No other interval carries an equivalent ambivalence or affect. The major seventh simultaneously belongs to its tonic and nevertheless sounds a world apart. By comparison, the tritone belongs to the major scale only as a matter of technicality; its dissonance is total, so much so that it is caricatured. Far from this crass and cartoonish dissonance, the major seventh uses dissonance to achieve transcendence. Or: the major seventh is beautiful by and through its very dissonance, through its long distance from tonic that is also the shortest distance possible.
(Chapter Four, Footnote 6)
This past weekend I was lucky to present at the Capacious conference in Lancaster, PA. Subtitled “Affect Inquiry/Making Space”, the title alludes to affect’s transdisciplinary spread as well as the omnivorous attitude that such a spreading-capacity engenders, at least in my experience, in those who think with it. I found the conference to be incredibly expansive both in breadth and depth, indeed a space-making for all kinds of approaches, topics, experiences, and ideas. I come away lit up with new energy.
As I continue writing my dissertation, affect is becoming an increasingly important aspect of how I think about improvisation. Maybe I will talk about that here soon. In the meantime, if you want more affect, you can start here.