{"id":1878,"date":"2009-01-12T00:00:00","date_gmt":"2009-01-12T00:00:00","guid":{"rendered":"http:\/\/localhost\/wptest\/2009\/01\/12\/hearing-without-knowing-music-recording-and-differance\/"},"modified":"2009-01-12T00:00:00","modified_gmt":"2009-01-12T00:00:00","slug":"hearing-without-knowing-music-recording-and-differance","status":"publish","type":"post","link":"https:\/\/blogs.ncl.ac.uk\/philosophy\/2009\/01\/12\/hearing-without-knowing-music-recording-and-differance\/","title":{"rendered":"Hearing without Knowing: Music, Recording and Differance"},"content":{"rendered":"<p>This project began with Bill Drummond\u2019s poster, Notice. For Drummond, the digitization and instant access to music through the internet has rendered recorded music a dead art form. To try and understand Drummond\u2019s perception, I have chosen to examine three moments where technology had altered musical production and dissemination: \u2013 (1) The birth of notation. (2) The advent of file-sharing software such as Napster. (3) The rise of house music and ecstasy culture where DJs perform using recorded music. Throughout, I have used Deleuze and Guatarri\u2019s A Thousand Plateaus as a conceptual tool-kit. Drawing on their notion of the rhizome, faciality, the refrain, becoming-imperceptible and micro-politics I have attempted to understand both these three movements and develop an approach to music itself. In order to cast some light on Drummond\u2019s perception of recorded music as a single, irrelevant genre, I have turned to Adorno\u2019s conception of the culture industry. Through Derrida\u2019s Dissemination, I have attempted to show that the dichotomy between recording and performance cannot be sustained and that the musical experience returns the listener to the play of differance.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Daniel Koczy, 2009, Stage 3<\/p>\n","protected":false},"author":8792,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[540,22,123],"tags":[81,97,69],"class_list":["post-1878","post","type-post","status-publish","format-standard","hentry","category-540","category-abstracts","category-stage-3-abstracts","tag-deleuze","tag-music","tag-technology"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1878","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/users\/8792"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/comments?post=1878"}],"version-history":[{"count":0,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1878\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/media?parent=1878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/categories?post=1878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/tags?post=1878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}