Fw: [microsound] micropolitics: outside the message?
----- Original Message -----
From: "Tobias" <tobias@...>
To: "ms" <microsound@...>
Sent: Thursday, March 15, 2001 2:06 AM
Subject: [microsound] micropolitics: outside the message?
> Philip and everyone,
> A serious question, and I offer some digressions, and I apologise if these
> digressions will become too much.
> Thinking of microsound inevitably leads me to thinking of Deleuze and
> Guattari. I've finally had some time to sink into this text, and I must
> there are some...intensities for music that I was not expecting. D&G place
> much emphasis on the necessity for action in differing registers, in order
> to affect a line of flight from one territorialisation to another. The
> becomes the movement of deterritorialisation. Music and politics as a
> combination "and" affect a rhizomatics of deterritorialisation: I think it
> is possible to affect a music that will escape the territories "politics"
> and "music" while complementing each other as the line of flight (the
> continous "and").
> Such an escape is beyond representation. The idea here is to completely
> rethink "politics" in the first place. So microsound becomes an escape
> does not hold "messages," be it verbal or otherwise. Simply put, messages
> are direct representations (imagos) that play into the hand of either the
> musical structure or the structure of politics. The most radical
> move would be to try and affect a change of registers, a line of flight,
> that would escape structure (however briefly-- such is a "plateau of
> intensity"). This could be heard in terms of non-structural sound (motifs,
> themes, structured components) and non-circular sound (repetition,
> beginnings and endings that return to a core element); not to say that a
> beat-driven track could not be heard in terms of a line (insistent,
> nomadic) or a cyclic sound in terms of a spiral (fractal, aparallel,
> It's like Joyce's Finnegan's Wake: nonrepresentational language. This
> movement can also be thought of as D&G's "machine." When the machine
> appropriated and structured, you have Kafka's bureaucracy, the Haider
> etc (appropriation of war machine, always necessary for the state,
> incorporated fascism, etc). When the machine is let loose on a line of
> flight-- and there is always the possibility of this becoming a line of
> destruction, i.e. the intensity that was/is Nazi fascism --then the parts
> the machine constantly change and jump registers. The machine always
> Microsound, due to its limit-case, i.e. that it is a "sound" form that is
> already at the limits of what Western culture considers music, is in such
> position(s) that it could affect such a machine or line of flight. In
> words, it would be very possible, and I think this already is happening,
> affect plateaus of intensity through extreme sound manipulation that move
> beyond "politics" and "music."
> (What is implicit here is a critique of the ideological apparatuses that
> create politics as politics and music as music and music under a certain
> politics and politics under a certain music. But in a sense the rhizome is
> beyond ideology as ideology is a dialectical apparatus of the
> the structure).
> I think we've already seen glimpses of this in early break-in raves, etc.
> But I think there is the possibility for a lot more now that the "music"
> reached levels of intensity that did not exist back in the acid house
> Sutekh, who has an upcoming album on Mille Plateaux, was playing in
> this past thursday and I went down to see him and dj. I asked him about
> theoretical side, namely, had he read any D&G? He reported that he had
> For a bit, I thought this was fascinating and ironic, for I would consider
> that some of his experimental music begins to affect the kind of
> which D&G speak of (in many different forms and shapes), and I would have
> expected that he would have known a bit about it. A friend of mine really
> put this into perspective:
> "interesting question about reading or not reading d&g. in a certain
> thousand plateaus is alot like the 21st century's being and time -- since
> everybody lives it, very few need to read it."
> So I hope this has not lead nowhere, except to mention that I will be
> teaching a first year english-theory class about deleuze and guattari and
> microsound and the rave scene-- because I think the connections, in a
> "rhizomatic" way, are becoming heard.
> If you've read this far, thanks for reading.
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