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Abstract
The foreword explains that the book is about Modernism’s favored topic, the Great Nothing. Thus, the book is about nothingness, namelessness, nonaction, nobody, nonrepresentation, nonexpressiveness. Alexander Rehding introduces Daniel Albright as a humble collector of musical examples and Modernist knowledge. It is using this encyclopedic knowledge of literature and music that Albright beckons the reader to think about these philosophical topics not in the abstract, but in concrete terms. The foreword also shows Albright not only as collector but also as critic and fancier. These characterizations foreground the book’s, and Albright’s, unique deixis: the art of showing and pointing out. Or, as psychologist Steven Pinker, a colleague of Albright’s, would recommend, point to objects and don’t stand in the way.
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