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

[jeff gburek <tsazmaniac@xxxxxxxxx>]

> How for instance, does the post-colonial period come
> into play?... We could think of dub music and its
> relationship to what we are loosely terming
> microsound...(i.e. dub to house, to post-club music,
> to IDM, to dub [again and again], post-beats, etc.)
> ... This is not just a matter of formalisms, at all,
> but rather a matter of resonances, intensities and a
> kind of provisional hybridizations between 'genres'
> and hence between imaginary spaces and times... 

one of the things i think often is the globality
implicit seemingly in technological dissemination and
fictions of places and identities. 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
(unless the imutator cuts to the fundamental of it and
bifurcates radically diverse

(--
> we could debate various 'results' which have
> arisen-- key right now is an effort to map out not
> debate/pick good and bad examples... )

i am down with thie map idea. more interesting this
evolution of the foetal level of technology wherein
like with bruce russell's release, you have a feeling
of old processes that are freshly minted again. what
was given as junk in detroit, given as junk now
(ableton--despite the upholders and advantages---gets
more demoded, demoted, but that doesnt really ever
mean it has been creatively exhausted---politics,
pseudo-aesthetics---all based on that "big
eye"--invented the trail of discarded machines to
seemingly pint somewhere when for all we know the
world is round 


> 
> Also, related to dub music in a certain way, is the
> breakdown of the Promised Land, as well as the
> breakdown of the Pan-African movment.

relates back to the above "messianism of futurology" 

> Other notes: 
> How did the transfer of capital and the production
> of goods change significantly in the 70's/80's (i.e.
> the development of trans-national systems of
> production scheduling, etc.; the development of
> "Just In Time" production, etc. )?  How does this
> come at a time when the everyday politics of power
> have been entirely enveloped in a kind of
> post-political trajectory where there can be
> virtually no meaningful political possibilities save
> Globalization/SuperCapitalism, etc. (an illusion in
> its own right, but nonetheless my point is that this
> is the dominant *Ideology* of our time [despite BS
> claims to the post-modern being "after ideology" --
> actually our post-modern times are perhaps more
> ideological a time-period then has been the case in
> a good 150 years or so ] -> there is no outside, no
> significant other Possibilities then Globalization--
> for us, as modern, "rational", secular people that
> is... ) ? 
> 
> How is this a part of what microsound plays with,
> addresses, is symptomatic of, duplicates, parodies,
> problematizes, etc. ??

need more people to answer. what was lost when object
conditions of sound turned into the final packet of
validity? there is strange desire to replicate the
discourses and conditions of the classical music
model, almost as if a detoxification of the forms of
immediacy that were given... give out nobel prizes
etc?


  
> 


j.ff gbk

http://www.futurevessel.com/orphansound/

http://www.mattin.org/desetxea.html

http://www.djalma.com

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