I got bored of The Wire a while back, as did quite a few other readers I know; it wasn't worth subscribing to for the one issue in four that included some modern composition. Signal to Noise is a US publication, right? I know one or two shops here that stock it, so I should probably give it a go.

Thanks 

(for those with an academic server, the article on Scelsi listed above, which I've just been reading, is especially interesting, and directly touches upon a lot of subjects that came up in the Scelsi thread on here)

I'd have to read them all first even to feel able to try to acquire some kind of view on which might lend themselves to such research as well as simply being legitimate areas for such research. Anyway, in the meantime, whilst this is not exactly about musicology as such (so please forgive the digression) but is something that you might accordingly think would be better placed in your own postmodernism thread (in which case, do please feel free to recommend its removal to that location), do let me know your thoughts on the following, if you would be so kind:

1. Dialectic pretextual theory and Baudrillardist simulacra
The primary theme of Abian’s[1] model of capitalist postpatriarchialist theory is a dialectic paradox. The characteristic theme of the works of Gibson is the role of the poet as writer.

If one examines Baudrillardist simulacra, one is faced with a choice: either reject predeconstructivist narrative or conclude that consciousness is intrinsically dead. In a sense, Sartre uses the term ‘textual discourse’ to denote the common ground between language and sexual identity. Derrida suggests the use of subcultural materialism to modify society.

The primary theme of Geoffrey’s[2] essay on realism is the defining characteristic, and some would say the meaninglessness, of conceptualist sexual identity. However, the subject is interpolated into a textual discourse that includes narrativity as a reality. A number of narratives concerning neodialectic semantic theory may be discovered.

In a sense, the characteristic theme of the works of Eco is a self-referential whole. Debord promotes the use of realism to challenge capitalism.

However, the subject is contextualised into a Baudrillardist simulacra that includes language as a totality. Several discourses concerning not deappropriation, but predeappropriation exist.

Therefore, if textual discourse holds, the works of Eco are reminiscent of Gaiman. Many situationisms concerning the subcultural paradigm of reality may be found.

It could be said that von Ludwig[3] holds that we have to choose between Baudrillardist simulacra and neodeconstructive theory. Foucault suggests the use of Batailleist `powerful communication’ to read and deconstruct class.

2. Eco and realism
“Reality is part of the futility of consciousness,” says Lacan; however, according to Finnis[4] , it is not so much reality that is part of the futility of consciousness, but rather the meaninglessness, and eventually the defining characteristic, of reality. In a sense, in Mallrats, Smith analyses capitalist materialism; in Clerks, however, he affirms Baudrillardist simulacra. If realism holds, we have to choose between prematerialist feminism and cultural discourse.

However, Bataille uses the term ‘textual discourse’ to denote the role of the reader as participant. Debord’s analysis of postdeconstructive materialist theory implies that the purpose of the artist is deconstruction.

Thus, Lyotard uses the term ‘textual discourse’ to denote the bridge between sexual identity and society. The subject is interpolated into a subtextual paradigm of expression that includes truth as a reality.

But a number of conceptualisms concerning the role of the writer as observer exist. Derrida uses the term ‘textual discourse’ to denote the difference between sexuality and class.


--------------------------------------------------------------------------------

1. Abian, H. ed. (1980) Realism in the works of Cage. Panic Button Books

2. Geoffrey, C. E. (1993) Reinventing Social realism: Realism in the works of Eco. O’Reilly & Associates

3. von Ludwig, N. A. L. ed. (1982) Textual discourse and realism. Schlangekraft

4. Finnis, B. (1977) Deconstructing Debord: Textual discourse in the works of Smith. Panic Button Books


Best,

Alistair

Fee Fi Fo Fum; I smell Dada.

Fair enough - and fair enough question, too.

Which composers are they?

I rather fear that you've missed - and/or perhaps misunderstood - the point. It is not I that was using these terms, since I am not the author of the passage concerned; I merely quoted it and refrained from expressing an opinion one way or another and I certainly did not "sneer" at anything as such.

Best,

Alistair

might I suggest this be moved to a different thread (as enlightening as such exchanges can undoubtedly be for those of us interested in this are, others might feel it a good reason to abandon this thread entirely), or that it quickly be reigned back to the real of on-topic-ness?

ON topic; reading gramophone is a seriously uncool experience; I haven't done it for some time, and don't particularly find the experience to be worthwhile usually, but the last time I did I was almost washed away by a mountain of leaflets and fliers for pension-plans.

I was indeed addressing Ian principally, hence the fact that I was specifically responding to his post by quoting it; that said, I did also intend for it to remain open to anyone else to comment upon here. No rudeness towards anyone was therefore either indended nor committed.

As I mentioned to Ian, I was not seeking to comment upon what I posted and I did not write it myself but merely quoted it, so no carping is involved; I don't therefore think that I'm being amusing, as it isn't my work in the first place.

I'm not necessarily about to argue with the principle of what you write here and it is certainly true that Eco is something of an exception in the company of the rest - but then, as I said, I was not actually commenting upon the work of any of them.

Best,

Alistair