Deconstruction and Recontextualisation. + The Medium is the Message

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Deconstruction and Recontextualisation. + The Medium is the Message by Mind Map: Deconstruction and Recontextualisation. + The Medium is the Message

1. The Medium is the Message

1.1. Medium

1.1.1. http://dictionary.reference.com/browse/medium?s=t

1.2. Media

1.2.1. http://dictionary.reference.com/browse/media?s=t

1.3. Mediate

1.3.1. http://dictionary.reference.com/browse/mediate?s=t

1.4. Message

1.4.1. http://dictionary.reference.com/browse/message?s=t

1.5. Marshall McLuhan

1.5.1. http://en.wikipedia.org/wiki/Marshall_McLuhan

2. "Media, by altering the environment, evoke in us unique ratios of sense perceptions. The extension of any one sense perception alters the way we think and act. The way we perceive the world. When these ratios change, men change." - McLuhan

3. Deconstruction

3.1. Destruction

3.1.1. Construction

3.1.1.1. Construct

3.1.1.1.1. Deacon

4. Recontextualisation

4.1. If the medium itself is the message - or at the very least, if the medium inherently imposes information upon the viewer/listener/receiver - then any piece of media, when transferred to a new medium, or a new context in the same medium, will inherit new meanings, possibly unintened, potentially more interesting and powerful than any original meaning.

4.1.1. Appropriative Collage

4.1.2. Sampling

4.1.3. Remix

4.1.4. Turntableism

4.1.5. Allusion

4.1.6. Pop culture reference

4.2. 'The idea of a completely original piece of music is a fairly recent one. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only gradually, and centuries after the implementation of written notation, did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the twentieth century, the presence of communal influence became unavoidably obvious once again as composers began to use older recordings to make new recordings. We can now hear the process of influence. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play one. From the beginning, recordings have been instruments. ' Leidecker, 2008

5. Deconstruction

5.1. Destruction

5.1.1. Construction

5.1.1.1. Construct

5.1.1.1.1. Deacon

6. Deconstruction

6.1. Destruction

6.1.1. Construction

6.1.1.1. Construct

6.1.1.1.1. Deacon

7. ~~~ 2/3: http://imgur.com/a/Ljhp2

8. The recorded artefact itself.

8.1. The fact that you can 'record' - transcribe, analog, catalogue, analyze, order what was once the definition of ethereality - sound.

8.1.1. http://dictionary.reference.com/browse/ethereality

8.2. Sound was ethereal. It still is, but its ghost can live on. It can be captured and reborn.

8.2.1. The infinite, quantum precision of real sound waves cannot be captured perfectly, but recording technlogy has asymptoted towards reality, and long since surpassed the quality necessary to fool the ear into hearing 'real' sound.

8.2.1.1. Ultimately, in electronic technology, a finite number of bits of information are used to represent and recreate sound. The bits are saved, codified. Infinitely repeatable. Digital music is information...

8.2.1.1.1. But there is more information in a recording than just the sound that was recorded - the medium itself imprints information, gives context, setting, meaning.

8.3. The composer, then has not just musical tools at his/her disposal, but the tools of the medium in and through which their compositions will be materialised.

8.3.1. From: Notes, harmony, melody, rhythm, dynamics, phrasing, rest, groove, counterpoint, modulation, tone clusters, ratios, tuning, arrangement, lyrics. etc.

8.3.1.1. To: Production quality, context, allusion, samples, medium, satire, texture, performance space, timbre, nostalgia, glitch, process, data, deconstruction, recontextualisation, perfect repetition. etc.

8.3.1.1.1. The electronic sound medium ITSELF has provided an array of new compositional techniques, the most powerful of which are Deconstruction and Recontextualisation. Both made possible by the infinitely repeatable nature of digital audio.

8.4. 'Though sound and music are essentially incorporeal aspects of human experience, they are dependent on the latent potentials of matter: bamboo tubes, stretched animal skin, throat-flesh. Even more fundamentally, sound rests upon vibration, the analogue fluctiations of that vaporous fluid we call air. But in the late 19th and early 20th centuries, that ocean of vibration became -electrified-. Just as traditional instrument can be seen as alchemical transformations of earth and air, woods and metals, so can the revolutionary sonic media that followed in the wake of the telegraph - telephone, phonograph and radio, not to mention theremins, Moogs and Roland 303s - be regarded as creative transmutations of the new 'elements' that would come to undergird the 20th century's cultural consciousness: electricity and electromagnetism.' Erik Davis, 2002