[D-G] Deleuze, electronic music and Deleuzian theory of body

hwenk hwenk at web.de
Fri Mar 30 14:56:14 PDT 2007

Hello Dr. Crownbony,

The significant song is: "Please don't let me be misunderstood"
(The version of Cindy Lauper is really fine and sohisticated).

What I tried to express is: if your are doing research on drugs the
question: "What about you and drugs?"
 is sheer unavoidable.  In my eyes the problems of drugs are so abundant and
well known that any sort of
naivety concerning experiments with them which may have had some
plausibility 30 years ago nowadays definitely have not.
The sociology calls that: "Becoming everyday like, usual". So far.

But as you seem to be swept away by a wave of enthusiasm concerning
significance and signs,
it may be well and good to write a little about it.

You may know, that most popular or independent songs played and heard in
Germany are in English.
The English is so fast and complicated, nowadays even filled with slang
expression, that
almost none of the hearers is able to translate them during hearing.
So it is like an Italian  opera. As the signs are not understood, they are
no signs.
It is not even felt as a sign of imperialism of American or anglosaxonian
culture - which maybe more the case in France or Italy.

The significance of a song may be private: The song they played as we meet
the first time. The song we heard together feeling happy thousands of times.
Our song.

The significance of the English songs lies in my eyes in the melody which
brings a good feeling.
The popular songs are often repeated very, very often - especially if they
are a "hit".
As you may know this lust on almost endless repetition of simple things he
noticed at Childs puzzled Freud a lot.
Of course you know that repletion is the second ontological category of
Deleuze - bounding it to Humean "Habit".

Now the "ritournelle" is derived as building up an associated milieu by the
child singing a little tune in order to overcome fear.
I think this derivation out of fear is very very important.

The repetition gives stability, structure an identity.

It maybe also the impulse of your distinction between sign insignificance.
sign - empty repetition, boring, making dull, reminding on fears.
 Significance - there is life, there is happening something in the listener.
A  little dramatic or soul easing - that is catharsis.

The tabla rhythm is so complicated that is not felt as repetition, but is
also so harmonious
that the catharsis, feeling lust of making the effort of hearing.
Insofar is a bit paradigmatic for a fine and sophisticated culture.
Indeed learning plying table is very arduous, there are music families and
doing so. I am also a fan of Indian music, classical rags but also modern
ones especially played
by John McLaughlin and Zakir Hussein as tabla player. But there a lot more.
Unfortunately there is tendency to modernize Indian music which for my ears
this quality of Indian fine music lost, it becomes loud and more western
popular music like.
This is a bit tragic, for in India there maybe a lot of musicians who have
hope and want to come out of the
bondage of traditional music and make something creative new. The same
applies a bit to middle east music with Rai for example.

The associated milieu growing gives the territory: As  sound is commonly
heard, mostly, dolphins and bats have their own band of frequency,
it is also an indicative sign if a bird sings with his special melody that
he is present in his territory, his associated milieu and willing to defend
or inviting some sexual partner.

So far for today, if you like you can tell more.

greetings Harald Wenk

-----Original Message-----
From: deleuze-guattari-bounces at lists.driftline.org
[mailto:deleuze-guattari-bounces at lists.driftline.org]On Behalf Of
.+oot8am wakeup
Sent: Freitag, 30. Marz 2007 16:29
To: deleuze-guattari at lists.driftline.org
Subject: Re: [D-G] Deleuze, electronic music and Deleuzian theory of


What I see for myself is a difficulty ignoring signification & signs.
This is the diff between language vs code. Music especillly is ripe
with signs and it speaks so easily. But the meaning of the speach,
like spastic hand twitches of a writing stylus, can be ignored since
so much of the power of music is devoid of signage. I'm refering to
tabla rhythms and methods of counting which bring catharsis to the
listener (not the performer!). Ignoring this kind of psychological
meaning brings such a thesis closer to what you are describing.
However most anthropological research is concerned with sign meaning
and avoids materialist explaination because it can't touch these
areas. the division betwen chomsky and lacan can be boiled down to
this n-1, which is so meaningless since there is always n-2, and n-3..
etc... and whatever operation a psychologist can invent for himself,
so the subject can simply add one to it and render the psychologist's
insight into a joke (as can be observed between the musical performer
and the listener)

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