Re: GR translation: that are implicit in this machine’s design

[Dave Monroe]

Ah, hadn't considered that, just read what was in the post.  Very
good.  Though I still wouldn't discount "loudspeakers" (which reminds
me, I haven't had a stereo set up in over a dozen years now--I DJ a
couple/three (actually, a four or five) times a week, but I never
actually listen to music anymore, not in any dedicated sense, I could
use some discount loudspeakers) ...

On Tue, Mar 3, 2015 at 3:21 AM, jochen stremmel <jstremmel at gmail.com> wrote:
>>The thing that "are implicit in this machine’s design" is the music, is
>> that correct? <
>
> I don't understand your question but perhaps what you mean.
> "that" refers to the loudspeakers, and "this machine" is that special
> pinball machine with the Cancan dancers, is as I read it.
>
>
> 2015-03-03 9:14 GMT+01:00 Dave Monroe <against.the.dave at gmail.com>:
>>
>> I believe you are correct, sir.  But the question then is, why is
>> "implicit in this machine's design"?  I'm done no small amount of
>> reading on sound, recording, broadcasting, amplification, et al., +
>> when I think, what's implicit in, say, the latter, is crooning. The
>> microphone + amplification enabled the projection of soft vocals (like
>> the megaphone before it; vs., say, operatic, or even Broadway vocals;
>> recall that Bing Crosby was a big investor in recording technologies,
>> esp. in the wake of the postwar appropriation of Nazi recording
>> technologies).  Offenbach, esp. the (nigh unto
>> customary/stereotypical) piece most likely here, tends to be anything
>> but.  But I imagine here, the music is being played from a recording
>> (a 78rpm record), and amplified. And, of course, "loud" is "implicit"
>> in an amplifier's/sound system's "design," so ...
>>
>> Relatively recent (though hardly exhaustive, or, necessarily,
>> immediately the "best," or, @ least, relevant  [I'm just waking back
>> up during a TCM Lord of the Rings marathon, so ...], on the subject,
>> though well worth reading nonetheless) reading:
>>
>> Electric Sounds
>> Technological Change and the Rise of Corporate Mass Media
>> Steve J. Wurtzler
>>
>> "But what role would this new media play in society? Celebrants saw an
>> opportunity for educational and cultural uplift; critics feared the
>> degradation of the standards of public taste. Some believed acoustic
>> media would fulfill the promise of participatory democracy by better
>> informing the public, while others saw an opportunity for
>> manipulation. The innovations of this period prompted not only a
>> restructuring and consolidation of corporate mass media interests and
>> a shift in the conventions and patterns of media consumption but also
>> a renegotiation of the social functions assigned to mass media forms."
>>
>> http://cup.columbia.edu/book/electric-sounds/9780231136761
>>
>> "In a book that has frequently been compared with Walter Benjamin’s
>> Arcades Project, Kracauer uses the life and work of Offenbach to
>> assemble a penetrating portrayal of Second Empire Paris. By examining
>> the superficiality and mystification of collective experience,
>> Kracauer provides the reader with a revelatory “physiognomy” of social
>> reality itself. Offenbach’s immensely popular operettas have long been
>> seen as part of the larger historical amnesia and escapism in the
>> aftermath of 1848. But Kracauer insists that Offenbach’s productions
>> have to be understood as more than simply glittering distractions. The
>> fantasy realms of his operettas, occurring amid the urban renewal of
>> Baron Haussmann and the fanfare of Universal Expositions, were on the
>> one hand fully continuous with the unreality of Napoleon III’s
>> imperial masquerade, but on the other made a mockery of the pomp and
>> pretenses surrounding the apparatuses of power. His music “originated
>> in an epoch in which social reality had been banished by the Emperor’s
>> orders, and for many years it flourished in the gap that was left.”
>> Kracauer shows how Offenbach’s dream worlds were embedded with layers
>> of utopian content that ultimately was an indictment of the
>> fraudulence and corruption of the present."
>>
>> http://www.zonebooks.org/titles/KRAC_JAC.html
>>
>> ... there may be some Bigger Mechanism(s) being referred to (as well) ...
>>
>> Hm ...
>>
>> On Tue, Mar 3, 2015 at 1:29 AM, Mike Jing <gravitys.rainbow.cn at gmail.com>
>> wrote:
>> > V584.19-27   . . . well here come these cancan girls now,
>> > Folies-Bergeres
>> > maenads, moving in for the kill, big lipstick smiles around blazing
>> > choppers, some Offenbach galop come jigging in now out of the
>> > loudspeakers
>> > that are implicit in this machine’s design, long gartered legs kicking
>> > out
>> > over the agony of this sad spherical permanent AWOL, all his companions
>> > in
>> > the chute vibrating their concern and love, feeling his pain but
>> > helpless,
>> > inert without the spring, the hustler’s hand, the drunk’s masculinity
>> > problems, the vacuum hours of a gray cap and an empty lunchbox, . . .
>> >
>> > The thing that "are implicit in this machine’s design" is the music, is
>> > that
>> > correct?  I know which piece of music is being referred to, I'm just a
>> > little bit confused by the sentence structure.
>> -
>> Pynchon-l / http://www.waste.org/mail/?listpynchon-l
>
>
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Pynchon-l / http://www.waste.org/mail/?list=pynchon-l