Pub Date : 2013-04-25DOI: 10.5040/9781501382871.0006
Marie Thompson, Ian Biddle
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Pub Date : 2013-02-28DOI: 10.5040/9781501382871.ch-004
Richard Elliott
This chapter is based around an analysis of Nina Simone’s recorded performance of George Harrison’s ‘My Sweet Lord’. The initial analysis develops into an exploration of the recorded ‘representations’ of Nina Simone’s performances, the gap between affect and representation, and the ways in which representations produce their own affects. It draws from theories of the eventual, the transformative and the affective as outlined by Alain Badiou, J. L. Austin and Brian Massumi. It also makes reference to what Kathleen Stewart calls 'ordinary affects' in order to highlight the formative strategies of religious and/or ritualistic affect that can be found in Simone’s work. In doing so, it explores the sometimes conflicting, sometimes complimentary modulations between the evental and the everyday that are played out in recorded performances. The chapter is written as a series of ‘channels’, which are intended to represent spaces of flow which can be thought of in sonic terms alongside complimentary metaphors such as streams, currents and eddies. The first half is written from a series of fixed perspectives, while the second is crafted to reflect the themes under discussion, in particular the notions of folding, unfolding and refolding. Where scholarly analysis typically refolds the unfolding it has undertaken in order to present its findings as a coherent whole, as something always already known, the purpose here is to leave part of the story unfolded as both provocation and as exposition of the layers at work in any serious analysis of affect.
这一章是基于对妮娜·西蒙妮对乔治·哈里森的“我的甜蜜的主”的录音表演的分析。最初的分析发展为对尼娜·西蒙表演的记录“表征”的探索，情感与表征之间的差距，以及表征产生自身情感的方式。它借鉴了Alain Badiou、J. L. Austin和Brian Massumi所概述的最终、变革和情感理论。它还参考了凯瑟琳·斯图尔特所说的“普通影响”，以突出西蒙娜作品中可以找到的宗教和/或仪式影响的形成策略。在此过程中，它探索了事件和日常之间有时冲突，有时互补的调制，在录制的表演中发挥出来。这一章是由一系列的“通道”组成的，这些通道旨在代表流动的空间，这些空间可以用声音的方式来思考，同时也可以用诸如溪流、水流和涡流等互补的隐喻来思考。前半部分是从一系列固定的角度来写的，而后半部分则是精心设计的，以反映正在讨论的主题，特别是折叠、展开和再折叠的概念。学术分析通常会重新展开它所进行的展开，以便将其发现作为一个连贯的整体呈现出来，就像一些已知的东西一样，这里的目的是留下故事的一部分，作为对任何严肃的情感分析中所起作用的层次的挑衅和阐述。
{"title":"So transported: Nina Simone, ‘My Sweet Lord’ and the (un)folding of affect","authors":"Richard Elliott","doi":"10.5040/9781501382871.ch-004","DOIUrl":"https://doi.org/10.5040/9781501382871.ch-004","url":null,"abstract":"This chapter is based around an analysis of Nina Simone’s recorded performance of George Harrison’s ‘My Sweet Lord’. The initial analysis develops into an exploration of the recorded ‘representations’ of Nina Simone’s performances, the gap between affect and representation, and the ways in which representations produce their own affects. It draws from theories of the eventual, the transformative and the affective as outlined by Alain Badiou, J. L. Austin and Brian Massumi. It also makes reference to what Kathleen Stewart calls 'ordinary affects' in order to highlight the formative strategies of religious and/or ritualistic affect that can be found in Simone’s work. In doing so, it explores the sometimes conflicting, sometimes complimentary modulations between the evental and the everyday that are played out in recorded performances. The chapter is written as a series of ‘channels’, which are intended to represent spaces of flow which can be thought of in sonic terms alongside complimentary metaphors such as streams, currents and eddies. The first half is written from a series of fixed perspectives, while the second is crafted to reflect the themes under discussion, in particular the notions of folding, unfolding and refolding. Where scholarly analysis typically refolds the unfolding it has undertaken in order to present its findings as a coherent whole, as something always already known, the purpose here is to leave part of the story unfolded as both provocation and as exposition of the layers at work in any serious analysis of affect.","PeriodicalId":424900,"journal":{"name":"Sound, Music, Affect","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127818778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5040/9781501382871.ch-007
D. Lockwood
The ‘industrial’ music of British post-punk band, Cabaret Voltaire, exemplified an experimental ‘street’ attitude to sound and music which reflexively appropriated elements of both popular and avant-garde techniques and styles in imagining, and rendering audible, a new, post-industrial world and society of control. It was a kind of clairaudience constituted by a contagious encounter, the capture and mapping of affective flows of the late twentieth-century mediascape. A noise music such as industrial is neither plagiaristic nor precursive, but rather a space in medias res, immanent, sandwiched between actual identities, a space in which the ‘outside’ is prophetically folded into the world. In Cabaret Voltaire’s music a map of the future was sounded which was attuned to incipient metamorphosis, a mutation of capitalism and other vital stirrings in the world.
{"title":"Spread the Virus : Affective prophecy in industrial music","authors":"D. Lockwood","doi":"10.5040/9781501382871.ch-007","DOIUrl":"https://doi.org/10.5040/9781501382871.ch-007","url":null,"abstract":"The ‘industrial’ music of British post-punk band, Cabaret Voltaire, exemplified an experimental ‘street’ attitude to sound and music which reflexively appropriated elements of both popular and avant-garde techniques and styles in imagining, and rendering audible, a new, post-industrial world and society of control. It was a kind of clairaudience constituted by a contagious encounter, the capture and mapping of affective flows of the late twentieth-century mediascape. A noise music such as industrial is neither plagiaristic nor precursive, but rather a space in medias res, immanent, sandwiched between actual identities, a space in which the ‘outside’ is prophetically folded into the world. In Cabaret Voltaire’s music a map of the future was sounded which was attuned to incipient metamorphosis, a mutation of capitalism and other vital stirrings in the world.","PeriodicalId":424900,"journal":{"name":"Sound, Music, Affect","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123625117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5040/9781501382871.ch-012
Ian Biddle
{"title":"Quiet sounds and intimate listening: The politics of tiny seductions","authors":"Ian Biddle","doi":"10.5040/9781501382871.ch-012","DOIUrl":"https://doi.org/10.5040/9781501382871.ch-012","url":null,"abstract":"","PeriodicalId":424900,"journal":{"name":"Sound, Music, Affect","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125192998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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