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

[Mike Jing]

Well, I didn't, as I mentioned in the original message.  I guess you can't
have the requisite Can-Can music without them loudspeakers, thus the
loudspeakers are implicit in the pinball machine's design.

On Sat, Mar 7, 2015 at 4:08 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
>>>>
>>>
>>>
>>
>
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