mvuent

Void Dweller
@version will be attending this or have you and Ian still got unresolved issues from the incident a couple of years ago?
version's the only potential reader whose opinion i care about, tbh

Mvuent my first question for you is this

Your work on "worlds" echoes many of my own explorations. We have several threads here on Dissensus about worlding. Meanwhile, Peli Grietzer has written extensively on "vibe" as a kind of world-capturing. There have been essays for and against world-building. Simon has written about the worlds created by conceptronica.

It seems to me this sort of thinking is very much in the water. Do you agree? If so, what do you think it says about the current moment?

David Chapman writes, very relatedly I think,


And I can't help but wonder whether the desire to create/navigate/inhabit worlds is a regressive impulse to return back to the subcultural mode, for those atomized, or a step forward into the fluid mode. What do you make of all this?
yeah, that essay "on worldbuilding" is one i remember. that's a very interesting observation at the end, but the short answer (for now, im eating dinner) is that the way i'm using the term worlds is misleading. in the end i'll say that actually they're all parts of one world. the dreaming. the sky continent.

interesting. i'll respond to your question with a question, rush
 

mvuent

Void Dweller
in the end i'll say that actually they're all parts of one world. the dreaming. the sky continent.
excerpt from a previous draft (before i decided to end on this topic):

"You’ll never arrive in quite the same spot, but sometimes you get a strong sense that you’ve been to this soundworld before. Ignore accusations that works of music sharing dietetic space are “unoriginal” “generic” etc. It’s not so much that these accusations are always wrong as that they miss the point. It would be stupid to castigate the individual pieces of a jigsaw as derivative of each other. (What? Another bluish one? Come on!) And the same essentially applies here. These sonic puzzle pieces work together to create and establish an archetypal vision (perhaps with its own public domain characters) that’s larger, deeper and more lasting than any one “original” work could generate. Each new glimpse adds to the legend, making it more vivid and dense.

Of course, these worlds are almost never just sonic. They span across film, literature, video games, etc. (Perhaps the surest place to find them is in the cover art of a particular era.) There can be a sort of lag where a particular shared world is established in one medium before or after it’s established in the rest, but usually this discrepancy doesn’t last long.

We might ask how these shared worlds come into being. Without getting into fussy empirical detail, I think we can say that they emerge organically during specific epochs through the efforts of countless people, ranging from auteurs to amateurs. Most of the creators who contribute to these public domain diegeses are effectively vernacular architects. They’re not working with the intention of adding to some sort of collective master design, just responding to the inspiration available to them. The flipside of this is that these worlds gradually fade from our view as the era in which they were dreamed up (and seemed most tangible) comes to a close."
 

luka

Well-known member
a plain baked potato? no butter? no cheese? no baked beans? prawn cocktail? fried mushrooms?
 

sus

Moderator
Luka, sometimes it feels like we're the only ones on this board dedicated to fostering culture... genius... explorations of the inner and outer world. It's lonely being so dedicated. You try to set high expectations but they always let you down. Where are the questions from the other board members? Where is the exegesis?
 

mvuent

Void Dweller
since you guys were talking about enya in the other thread...

This series is inspiring me... on to the third entry

Never heard this Enya song before... "Orinoco Flow"... Very catchy. I'm trying "Only Time" next...
the essential enya song is "Caribbean Blue" and it's not even close. a beautiful song about South. (which is a topic of its own.)

It's interesting to me how captured Ian is by the esoteric-mainstream axis. Every time he makes a point he says, "this isn't an esoteric argument it's even here in this very mainstream Enya song." Mind you, love the essays, just noticing. Important to pay attention to the pathologies of your peers... they say something important about your own pathologies
yeah, very well spotted. i'm always very worried that mentioning specific music i like will cause other people to lose interest. the music i'd estimate as occupying the center of the universe is so often stuff no one else i know cares about. so if i want on some level to convince you all that it actually is the center of the universe, i figure i have to start by convincingly explaining how it relates to other stuff in the first place.

I dont know if 'prescient' or 'influential' is the right term, but Enya seems like an important proto- for the modern milieu
excellent point. i think there's an argument to be made that enya was the first really popular "virtuoso" vocalist to do music as diegesis via audio animation. (first and maybe only virtuoso guitarist to do so was ofc hendrix.) vocal-centric music is usually the ultimate stronghold of music as performance for obvious reasons. neon screams is, to me, all about music of enya's cloth, in a way.
 

version

Well-known member
Luka, sometimes it feels like we're the only ones on this board dedicated to fostering culture... genius... explorations of the inner and outer world. It's lonely being so dedicated. You try to set high expectations but they always let you down. Where are the questions from the other board members? Where is the exegesis?
I've no energy atm. Totally depleted.
 
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