re:meters, james brown etc.
i think the really important distinction to be made is between meter and
rhythm. black musical culture has consistently attacked the apparatus of
capture that is the metric musical form. particularly breakbeat culture
which emerges out of jazz/funk drumming. more significantly than that,
the subsequent ability to transport the break with use of sampling into
hip-hop and now jungle which has done most, in a digital culture, to
destratify the body, and sidestep the cultural snobbery/pessimism of
postmodernism ('nothing new left to do'). check for example the essay by
robin mackay, Capitalism & Schizophrenia:wildstyle in effect, in the
edited collection, Deleuze & Philosophy (ed Keith Ansell-Pearson) and
the work coming out of the Cybernetic Culture Research Unit.
In message <01BD056E.CF2E4760@xxxxxxxxxxxxxxxx>, Richard Scott
<richard.scott@xxxxxxxxxxx> writes
>
>
>-----Original Message-----
>From: Aden Evens [SMTP:aden@xxxxxxx]
>Sent: Wednesday, December 10, 1997 1:35 AM
>To: deleuze-guattari@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
>Subject: Re: BWO
>
>Do they shift and slide into each other, opening new
>possibilities and perpetually re-organizing themselves? Or do they
>establish a resonance, a meter, a regularity, which may be beautiful like a
>crystal, but is likewise just as static? I could say more. . .
>
>
> ### ## ###
> Aden
> ### ## ###
>
>But must meter, regularity be static in this sense? In musical terms I think
>not, take the The Meters themselves for example or James Brown, Fela Kuti - or
>the Morrocan music of the Gnawa, Joujouka. A lot of this music seems to strive
>towards a kind of stasis which itself becomes a kind of flight, a journey
>inside... The need for constant change I think is very Adorno-nian concept - the
>epitome of high modernism - and I would say rather eurocentric. Even the most
>improvised music (which is more concerned with the type of perpetual
>reorganisation you speak of - by which I suppose I mean something like Derek
>Bailey) is in this way very much based on history, a logical line of progression
>through time. Cannot repetition - which in music seems to act as line out of
>past and future into a more momentary sort of existence, also attest to the
>constancy of change, but in a different way? I wonder how all this relates to
>the BWO?
>
>Richard
--
steve goodman
i think the really important distinction to be made is between meter and
rhythm. black musical culture has consistently attacked the apparatus of
capture that is the metric musical form. particularly breakbeat culture
which emerges out of jazz/funk drumming. more significantly than that,
the subsequent ability to transport the break with use of sampling into
hip-hop and now jungle which has done most, in a digital culture, to
destratify the body, and sidestep the cultural snobbery/pessimism of
postmodernism ('nothing new left to do'). check for example the essay by
robin mackay, Capitalism & Schizophrenia:wildstyle in effect, in the
edited collection, Deleuze & Philosophy (ed Keith Ansell-Pearson) and
the work coming out of the Cybernetic Culture Research Unit.
In message <01BD056E.CF2E4760@xxxxxxxxxxxxxxxx>, Richard Scott
<richard.scott@xxxxxxxxxxx> writes
>
>
>-----Original Message-----
>From: Aden Evens [SMTP:aden@xxxxxxx]
>Sent: Wednesday, December 10, 1997 1:35 AM
>To: deleuze-guattari@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
>Subject: Re: BWO
>
>Do they shift and slide into each other, opening new
>possibilities and perpetually re-organizing themselves? Or do they
>establish a resonance, a meter, a regularity, which may be beautiful like a
>crystal, but is likewise just as static? I could say more. . .
>
>
> ### ## ###
> Aden
> ### ## ###
>
>But must meter, regularity be static in this sense? In musical terms I think
>not, take the The Meters themselves for example or James Brown, Fela Kuti - or
>the Morrocan music of the Gnawa, Joujouka. A lot of this music seems to strive
>towards a kind of stasis which itself becomes a kind of flight, a journey
>inside... The need for constant change I think is very Adorno-nian concept - the
>epitome of high modernism - and I would say rather eurocentric. Even the most
>improvised music (which is more concerned with the type of perpetual
>reorganisation you speak of - by which I suppose I mean something like Derek
>Bailey) is in this way very much based on history, a logical line of progression
>through time. Cannot repetition - which in music seems to act as line out of
>past and future into a more momentary sort of existence, also attest to the
>constancy of change, but in a different way? I wonder how all this relates to
>the BWO?
>
>Richard
--
steve goodman