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



On Mon, 27 Jun 2005, Kassen wrote:

aleks vasic;
*snip*
IMO, or a better description would be complex communication.  Using
your rationale the lights on a stop light, red, yellow, and green are a
language of sorts.

Yes. It is debatable indeed wether that is a language. When push comes to shove I think I believe those things to be a very limited language with just a few words and hardly any gramar. To me, within the larger context of comunicating ideas (possibly political ones) through the use of non-verbal sound the concept of comunication and the transfer of information are much more interesting then wether something is a actual language, should we be able to find a definition of "language" that everybody finds satisfactory..
*snip*

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.

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.


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