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

Sun Mar 8 01:54:33 CST 2015

Exactly what I meant now and why I didn't understand your question in the
first place.

2015-03-08 5:00 GMT+01:00 Mike Jing <gravitys.rainbow.cn at gmail.com>:

> 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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