{"id":6334,"date":"2013-05-14T10:57:22","date_gmt":"2013-05-14T14:57:22","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=6334"},"modified":"2013-05-14T11:05:29","modified_gmt":"2013-05-14T15:05:29","slug":"an-absurd-debate-about-the-last-word","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2013\/05\/an-absurd-debate-about-the-last-word.html","title":{"rendered":"
An Absurd Debate About the Last Word<\/center>"},"content":{"rendered":"

Following up on the previous blogpost<\/a>, Gerard Bellaart sent a superimposition of several lines on Beckett’s short dramatic monologue “Not I.”<\/a><\/p>\n


From Gerard Bellaart’s ‘Writers at Work’ series of superimpositions.<\/a><\/p><\/div>\n

Bellaart also sent an excerpt from Michael Maier’s paper, “GEISTERTRIO: Beethoven’s Music in Samuel Beckett’s ‘Ghost Trio.'”
\n


From Michael Maier’s ‘GEISTERTRIO: Beethoven’s Music in Beckett’s ‘Ghost Trio.’<\/a><\/p><\/div> To which, Bellaart says: “The debate as to whether music has the last word is rather like looking for reasons to believe in the absurd.”<\/p>\n","protected":false},"excerpt":{"rendered":"

Following up on the previous blogpost, Gerard Bellaart sent a superimposition of several lines on Beckett’s short dramatic monologue “Not I.” Bellaart also sent an excerpt from Michael Maier’s paper, “GEISTERTRIO: Beethoven’s Music in Samuel Beckett’s ‘Ghost Trio.’” To which, Bellaart says: “The debate as to whether music has the last word is rather like […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,18],"tags":[],"class_list":{"0":"post-6334","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"category-literature","8":"entry","9":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-1Ea","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/6334","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=6334"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/6334\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=6334"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=6334"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=6334"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}