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

[jochen stremmel]

Don't forget Offenbach:
http://en.wikipedia.org/wiki/File:Offenbach_-_Orpheus_in_the_Underworld_-_Overture,_Can_Can_section.ogg

2015-03-07 8:21 GMT+01:00 Mike Jing <gravitys.rainbow.cn at gmail.com>:

> That's what I thought at first, which makes grammatical sense.  But why
> are the loudspeakers implicit in this pinball machine's design?  Does it
> mean that it should have loudspeakers because it has Cancan dancers on it?
>
> On Tue, Mar 3, 2015 at 4:21 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
>>>
>>
>>
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://waste.org/pipermail/pynchon-l/attachments/20150307/35c008b5/attachment.html>