« on: March 10, 2008, 02:39:01 PM »
Thanks, Joe. Great to see this release being appreciated. It is remarkable, and different stuff.
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Quote'The line between plagiarism and intertextuality/recontextualiztion has become blurred anyway, as notions of authorship and originality have been problematized.'
Alan, could you explain your point a bit more lucidly ?. I'm curious as to what you mean by this statement.
How has the the issue become 'problematized' ? - is it a problem ?
PeteHoly cow that's a mouthful, Alan. But oddly enough - I think I know what you're saying and agree with you.
Heh. Thanks for that, jkn. Well, Pete asked for it... so, yes, I’ll bite, though you should know that ‘lucidity’ isn’t one of my virtues ;-)
At the risk of typecasting myself as the resident pseudo-intellectual , some of the ideas to do with the authorship issue (and yes, it IS a problem, or at least, it has been problematized) can be found in the opening paragraphs of this chapter from a textbook on Semiotics. Caution is advised, though; bedtime reading it is not: http://www.aber.ac.uk/media/Documents/S4B/sem09.html
What it says about “text” and “writer” and “language” is, arguably, applicable to the context of music composition, and underlies my comment on Lähtö's admission of appropriation of Hammock's musical text.
I forgot to mention my favorite Behringer product, the Behringer MIC2200 Ultragain Pro also known as the "fake tube" preamp. All the glow of tube electronics but none of the warmth.
Mum-go go smear the poison ivy