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

[Dave Monroe]

"the sprightly Offenbach air 'Halls of Montezoo-HOO-ma!'" (AtD, Pt. II, p. 422)

http://waste.org/mail/?list=pynchon-l&month=0708&msg=120977

"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

http://waste.org/mail/?list=pynchon-l&month=1503&msg=185895

On Sat, Mar 7, 2015 at 3:08 AM, jochen stremmel <jstremmel at gmail.com> wrote:
> 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
>>>
>>>
>>
>
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l