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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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