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it's not simply that the term has negative overtones rather, first, the notion of ideology seems to deny the possibility of the subject being a subject of truth, i.e., fidelity to the event of music second, "ideology" is anti-political -- the notion that we are all puppets of ideology denies...

i hope you won't make a habit of quoting my least incisive remarks plus, i think border police meant what he said -- that the first 16 bars of a song may light your fire, and then the next 8 bars of the song inspire loathing so neither border police's original remark nor my recasting of it is...

i agree when i go out at night i experience the music and the scene together certainly i can distinguish b/w the music being played over the soundsystem and the composition of the crowd, the vibe, the culture, etc but for me the overall scene is just as important to my experience as the...

i think borderpolice and tim f are winning this argument! which is not to say that i'm giving up merely keeping score right and i'd say that fire has priority over ice (this is the key point) it's why i lose myself while dancing to this track and why i come back to my senses when the dj...

yes i like to call it voodoo however, pentecostalism in the united states, at least in early stages, was a largely black american movement not that i know much about pentecostalism or anything not even sure why i bothered to argue w/ k-punk on this one anyway, as it's a pretty minor point --...

i could give you an idiosyncratic all-time top 10 or top 20 can't do a current top 10 -- not sufficiently on top of things to even say i'm not a music critic -- though i do write the occasional promotional "blurb" in exchange for free drinks basically i'm a rave nostalgist/fantastico if i...

i imagine i'll get two kinds of groans for this one first, b/c it's another thread on lady sov second, b/c i'm mentioning badiou in the music section = how boorish! however, the menta remix of lady sov's "random" is one of the very few grime records i've actually purchased -- mainly b/c of...

i disagree that is, I suspect that Otto is using some notion derived from Hegel whereby the slave is OVERpowered by the lord -- i.e., the slave feels the prospect of death in his bones -- i.e., the slave who previously had vain thoughts about himself is shaken to the foundations -- he had...

however, there does seem to be some tension b/w the following propositions: (1) there is more uniformity and less complexity in people's responses to music, experience of music, than prevailing theory (opinion) acknowledges i.e, as among members of the same scene -- obviously if you're not...

excellent point! which is not to say that we're all alike, either but often in philosophy the best thing to do is argue contrary to prevailing opinion even though the truth of the matter is unknown i.e., who really knows how similar or different our experiences of music are especially in...

and so, when viewed retrospectively, the difference b/w music that has the power to seize people and music that is simply "pop" music is this . . . . "pop" music reminds of us of another time in our lives, where we were, who we were with, what the weather was like that year -- we think about...

i think they mean the introductory volume, as that's the one that everyone's read -- or has had the most influence on modern thought

actually i want to take some of these remarks back for the most part i listen to music in private but while listening i *imagine* hearing the music in a social setting for instance, if it's a song that i first heard at a rave or from that time period, then i imagine myself dancing to the song...

i should acknowledge, however, that i'm unable to account for the power of music outside of social settings that is, the music that most moves me in private probably is bach or some such thing but at the end of the day i can take or leave bach so perhaps my understanding of music is pretty...

i think that borderpolice's mimetic theory has a great deal to contribute to our understanding of how music and music scenes work . . . . but i suppose i see the mimetic theory as strictly supplementary that priority still has to go to the music itself, to the "claim" that the music makes on...

and of course what the scene allows for is collective ownership we getting down to the music together -- we are all claimed by the music -- and we own this music

yes -- i was talking more about rave scenes or rather, i argued up thread that 89/92 rave scene was a produced population -- but precisely b/c it was a produced population, and not an organic community w/ "real world" bonds to hold it together, that the lines along which the scene did fracture...

so maybe the "value" of ariel pink is in its refracting light or some such thing perhaps it helps us develop finer, more sensitive critical habits again, i'm saying this based on what i've read about ariel pink -- i haven't the faintest maybe it's the pleasure of melancholy i don't know...

first let me say that i've yet to hear ariel pink -- this is the kind of thing i'll eventually get around to investigating based solely on blissblogger's and woebot's enthusiasm but i suppose that ariel pink lacks the potential for binding the listener into a "political" relationship ariel...

i've been rather sloppy in my use of the phrase "exclusive claim" -- i don't have in mind a claim that totally and completely excludes the rights of others rather i have in mind something like a claim to lordship or something -- i.e., you can make use of this music, but the music is my fief --...