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Fw: [microsound] micropolitics: outside the message?

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  • Benakis
    ... From: Tobias To: ms Cc: Sent: Thursday, March 15, 2001 2:06 AM Subject:
    Message 1 of 1 , Mar 15, 2001
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      ----- Original Message -----
      From: "Tobias" <tobias@...>
      To: "ms" <microsound@...>
      Cc: <philip@...>
      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,
      > curving).
      > 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
      > transforms.
      > 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
      > (a)
      > 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.
      > cheers,
      > tobias
      > :::::::s///////////t||||||------------------
      > tobias|saibot
      > http://www.shrumtribe.com
      > http://www.targetcircuitry.com
      > -------------------------------------------
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