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Re: [microsound] being 'political' in non-verbal music




On Jun 27, 2005, at 5:17 PM, Exegene wrote:

On Mon, 27 Jun 2005, Kassen wrote:

i submit that a language-candidate is indeed a language only if it can be used to write a book on literary theory(1). It follows that while stoplights convey specific agreed on information, because stoplights can't be used to convey musings on conveying musings with stoplights the use of stoplights can't be taken as language.

You cant use a stop light the same way you can use and old school Morse code/ telegraph? Whats the difference between assigning meaning to letters/and words and doing the same to a stop light? You know i can use a stop light to reproduce all which has been said in this thread today by assigning meaning to flashes, colours and what not.


Its just a vessel with which we use in order to communicate. Sure carrying around a stop light with you in your day to day life is not very convenient, and speech and language fill that need in much more efficient manner, but thats not the point here.


Further consideration of the thread starter seems to support certain other listees in their belief that nonverbal music may be made political by means of packaging, titling, and other things external to the music proper, and that nontraditional and noncommercial music are inherently political. A small push : the finished track is the transmissible, marketable congealment of the artist, but is not the vital truth, the artist's existence, awareness, and life-activities. Any attempt to keep politics sequestered inside the (nonverbal) music means allowing the artist's greatest expressive tool - hirself - to be depoliticized.



1 - Where book means anything similar to a recorded, transmissible and archivable message, literary theory is divorced of western cultural imperialism, etc.


Unless i misunderstand you i believe the exact opposite to be true.


aLEKs


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