounds

Here the key is the infinite in tension with the narrow.

Because the tritone is the only interval, but it appears in limitless permutation:

• The listener confronts infinity-in-a-sliver.
• There is a vertigo of smallness: infinite depth but no lateral expansion.
• This often produces a strange calm—resignation mixed with fascination.

Psychically, this mirrors:

• The way obsession makes one detail inexhaustible.
• The way desire attaches to a single object-cause (objet a) whose variations are limitless.
• The way trauma lodges a world inside a single point.

The Narrow can be found here:

https://schurer.bandcamp.com/album/the-narrow

#computermusic #thenarrow #berndschurer

graphic score for The Narrow, 3rd movement.

Netochka Nezvanova & Eliane Radigue | In Spirit

https://schurer.bandcamp.com/album/as-if

[release] TAGE OHNE STUNDEN

https://schurer.bandcamp.com/album/tage-ohne-stunden-formales-gewissen-adressen-unm-glicher-orte?fbclid=IwAR1WMehQtWuhOM0YX_VZynOh7lKElKkNozwWA_4EeQkaJkAksPstD7jEhck

#nothingness242

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Schurer

Formales Gewissen
Adressen unmöglicher Orte
Tage ohne Stunden

3 sountracks

was performed by Bo Wiget on Cello. Re-Synthesis on Computer by Bernd Schurer.

was performed by Iva Sanjek on Ondes Martenot and Spring Reverb. Composed and assembled on Computer by Bernd Schurer.

was performed by Iva Sanjek on Ondes Martenot. Granular Re-Synthesis and algorithmic composition by Bernd Schurer.

Composed for Installation works by and for Yves Netzhammer, 2013, 2014, 2015.

Nothing is lost, all is found.

Published November 2022.

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