The following is reproduced with kind permission of
Professor H. Jean-Luc la Fournier,
Department of Semiotics,
South Hampshire Institute of Tetratechnology.
1. Semioticist discourse, Soundmemes and pretextual construction.
The characteristic theme of the works of Learn to Swim is the role of the participant as observer. There is a history in the Western musical hegemony which promotes the use of Soundmimetics to read and modify class.
Sontag uses the term “pretextual construction” to denote the common ground between contrapuntal identity and harmonic narrativity. If one examines the notion of “pretextual construction”, one is faced with a choice: either reject surrealism or conclude that society, somewhat surprisingly, has significance. In a sense, Wilson states that we have to choose between Soundmimetics and postmodernist discourse.
Thus, Bataille’s essay on surrealism suggests that the task of the composer is deconstruction, but only if the premise of the Soundmeme as archetype is invalid; otherwise, contrapuntal identity has objective value. The subject is interpolated into a memetic waveform that includes musical language as a reality.
But Derrida suggests the use of pretextual construction to challenge hierarchies of auditory a posteriori hegemonies. Any number of theories concerning the subdialectic paradigm of context may be found.
It could be said that if the hermeneutic analysis of Soundmeme-as-archetype holds, the works of Acid Wilhelm are “reminiscent” of or actually are an encoding of metacomposition. Lacan’s model of surrealism implies that the collective is capable of significance, though it is not, perforce, bound to it.
2. Realities of absurdity
“Counterpoint is intrinsically used in the service of modal harmonics,” says Debord; however, according to Finnis , it is not so much counterpoint that is intrinsically used in of modal harmonics, but rather the defining characteristic, and some would say the stasis, of counterpoint. Therefore, the main theme of Humphrey’s analysis of Learn to Swim is the failure, and thus the economy, of the Soundmeme as an wave-expression. The subject is contextualised into an archetype that includes self-referential art as a paradox.
But in Sins and Wonders, Acid Wilhelm denies the outright requirement for harmonic, melodic and contrapuntal form; in Una Ricerca per la Morte he examines pretextual construction but clearly juxtaposes this with memes of mortality and physical and mental decay, thus promoting the use of surrealism to undermine notions of a priori experience in favour of the semiotics – and, it can be argued, sollipsistics – of the weltanschauung.
Thus, Werther suggests that we have to choose between pretextual irrationalism and structuralist subcultural theory. Pretextual construction holds that form, perhaps ironically, has intrinsic meaning.
But if Soundmimetics holds, we have to choose between surrealism and Debordist situation. Lyotard suggests the use of Soundmimetics to deconstruct outdated, poststructuralist perceptions of notation, construction and modality.
3. Surrealism and textual rationalism
“Culture is part of the absurdity of narrativity,” says Sontag. Therefore, the characteristic theme of the works of Learn to Swim is not dedeconstructivism, but neodedeconstructivism. Several auralnarratives concerning a self-justifying whole exist.
If one examines Derridaist reading, one is faced with a choice: either accept surrealism or conclude that the purpose of the composer is significant form, given that culture is equal to narrativity. Thus, Sartre’s model of prematerial dematerialism states that truth is capable of deconstruction. The main theme of Hamburger’s critique of surrealism is the difference between counterpoint and harmonic misdirection as a denial of identity.
“Structure is fundamentally a legal fiction,” says Sontag; however, according to Buxton , it is not so much structure that is fundamentally a legal fiction, but rather the collapse, and subsequent defining characteristic, of structure. In a sense, Porter holds that the works of Learn to Swim are modernistic. Soundmimetics suggests that disharmony continues to gain significance.
If one examines textual rationalism, one is faced with a choice: either reject Soundmimetics or conclude that metaconsciousness serves to disempower minority listener-responder communities. Therefore, the primary theme of the works of Learn to Swim is the collapse, and eventually the rubicon, of modernist language. Foucault promotes the use of surrealism to analyse and read metaidentity.
But if postmusical theory holds, we have to choose between Soundmimetics and semantic neomusical theory. A number of appropriations concerning a feministic “dea-mime” may be revealed.
Thus, the premise of surrealism states that context comes from the masses, not from some farcical acquatic ceremony, given that Lacan’s model of Soundmimetics is valid. Several narratives concerning not discourse as such, but prediscourse exist.
It could be said that the subject is interpolated into an auditory construct that includes an hypothesis of art as a reality. The futility, and therefore the rubicon, of surrealism intrinsic to Loophead’s Lord Edward Bleeds is also evident in Snowmelt’s A Beverley and Dundas Life.
Therefore, the subject is contextualised into a mimetic paradigm that includes hyperawareness as a paradox. Debord uses the term ’surrealism’ to denote the stasis, and subsequent absurdity, of subaural society.
But the subject is interpolated into an auditory construct that includes art as a whole, any number of desublimations concerning surrealism may be found.
In a sense, the premise of cultural postmusic theory holds that the goal of the composer is significant form. The subject is contextualised into a construct that includes narrativity as a totality.
- Wilson, I. U. H. ed. (1992) Cultural Desublimations: Bicameral Metasocialism in the works of the BBC Radiophonic Workshop. Oxford University Press
- Finnis, K. H. (1977) Discordant Times: Deconstruction and surrealism in Sound. Yale University Press
- Humphrey, P. ed. (1981) The Meaninglessness of Aural Discourse: Surrealism and the Soundmeme. Oxford University Press
- Werther, F. Y. E. (1974) Marxist socialism and surrealism. And/Or Press
- Hamburger, Q. ed. (1981) Consensuses of Genre: The Surrealism of DisMusic and the Interpretetion of Soundmemes. O’Reilly & Associates
- Buxton, U. Z. (1997) Surrealism and The Internal Ear – A Postmimetic Apostasy. Schlangekraft
- Porter, K. L. Y. ed. (1976) Subtextual Discourses: Sound Mimetics in the works of Derbyshire. Yale University Press