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With the publication of On the Origin of Species by Charles Darwin in 1859, the concept of selection became the key for a new understanding of processes in general. Biological evolution is a process that relates variability (within and between species) to external conditions (environment) by selection. In the case of sexual selection, which does not refer to the struggle for existence, but—as Darwin puts it—to the struggle between males for the possession of the females, the role of the environmental conditions is complex, as there are many examples of sexually successful variations that carry no advantage regarding the survival in the environment. Both natural and sexual selection are not conceived of as acts of individuals but rather as results of a testing process: Is a certain variation of an organ successful with respect to certain environmental conditions or the chances for reproduction? Does it increase the chance of individual or generical survival? Variations, however, have only an evolutionary impact if they are hereditary.

The application of these evolution theoretical concepts on cultural and societal phenomena is historically burdened, since the so-called social Darwinism became the framework for racism, eugenics, and fascism in the first half of the 20th century. From a purely scientific perspective, this application runs the risk of reductionism offering teleological explanations for the existence of cultural forms of all kinds. For example, making music can be seen as an evolutionary reasonable behavior with regard to sexual selection (the sexual advantages of musicians are not only implicit but even thematic in popular music; playing the piano is almost a necessary criterion for the marriageability of the Victorian gentry). Concerning the struggle for existence, music can be said to perform valuable functions for the development of social and communicative behavior, which is a key to the success of a kin, a tripe, or a people. Modern evolution theories, however, emphasize the contingency of evolutionary processes, rejecting the notion that observable “results” of evolution are necessarily rational or useful.

Selection as Artistic Operation

The composition of a musical work or the improvisation of a jazz musician can be described as a selection process. On the foundation both of informational and semiotic aesthetics and more current media theoretical aesthetics, artistic processes take place in a specific medium or repertoire. These media are conceived of as pools of events or symbols that constitute an infinite potential for aesthetic selection. Every actual and concrete musical form (e.g., a melody, motif, rhythm, song, or an opera) can be described as a product of a series of selections out of a certain medium. As opposed to notions such as choice, invention, creation, or innovation, the concept of selection offers the theoretical opportunity to leave open the question of the subject of the conducted operation.

The idea of a nonpersonal agent can be fruitful—not only from theoretical perspectives that deploy concepts such as self-production of art or self-programming of aesthetic processes, but also from the viewpoint of artists. The assumption that aesthetic processes tend to cultivate self-determination with unforeseeable ends is a common self-description of artists of all provenances. After the first note has been selected, the equal probability of selection in the aesthetic medium (e.g., tonality) is asymmetricized, and every following selection conditions the later selections that have to relate to the already actualized selections. Especially from the perspective of media-theoretical aesthetics, the elements of aesthetic media are not conceived of as material entities, but rather as constructed or observed differences in the general medium of meaning. Because of this difference-theoretical option, the theory of selection as an artistic observation or operation of actualization of forms out of a medium becomes applicable to all kinds of art and music. Not only genres can be understood as media for new form selections, but also expectations as a medium for conceptual art.

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