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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