[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: [microsound] FOR DISCUSSION...



How about this... every form of pop music (not to mention musical instrument/interface) has an immanent becoming-punk/becoming-noise/becoming-molecular where it takes flight from the standardized coordinates of the hit song.  At the same time, these deterritorialized musics are always in danger of being reterritorialized and recouped by the corporate music industry, which is constantly seeking out new musical frontiers to colonize in the hopes of making new profits.  

And perhaps it is not the musical properties per se that enable or resist this reterritorialization, but instead the relations of musical production - in this regards the growth of forms such as creative commons, netlabel,s and direct distribution from artist to audience are extremely important developments.

I agree that the use of the word "pop" seems problematic from our point of view in 2005.  

~David

David Powers
Secretary
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> pprice@xxxxxxxxxxxxx 03/15/05 07:15PM >>>
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
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx 
> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx 
> website: http://www.microsound.org 
>
>


---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx 
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx 
website: http://www.microsound.org 



---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
website: http://www.microsound.org