What does Teh-Ping and Musicology have in common? The subject as the arbiter of socio-epistemelogical reality, that mediates the hand that picks up a chilled glass of teh-ping, together with the hand that scribbles from the ear. In short, nothing. This is an experiment, pure and simple, according to the liberal rules that this medium may grant this author (which may mean scholarly slipshoddiness, but I'll try my best to be scrupulous), the rules of which, as Lyotard explains in The Postmodern Condition, are found only in retrospect. Where form governs the rule, which then becomes circularly appropriated as a priori. Hear me, because I'm listening.
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