This episode proposes an expansion of Adam Krims's notion of a Hip Hop Sublime (as discussed in episode 46) beyond its application to gangsta rap and involving something other than terror. This is what I term the "numbing or immersive sublime" and it describes that feeling of oneness with infinity (rather than fear of infinity) and is linked positively to Freud's concept of sublimation. The second segment applies the "numbing sublime" to the work of DJ Screw and the third segment considers Cloud Rap and, in particular, the Clams Casino production "I'm God." 

The episode art is a picture of Clams Casino by Sir Daniel Forte. https://upload.wikimedia.org/wikipedia/commons/4/4b/Clams_Casino.jpg

This episode explores Gangsta Rap and the set of production techniques that musicologist Adam Krims described as the "Hip Hop Sublime." The first segment discusses the rise to prominence of gangsta rap and its social, political, and aesthetic place in the 1990s. The second segment examines the notion of the sublime as illustrated in the writings of Edmund Burke, Immanuel Kant, and Jean-François Lyotard. The third segment examines the notion of the "Hip Hop Sublime" and the manner in which gangsta rap plays on the tension between the mediated and the immediate. 

The photograph used for the episode art is by Premeditated: Premeditated, CC BY-SA 4.0 , via Wikimedia Commons 

This episode looks at Willie Nelson's concept album of 1975, Red Headed Stranger. The first segment explores the interest in murder as a topic within country music--particularly examining the tradition of the murder ballad. The second segment examines the 1870 court case of McFarland vs. Richardson, concerning McFarland's murder of his ex-wife's new fiancee. This segment addresses the "unwritten law" that exonerated husbands killing their wives' seducers, the temporary insanity plea, and the changing position of the woman with respect to independence at the end of the 19th century. The third segment turns to Willie Nelson's Red Headed Stranger as the quintessential country concept album, his role as creator on an album that mostly consists of covers, and the way in which murder is depicted and justified within it. 

This episode examines the Outlaw Country genre of the 1970s with respect to freedom: both in the sense of the artistic freedom that figures like Kris Kristofferson, Willie Nelson, and Waylon Jennings sought within the Nashville system and in the sense of freedom as a topic within the songs themselves. The second segment comes to grips with Kant's ideas about freedom and all the potential ambiguities it presents. Then I turn to the issue of US rugged individualism and its impact on Outlaw Country. 

This is the third in a series where I'm joined by Eric Taxier to discuss Kant's First Critique, the Critique of Pure Reason. In this episode we discuss the Introduction to the Critique. The first segment discusses Kant's conception of the collaboration between the object and our faculties for comprehending that object as well as the distinction between the a priori and the a posteriori. The second segment turn to the Kantian distinction between the analytic and the synthetic and examines the notion of the analytic as involving containment. The third segment zeroes in on the synthetic and the manner in which we are a necessary component of the act of synthesis. We also examine the troubling (for many) notion that math exemplifies the synthetic rather than the analytic. 

This episode examines the issue of play. What is at stake in play? How do "rules of the game" relate to the freedom of play? The second segment turns to the notion that aesthetic pleasure arises for Immanuel Kant from the "free play" of the Imagination and Understanding that exhibits "lawfulness without a law." I suggest that in both play and this notion of aesthetic judgment the "law" or the "rules" are emergent--they emerge out of the act of playing, they are in play. The last segment looks at bebop as a form of play and confronts the Kantian paradox that some limited civil unfreedom leads to greater artistic and intellectual freedom. 

This episode begins by examining historiographical accounts of the rise of bebop and places bebop within the context of Harlem and 52nd Street. The second segment discusses the famous essay "What Is Enlightenment?" by Immanuel Kant and unpacks his concept of autonomy as presented there. Michel Foucault's critical take on Kant's essay introduces the idea of autonomy involving working at the edges of one's being. The final segment presents Harlem and 52nd street as two zones of autonomy for bebop--one involving relatively safe experimentation within isolation and the other offering social change at the risk of assimilation into tradition. 

Eric Taxier and Chad Jenkins discuss the two prefaces of Immanuel Kant's Critique of Pure Reason. We address the different goals and strategies of the two quite different prefaces: the 1781 original and the new preface for the 1787 revision. We discuss the way in which Kant describes Reason as insisting on going beyond what it can directly experience (and the trouble it causes itself in so doing), the notion of a critique, the things metaphysics can learn from other sciences, the importance of being in some way "rule-bound," and the question of one's grasp of the noumenal (or lack thereof). 

This is the first in a series of episodes in which Chad Jenkins and Eric Taxier discuss the Critique of Pure Reason by Immanuel Kant. This episode covers some background information including the conflict between Rationalism and Empiricism, Kant's pre-critical writings, and the authors that led him to the critical impasse: Leibniz, Hume, and Rousseau. 

This episode explores the notion of genius and Immanuel Kant's concept of the aesthetic idea. The aesthetic idea is shown to be the distinguishing element that differentiates natural beauty from art beauty. Progressive Rock is then discussed as a genre that self-consciously courts the label of genius and takes seriously the espousal of ideas (aesthetic and otherwise). "Pantagruel's Nativity" and "Black Cat" by Gentle Giant are discussed along with a brief overview of "Supper's Ready" by Genesis. 

The episode art is a photo of Genesis at the Verizon Center taken by Andrew Bossi, CC BY-SA 2.5 , via Wikimedia Commons