Re: [microsound] FOR DISCUSSION...

[V X <hdfch@xxxxxxxx>]

Creo que no. Pero tambien me parece que no hay que
tomar Mil Plateaux como la biblia...alguna opinion
acerca de Richard Pinhas?
--- skippy random <srandom@xxxxxxxxxxxxxxxxxx>
escribió: 
> Oval, scanner, mouse on mars, DJ Spooky...are these
> really the best  
> examples we have of a potentially Deleuzian music? I
> obviously must  
> have missed something in my reading of Deleuze.
> 
> On Mar 15, 2005, at 8:15 PM, Peter Price wrote:
> 
> > my initial question....if "pop" is a "minor
> literature" what is the  
> > major literature?
> >
> > I am reading the linked essay (with some confusion
> and dismay)...
> >
> > more questions to follow...
> >
> >
> > On Mar 15, 2005, at 6:30 PM, David Powers wrote:
> >
> >> Is microsound a form of "pop" music?  Before you
> answer, see below  
> >> (maybe some of you have seen this essay before
> but I have not).
> >>
> >>
>
http://www.humnet.ucla.edu/echo/volume3-issue1/smithmurphy/
> 
> >> smithmurphy1.html
> >>
> >> EXCERPT from the essay's beginning:
> >>
> >> Of the many forms of expression through which
> their thought moves,  
> >> flowing and multiplying without privilege or
> hierarchy, Gilles  
> >> Deleuze and F*lix Guattari number "pop" among the
> most powerful (in  
> >> the Spinozian sense, of that which affords the
> greatest potential for  
> >> further connection and ramification). In what
> might at first seem a  
> >> wildly inappropriate context?their analysis of
> Kafka's production of  
> >> a "minor literature"?they define "pop" as:
> >>
> >>     An escape for language, for music, for
> writing. What we call  
> >> pop?pop music, pop philosophy, pop
> writing?W*rterflucht [word  
> >> flight]. To make use of the polylingualism of
> one's own language, to  
> >> make a minor or intensive use of it, to oppose
> the oppressed quality  
> >> of this language to its oppressive quality, to
> find points of  
> >> nonculture or underdevelopment, linguistic Third
> World zones by which  
> >> a language can escape, an animal enters into
> things, an assemblage  
> >> comes into play. (Kafka 1986, 26-27)
> >>
> >> "Pop," then, is for Deleuze and Guattari a form
> of multiplicity, a  
> >> rhizome; indeed, in A Thousand Plateaus they
> insist that "RHIZOMATICS  
> >> = POP ANALYSIS" (A Thousand Plateaus 24).1 The
> rhizome, of course, is  
> >> their well-known image of a decentered system of
> points that can  
> >> connect in any order and without hierarchy, a
> term drawn from botany  
> >> that names a network of stems, like the
> strawberry plant, that grows  
> >> horizontally and discontinuously by sending out
> runners.
> >>
> >> David Powers
> >> Secretary
> >> DePaul University, School of Education
> >> Department of Leadership in Education, Language,
> and Human Services
> >> 773-325-4806
> >>
> >>
> >>
>
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> >>
> >>
> >
> >
> >
>
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> 
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