CASSETE CULTURE COLONIC

THE PROBLEM WITH CASSETTE TAPES IS THE SAME AS WITH ANY OTHER AUDIO STORAGE MEDIUM, THEY ARE ALL ESSENTIALLY A SUBSTITUTE FOR BAD HUMAN MEMORY. IF WE HAD PHOTO/AUDIOGRAPHIC MEMORIES, WE COULD REPLAY ANY AUDIO-VIDEO EXPERIENCE WE EVER HAD WITH ALL THE PRESENCE AND CONTROL PARAMETERS THAT OCCUR IN DREAMS. THE HISTORY OF AUDIO RECORDING TECHNOLOGY, FROM GREGORIAN ILLUMINATED NOTATION THROUGH PIANO ROLLS, MUSIC BOXES, RECORDS, TAPES, FLOPPY DISKS, AND SO ON, HAS BEEN THE HISTORY OF THE CITIZEN’S EVER WIDENING ACCESS TO THE TOOLS OF MUSIC ART, AND AS SUCH, CAN BE PROJECTED FORWARD INTO THE FINAL CURTAIN FOR MUSIC AS A PASSIVE SPECTATOR SPORT AND ITS BEGINNING AS AN ACTIVE TEACHING METHOD.

THIS OBSERVATION ECHOES THAT ORIGINAL NEED WHICH PROMPTED MUSIC INTO EXISTENCE- AS A WAY OF TEACHING MEMORY PERSISTENCE FOR TRIBAL RITUAL AND LORE. IT LENDS CREDIBILITY TO MCLUHAN’S THESIS THAT TECHNOLOGICAL PROGRESS IN THE PRESENT ELECTRONIC/INFORMATION STAGE CONSTITUTES A REINTEGRATIVE SOCIAL FORCE AS DISTILLED INTO HIS FAMOUS METAPHOR OF ELECTRONIC SOCIETY DWELLING WITHIN THE “GLOBAL VILLAGE”.

THE ATTEMPT TO ACHIEVE CULTURAL PERSISTENCE ORIGINALLY BEGAN WITH STORY TELLING, WAS COMPRESSED INTO VERSE, AND THEN GIVEN THE CARRIER MODALITY OF SONG, DANCE AND ACCOMPANYMENT. THE COMPRESSION OF “CULTURE”, OF THOSE ASPECTS OF CULTURE WHICH ARE DISTINCT FROM UNIVERSAL INFORMATION (MATHEMATICS, STATISTICS, MEASUREMENT, SCIENCE, ETC.) INTO SYMBOL IS WHAT WE KNOW AS ART. EVEN THE CONTEMPORARY FORMS OF ANTI-ART CREATE AN ANTI-CULTURE WHOSE ELEMENTARY QUALITY IS THAT OF PERSISTENCE. A CULTURE’S SYMBOL PERSISTENCE RESULTS IN “STYLE”.

“STYLE” PERSISTS, EVEN BEYOND ITS TERM OF USEFULNESS OR BEYOND THE MATURATION LEVEL OF A CULTURE. WHEN THIS OCCURS, ART SERVES TO RETARD THE MATURATION OF CULTURAL INTELLIGENCE. FOR THIS REASON, ART FORMS WHICH ORIGINATE OUTWARD FROM THEIR POINT OF CREATION ONTO A SPECTATOR FIELD, IE., THE STAR SYSTEM, BECOME MORE AND MORE TRANSPARENT AS A FORM OF REACTIONARY SOCIAL CONTROL. AS ACCESS TO CHEAP STUDIO QUALITY RECORDING EQUIPMENT SUCH AS D.A.T. ERODES MONOPOLIST CONTROL OF MUSIC ART, THEIR PANIC REACTION RELIANCE UPON THEATRICS, BIZARRENESS, ECCENTRICITY, MADONNA’S TITS AND ASS, ETC. SERVES TO DISINTEGRATE SOCIETY, OR AT THE VERY LEAST- THE ARTIST AWAY FROM SOCIETY, AND BECOMES A RETROGRADE APPROACH.

MASS ACCESS TO D.A.T. RECORDING GEAR MAKES THE POPULAR SLOGAN “EVERYONE IS AN ARTIST” INTO AN ACTUALITY, MUCH TO THE DISMAY OF THE STUDIOS, DISTRIBUTORS AND ART “STARS” THEMSELVES. ANTI-ART, IN THIS ANALYSIS, IS NOT INTRINSICALLY SHOCKING, ALIENATED AND ANTI-BOURGEOIS, IT IS INTRINSICALLY ANTI-ANTI AS ITS POWER OF HEALING A FRAGMENTED SOCIETY IS INCANTED MORE FREQUENTLY. THE DILEMMA IS PERHAPS GREATER FOR THE SOLO CONTEMPORARY ARTIST WHO HAS BEEN RAISED UP INTO A SOCIAL ROLE AS BRAHMIN/ PRIEST WHICH PARADOXICALLY PUT HIM OR HER IN A CONTRADICTORY STATE- THE NON-CONFORMIST ANTI-AUTHORITARIAN IN A POSITION OF AUTHORITY. EVEN MORE TROUBLING FOR THE ART “STAR” IS THEIR INABILITY TO COMMUNICATE FREELY WITHOUT EVERY PRONOUNCEMENT BEING INTERPRETED, DISTORTED, FILTERED AND OTHERWISE PRIZED, HATED OR IMITATED FAR BEYOND THE REALM OF COMFORT. SUCCESS FOR AN ARTIST, THEN, MEANS THE LOSS OF WHAT ONE BECAME AN ARTIST FOR THE DESIRE TO COMMUNICATE TRUTH.

THE WAY OUT OF THE DILEMMA REQUIRES A STRUCTURAL CHANGE IN THE NATURE OF EITHER THE ARTIST, THE SPECTATOR, OR THE “GAME”. THE EASIEST PLACE TO BEGIN THINKING ABOUT STRUCTURAL CHANGE IS WITHIN THE “GAME” SINCE THE “GAME” IS ACCESSABLE TO BOTH THE SPECTATOR AND THE ARTIST. THE “ART
GAME” SUFFERS FROM ITS DISPOSITION TOWARDS CALCIFICATION INTO “STYLE”. THE IMPULSE TO IMITATE SOMEONE ELSE’S ORIGINALITY AND MAKE “STYLE” GOES DEEPER THAN FREEMARKET DICTATES. IT IS BASICALLY AN EXPRESSION OF THE FEAR OF FAILURE, HENCE ITS RELIANCE UPON SOMEONE ELSE’S SUCESS. ”
STYLE” IS THE EVIDENCE OF AN INABILITY TO MATURE AND EVOLVE. THE EASIEST WAY TO EFFECT STRUCTURAL CHANGE IS TO FIRST IDENTIFY THE STRUCTURE. THE STRUCTURE OF “STYLE” RESIDES WITHIN ITS RULES OF CATEGORIZATION. STYLES ARE CATEGORIZED ACCORDING TO THE QUALITIES OF THEIR RESULTANT OBJECTS RATHER THAN THE DEGREE OF INTELLIGENCE NEEDED TO CREATE AND APPRECIATE THEM.

IF WE WOULD CONCENTRATE UPON METHOD AND PROCESS INSTEAD OF OBJECT THEN, WE MIGHT BEGIN TO CATEGORIZE MUSIC AS WELL AS OTHER ART FORMS AS TO THEIR DEGREE OF DIFFICULTY – BEGINNING, INTERMEDIATE AND ADVANCED, OR SOMETHING OF THE SORT, IRRESPECTIVE OF THEIR OTHER FORMAL ATTRIBUTES. APPROACHED FROM A STANDPOINT OF LEVELS OF COMRPLEXITY, STYLES WOULD WITHER AWAY ALONG WITH THE FRAGMENTATION AND POINT-OF-VIEW CHAUVINISM THEY CREATE. AT THAT POINT WE BEGIN TO SEE INTELLIGENCE PERSIST WITHIN CULTURE.

THE PROBLEM OF INTELLIGENCE PERSISTENCE RATHER THAN “STYLE” PERSISTENCE HAS CERTAIN IMPLICATIONS FOR THE FUTURE OF MUSIC, AND ANY LIBERATING METHOD WILL NECESSARILY APPROACH THE NOTION OF RHYTHM WITH SOMETHING CLOSE TO SUSPICION. FIGURATIONS OF TONE OR TIMBRE DOMINATED BY RHYTHM ARE NOT ALLOWED TO RELATE TO ONE ANOTHER IN A REALM DEVOID OF TIME. TRY TO RECALL A DREAM WHEREIN A DIGITAL LCD PULSED THE MINUTES OFF ACCORDING TO GREENWICH STANDARD. TIME IN GENERAL, AND MUSICAL TIME SIGNATURE IN PARTICULAR, KEEPS US FROM CREATING A MUSICAL ART WHICH CAN CASCADE THROUGH THE ACCELERATING AND DECELERATING MODALITIES OF SIMULTANEOUS MENTAL SPACE WHERE MEMORY IS PERFECT BECAUSE IT IS NOT NEEDED.

WITH A DIDACTIC APPROACH TO MUSIC BASED UPON GRADIENT LEARNING AIMED TOWARDS HEARING GREATER COMPLEXITIES, WE CAN BEGIN TO APPROACH THE LEVEL OF THE GREAT CLASSICAL COMPOSERS WHO ALL HAD THE CAPACITY TO COMPOSE AND HEAR THEIR MUSIC FULLY AND RICHLY IN THEIR HEADS, NOT HEADPHONES. THE PROBLEM FOR THE COMMODITY BROKERS IN SUCH CIRCUMSTANCES ARE OBVIOUS. EACH INDIVIDUAL’S INTERNAL SYMPHONY WILL BE SO COMPLETE AND PRECISELY TUNED TO HIS OR HER EXPERIENTIAL DOMAIN THAT THEY WILL PROBABLY HAVE A REDUCED INTEREST IN LISTENING TO THE WORK OF OTHERS.

PURE ART IS ABSOLUTELY SELF-REFERENTIAL. THE DESIRE FOR EXTREME INDIVIDUATION IN ART PRESENTS AN ANALAGOUS PROBLEM IN THE CASSETTE DISTRIBUTION UNDERGROUND WHERE THE SHEER VOLUME OF OFFERINGS IS OVERWHELMING. SHORTLY THERE WILL BE NO “KEEPING UP” WITH WHAT’S CURRENT OR HIP. THE ONLY ALTERNATIVE, HAPPILY, WILL BE TO PRODUCE AND LISTEN TO YOUR OWN ART. IT IS NOW POSSIBLE TO BLAST YOUR STEREO OR WALKMAN WITH YOUR OWN STUFF INTO YOUR OWN EARS WITH FULL PROFESSIONAL STUDIO CALIBRE SOUND THANKS TO AFFORDABLE MINIATURE FULL STUDIO CAPABILITIES IN A COMPUTER. THE DISINTEGRATION OF MONOPOLY IS ALWAYS A GOOD THING FOR SENTIENT BEINGS. AUTONOMY IN MATTERS OF AUDIO-VIDEO EVOLUTION WILL MAGNIFY THE HUMAN SPIRIT IN ITS ABILITY TO CREATE UNIVERSES. ELECTRONIC TECHNOLOGY HAS PROVIDED THE INTELLIGENTSIA OF THE WEST AND THE BRAHMINS OF THE EAST WITH A NEW DIAGRAM OF THE “HUMAN CONDITION”.

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