Sound Determinations

So, just to focus in on a few particular areas of the quoted passage (pp. 266-7) in "The World As Will and Representation," as they may apply to the song & video for "222," by Paul McCartney:

"the world as representation, if we consider it in isolation, by tearing ourselves from willing, and letting it alone take possession of our consciousness, is the most delightful, and the only innocent, side of life."

I recently discovered a few things about this song that helped me to rationalize the decision for producing a music video with such simple, mimetic qualities.

He created the song for his daughter, Beatrice, when she was two years old, and I suspect that has something to do with the ornamental (almost nursery-like) charm of the visual component. This is the 'perfection' and 'intelligence' behind the glossed-over approach to an otherwise instrumentally temperamental strophic composed track, described in the lines by Schopenhauer to illustrate music, as art, being "the greater enhancement... [and] development." I imagine Schopenhauer calling music the 'flower of life' wouldn't be too objectionable to Paul, as part of the song's short lyrical offering, "look at her walking"(referring to his daughter's early steps?) is quite appropriate for such an event, even if Schopenhauer might consider a live performance of the song by musicians the better form of enhancement if he were to experience it today.

Lastly, the old standard British Railway ticket number is 222 -- this connection could mean many things, or nothing. But, I'll propose that a train bears nostalgic value for a child to later discover in some cultures. For example, a ticket to ride the train on the tracks of life as a metaphor in cherishing moments as they occur; the forward motion of a train because it has the capacity to be mobilized over tracks in one direction with effect and purpose on an agenda with certain planned stops. There is some esoteric stuff going on with McCartney here; the meaning of the title, and the unifaceted, stand alone effect of the visuals -- which is after all for an album bonus track -- require piecing together with the midi-made music for any final appraisal to be determined.

Schopenhauer refers to music as the "play within the play, the stage on the stage..", and Paul McCartney has had a lifetime of literally playing on stages on a multitude of degrees. I find it kind of nice that he recorded the entire song on a personal computer in a home studio, especially knowing some of the significance for its creation. Then again, I also happen to like obscure tracks that have seemingly nothing to register, but for their sound.