The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

The Macroform in Post-Tonalmusic. Listening and Analysis

2003 ◽  
Vol 7 (2) ◽  
pp. 219-240 ◽  
Author(s):  
Mario Baroni
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Extreme Points ◽  
Musical Time ◽  
The Third ◽  
The Past ◽  
Hierarchical Levels ◽  
Twentieth Century Music ◽  
Recorded Performance ◽  
A Performance

Form in classical music is fundamentally a question of organising musical time in order to facilitate a listening corresponding to author's expectations. In the past this was obtained by coordinating different parameters towards a single goal. In twentieth century music, the more detached relationship between the composer and the listener meant that less importance was given to the idea of “correct” listening and to the coordination of parameters. This article is devoted to one of the extreme points in this process: A quartet by Bruno Maderna composed in 1956 under the influence of the ideologies of Darmstadt. The quartet was examined by three different groups of analysts. The first group examined the score of the quartet, while the third group only had a recorded performance at its disposal; the second group analyzed both the score and the performance. The three groups had to describe the form of the piece in terms of three hierarchical levels: Its microform {i.e. the organisation of minimal units not divisible into smaller parts); its macroform (i.e. its division into the minimum possible number of parts); the medium form {i.e. a collection of minimal units that could also be interpreted as an acceptable division of the parts at a macroformal level). Two basic criteria were used: Segmentation (local parametric discontinuity between two adjacent parts) and similarity (coherence between the parameters within each part). The results of the three analyses were somewhat diverse, thus demonstrating the tendency to relax the sense of form in such a quartet, as well as the presence of different procedures used when listening to a performance and analysing a score.

Making Radio Music

2018 ◽  
Author(s):  
Shawn VanCour
Keyword(s):  
Real World ◽  
Dynamic Range ◽  
Spatial Relationships ◽  
Middle Years ◽  
Concert Hall ◽  
Recording Studios ◽  
And Performance ◽  
Acoustic Environments ◽  
Sound Culture

This chapter focuses on miking methods, mixing strategies, and performance styles developed by studio workers and on-air talent for making radio music. These strategies were governed by five principles: (1) acoustic plasticity (manipulating reverberation to simulate different acoustic environments); (2) sonic restraint (eschewing forceful concert-hall projections in favor of more subdued, microphone-appropriate performance styles); (3) flattening of curves (compression of dynamic range, yielding a uniformly close-up sound); (4) sonic parsimony (reduction of sonic inputs to maintain clarity of reproduction); and (5) intelligibility (rejecting fidelity to real-world spatial relationships in favor of a clear and evenly balanced sound). Embraced for broadcasting during the early and middle years of the 1920s, these principles helped to professionalize and legitimize radio’s emerging forms of soundwork and would also inform parallel strategies pursued in recording studios and Hollywood soundstages, facilitating broader shifts in period sound culture.

The Oxford Handbook of Shakespeare and Performance

2017 ◽  
Keyword(s):  
North America ◽  
Latin American ◽  
Cultural Hegemony ◽  
Sound Recording ◽  
The Third ◽  
Performance Criticism ◽  
The World ◽  
And Performance ◽  
Latin American Countries ◽  
Final Group

Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve contemporaneity for Western audiences by exploring modes of performance, acting styles, and aesthetic choices that are regarded as experimental. The second group tackles the burgeoning field of reception: how and why audiences respond to performances, or actors to the conditions in which they perform; how immersive productions turn spectators into actors; how memory and cognition shape and reshape the performances we think we saw. The third group addresses the ways in which technology has altered our views of Shakespeare, both through the mediums of film and sound recording, and through digitalizing processes which have caused a profound reconsideration of what performance is and how it is accessed. The final group grapples with intercultural Shakespeare, considering not only matters of cultural hegemony and appropriation in a ‘global’ importation of non-Western productions to Europe and North America, but also how Shakespeare has been made ‘local’ in performances staged or filmed in African, Asian, and Latin American countries. Together, these groundbreaking essays attest to the richness and diversity of Shakespearean performance criticism as practised today, and point the way to critical continents not yet explored.

scholarly journals Terceira Idade: o discurso dos experts e a produção do "novo velho"

2002 ◽  
Vol 4 ◽  
Author(s):  
Regina Duarte Benevides de Barros ◽  
Adriana Miranda de Castro
Keyword(s):  
Elderly People ◽  
Life Style ◽  
The Elderly ◽  
Contemporary Society ◽  
Deleuze And Guattari ◽  
Old People ◽  
Third Age ◽  
The Third

Resumo: O presente trabalho objetiva desnaturalizar a categoria da terceira idade. A partir da revisão bibliográfica de alguns autores importantes no campo da Gerontologia e no diálogo com Foucault, Deleuze e Guattari argumentamos que a produção desta subjetividade "novo velho" articula-se a outros vetores de existencialização presentes no contemporâneo. Palavras-chave: Subjetividade. Modos de existir. Terceira Idade. Velho. Gerontologia. Abstract: This paper argues the third age cathegory like a natural stage of life and shows that it is a historical product. After a bibliographyc revision of some important Gerontology’s authors and using the work of Foucault, Deleuze and Guattari we be able to say that "new old people" represent an artificial form to designate the elderly people which is a production of many factors on contemporary society. Keywords: Subjectification Forces. Life Style. Third Age. Elderly People. Gerontology.

The Vagina Is the Third Ear

2020 ◽  
Vol 64 (1) ◽  
pp. 2-7
Author(s):  
Miya Masaoka
Keyword(s):  
Real Time ◽  
Female Body ◽  
Female Sexuality ◽  
Body Parts ◽  
Concert Hall ◽  
The Third

The vagina resembles the fleshy folds of the ear without the cartilage. Like the Third Eye, the Third Ear connotes a supernatural ability of intuition, perception. Female sexuality is broadened and expanded, as the vagina is reimagined and reclaimed from previous definitions. Performances with vibrating surfaces and internal vaginal microphones sonify and activate the vagina in real time. This sonic reveal of female body parts asserts a political radicality beyond the gallery or concert hall.

Deterritorialising Anarchist Geographies: A Deleuzian Approach

2019 ◽  
pp. 182-201
Author(s):  
Alejandro de la Torre Hernández ◽  
Gerónimo Barrera de la Torre
Keyword(s):  
Deleuze And Guattari ◽  
The Third ◽  
Symbolic Geography ◽  
The World ◽  
Main Ideas

This chapter outlines a geography of historical anarchism (between 1871 and 1918) from three main ideas in which the authors bring together interdisciplinary contributions from geography and history, with a number of theoretical postulates from Deleuze and Guattari. The first examines the symbolic geography and imaginaries regarding anarchism; the second the militant migration and the connexions between groups around the world, analysed through anarchist newspaper records; and the third covers the prior two issues by contrasting capitalism expansion with anarchism expansion.

Deleuze and the Third World

2021 ◽  
Vol 15 (2) ◽  
pp. 250-265
Author(s):  
Alex Taek-Gwang Lee
Keyword(s):  
Political Philosophy ◽  
Third World ◽  
Minor Literature ◽  
Deleuze And Guattari ◽  
The Third ◽  
The People ◽  
Representation Language ◽  
The Creation ◽  
The Right ◽  
The Third World

The purpose of this essay is to discuss Deleuze and Guattari's concept of the Third World. For Deleuze and Guattari, however, the Third World is not only a geographical term, but also one that denotes the linguistic zones, another term of the minority. The essay argues that the concept of the Third World is related to minor literature, the minor or intense use of language. This ‘transcendental exercise’ of writing is an opposition to the initial purpose of language, namely representation. Language must escape from its normative usage, and then be liberated to a new spatio-temporality, in other words, the linguistic Third World zones. My conclusion is that the creation of Third World linguistic zones is the repetition of differences against the generalisation of representation, such as becoming non-human and non-European, not in imitation of the molar form of the animal or a non-continent extending terrestrial power into the ocean, but as the right way to invent the people missing in the Third World. Inventing the people of the Third World is the right condition in which alternative political subjects can be produced through desubjectification, not domestication, by capitalist axiomatics. In this way, Deleuze's political philosophy aims to use the virtual politics of the Third World to radicalise the actual representation of the existing Left.

Assembling Resistance: From Foucault's Dispositif to Deleuze and Guattari's Diagram of Escape

2020 ◽  
Vol 14 (3) ◽  
pp. 375-401
Author(s):  
Guillaume Collett
Keyword(s):  
Radical Politics ◽  
Deleuze And Guattari ◽  
The Third ◽  
May 68

While Deleuze and Guattari's Anti-Oedipus (1972) is quite rightly considered a fully fledged response to May ’68 and as one with the radical politics of the 1970s, their 1980 follow-up, A Thousand Plateaus, has tended to provoke a more perplexed reaction. In this article, I will argue that we can nonetheless extract a definite line of argumentation serving a precise political end if we relate the text back to Foucault's mid-1970s output on power/knowledge. In particular, I will emphasise Deleuze and Guattari's appropriation of the Foucaultian notion of dispositif (apparatus) via their concept of the assemblage, the former being understood as a concrete articulation of lines of power, knowledge and subjectivation, as well as the Foucaultian ‘diagram’, the latter being a more abstract or indeterminate stage of the dispositif whose relative indeterminacy, for Deleuze and Guattari, offers a means of escape. I will show that, making room for the assemblage's opening back onto the relative indeterminacy of its generative stages, the assemblage incorporates into itself a more immanent alternative to the dispositif that is focused on collective desire rather than power, within which resistance becomes a primary and generative dimension rather than a counter-attack. In the first section, I will outline Foucault's approach to power, knowledge and subjectivation, emphasising Deleuze's reading of Foucault though without trying to overdetermine my reading in this way. Next, I will turn to the Foucaultian diagram. In the third section, I will focus on A Thousand Plateaus, demonstrating how the notion of assemblage developed in this text responds to and builds upon Foucault's approach to power/knowledge and subjectivation in order to reconceive resistance.

scholarly journals The Problems in Speaking for English Department Student in STKIP BUDIDAYA – BINJAI

2020 ◽  
Vol 12 (1) ◽  
pp. 19-26
Author(s):  
Ayu Indari
Keyword(s):  
English Department ◽  
Sound Recording ◽  
The Third ◽  
Speaking Skill ◽  
English Speaking ◽  
Cover Up ◽  
Analyze Data ◽  
Speaking Skills

This paper is purposed to find out the problems in speaking skills for English department student in STKIP Budidaya – Binjai. The speaking skill is the last position to cover up the four skills in English because speaking is the improving your ability to use four skills in English. Speaking needs some stimulation to attract the students speaks their ideas, opinion, or comments about something. The sample of the study is the third students in English department student, it is around 28 students. The data are collected through document by sound recording. The data analyzed by using the technique of analyze data. The result of the study is that it concludes that first question “What is the problem of speaking?” 10 students (35,71%) respond less of confident and 10 students (35,71%) respond less of vocabulary. The second question “How the ways do you practice your speaking skill?” 10 students (35,71%) respond watching movie. The third question “Do you agree that speaking is the most difficult to study comparing with another skills in English? And why?” 18 students (64,29%) respond yes, because it takes orally.

Plant-women, senses, and ecological considerations: Rethinking ritual plants and their taboos among the Pangcah of Taiwan (1920–2020)

2021 ◽  
pp. 003776862110465
Author(s):  
Pi-Chen Liu
Keyword(s):  
Sensory Experience ◽  
Mediating Role ◽  
The Third ◽  
Ritual Action ◽  
The People ◽  
Bamboo Shoots ◽  
Ritual Plants ◽  
Important Position ◽  
Leaf Vegetables

Anthropologists have made strides in theorizing non-human subjectivity in cosmologies but, emphasizing animals, they underestimate the importance of botanical beings. Pangcah rituals and taboos cannot be separated from plants. Through ritual action, they divide plants into three categories: the first is cereals that have deities and soul, which are the center of animistic and shamanic rituals. These spirits will stick to people (like the substance of cereals) asking for food or aggressively make people ill. The second type is leaf vegetables forbidden to eat before and during rituals. They are regarded as unmarried females and have sexual connotations. The third includes ‘enveloped’ plants (beans and bamboo shoots) that are eaten only during rituals. From the important position of plants in the Pangcah lifeway and cosmology, this article explores the Pangcah ontology and analyzes the mediating role of sensory experience played in the people–plants–spirits encounter.

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