Question and Answer
I am sure the Ensemble Sopeso are wonderful musicians, and I am always glad to see a group devoted to modern music. But who the hell does their interviews
? All the questions are longer than the answers:You speak of a work's "appropriate weighings of innovation and convention." Is this a dialectical, historical model? In spite of the traditional demand to recognize the radical innovation of great works, isn't a great work essentially conventional rather than innovatory? Isn't "convention" just another word for the permanent dégré zéro frame of mutual reference which must be assumed before we can enjoy "innovation"—"the revelation of new perspectives, according to constantly mutating sets of (musically immanent) rules of play?"Nailed
him! Yeah dude, what the fuck? Just come out and admit that you are using "convention" as a word for the permanent dégré zéro
frame of mutual reference which must be assumed before we can enjoy "innovation"—"the revelation of new perspectives, according to constantly mutating sets of (musically immanent) rules of play"!!! Everyone knows it, you dick. Don't lie. And don't even pretend you don't know where that final sentence in quotes is from. Yeah, it's from Lacan's book where he psychoanalyzes his bag of Cooler Ranch Doritos. We've all read that and can attest to its intellectual importance in the history of civilization.
Seriously, though, if I may return from the clouds of academic obscurantism, why do all semi-intelligent writers feel the need to posture and drop French words and phrases in their sentences?* "Dégré zéro"?
Jesus Christ. And a lot of the times, the French words or phrases they spruce up their paragraphs with are cognates, too! Let me pretend to be a writer, if I may:
"Daily, the news of Iraq places us of our place in the midst of une situation importante
Just say "IMPORTANT SITUATION"! It's spelled nearly the same way, and it means the goddamn same thing!
In all fairness, I should let you know who is being interviewed here. None other than Brian "flute fluttertonguing in 7/16 time = complexity" Ferneyhough!
His answers aren't very helpful either, and if you have heard his music, typical. Quick, verbose, arcane and pointlessly articulate:On the other hand it might be said that, whereas Brecht's strategy involves a consciously pre-calculated expulsion of the observer from one zone of otherwise integral mimetic witness into another, far bleaker space of alienation, Schoenberg's quartet actually lives through some sort of organic rebirth in and through the necessary flowering and fading of untenable discourse-immanent contradictions.
Hm, yes, yes. I always have a flowering and fading of untenable discourse-immanent contradictions first thing in the morning.
*(There is an awful, awful "Classical Liberal" columnist named Ilana Mercer who does this shit every column, often in Latin, another pointless trick that is supposed to inform the reader of the author's familiarty with the Ancient World. Check her out at the most hilarious news site in the world, World Net Daily
. Also, go to her site. Lots of pictures of her pretending to be sexy and smart. Apparently, she likes Dream Theater, which immediately negates anything she could have to say politically, culturally, etc. )