[microsound] Re: Socio/political implications of microsound music?

[tasty radish <tastyradish@xxxxxxxxx>]

>dub/colonialism as

>hybrid monster machine creating aliens..."outsiders"

>beaming in messages---SUN RA and his alien

>identification---the messianic sources of the future

>(illusion)--a kind of recursive inward spiral
  >resulting in forms first, then formalisms latter
   
  I wonder if the inward spiral is in some part articulated through the uses of a framework modeled after -in certain key ways- Classical (music) (symmetry/balance/certain thematic repetitions, the sonata, etc.)? Sound-structure wise, it provides a way, in our haunted times [terrordome, dub, dread, post-colonial/only ?Go Globalization!? MindFrame], to let the Abyss be central in the mix. That is the space that has been left-over, that makes no sense, that is ?outside? the supposedly wonderful 'world' (or only) order?
   

>what was lost when object

>conditions of sound turned into the final packet of

>validity? 

Whose final packet? 

>there is strange desire to replicate the

>discourses and conditions of the classical music

>model, 

I suggest, it is arises (conciously or unconsciously) as a way to let the absence and the Abyss be a key part of the pieces? logic, so to speak? Why is this happening now? Is it simply a trendyness or formalism? I doubt it. I would propose that it is an effort across artistic practices to in some measure, to express and articulate the gaps, the ?dead-zones?, etc of our times.  In other words, it is not a parody use of classical forms or a po-mo referencing/riffing or even a deconstructive bracketing (ironic distance) rather it is kind of loose framework to re-think the space of what is going on between people, power and present-almost-futures now?.

 

Just a thought, cause similarily a kind a return to Classical formations has been going on in a lot of art in the same last 15 years, i.e. photography art, film art, etc, where a dead stare is captured in what is almost a horror-movie moment of total and unredeemable alienation, framed in near classical perfection of endless perspective and overly pure balancing of elements (unlike the styles of photography in periods before)- same in film ? At the least, I?de like to say that this current cross-discipline activity of Classicism is a symptomatic response of and to the limits of our times. Rather then some kind of artistic failure/limit/dumb-trend, it is the opposite?a particular way that artists are finding as ?authentic? in addressing, expressing and one could say ?dealing with? what is going on now, ?out there? in the world of our lives?). The abyss of our brave new world order is all over the place. 
   

 			
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