Who loves ya, baby?
I find a lot of it consists of inserting the phrase "... as ... " with no real explanation because it sounds cool as it is: text as fortress, currency as exoskeleton and so on.
You'd think as a pretentious nerd with a French degree I'd be well up on this stuff. But I'm not. Don't understand a word of it.Strangely though, much as I love all that French stuff still, it doesn't seem to have much explanatory power, any resonance or purchase on current popular culture.
Well that's nice of you to say, but what I meant was - theorists and philosophers and critical thinkers who don't actually write about music, but their concepts open it up in interesting ways, or can be repurposed by the likes of us.
This is a great start and demonstrates good understanding of what Barty wants (I.e don't spoil it don't deflate) A*.Nowadays people spoil it a bit by saying "of course Baudrillard acknowledged that bombs were dropped, people died etc, he was just saying that 'the Gulf War' was largely a media spectacle, and what really happened was a rather one-sided succession of applications of US firepower", but this is a bit pacifying - the argument is that our entire social apparatus for grasping and representing reality now deals wholly in simulacra, so the issue is less "what really happened" versus the media image, and more the fact that what really happened, happened to a large extent for and in the media. "Smart bombs" were detonated, and filmed detonating, as much for the sake of the image of their detonation as for the tactical effects of blowing up whatever and whoever they were being used to blow up...