Books I have taken out:
M. Bierut, J. Helfand, S. Heller and R. Poynor, (1999), Looking Closer 3, New York, Allworth Press
M. Bierut, W. Drenttel and S. Heller, (2006), Looking Closer 5, New York, Allworth Press
G. Ambrose and P. Harris, (2009), The Fundamentals of Graphic Design, Switzerland, AVA Publishing
D. Strinati, (1995), An Introduction to Theories of Popular Culture, London, Routledge
J. Storey, (2009), Cultural theory and Popular Culture, an Introduction, Harlow, Pearson Education Limited
Thursday, 23 December 2010
Friday, 17 December 2010
ADORNO- ON POPULAR MUSIC
Quickly read Adorno's (1941) article 'On Popular Music' (links below). In no more than a few paragraphs, summarise his ideas on pop music, concentrating on key points such as 'standardisation', 'psuedo-individualisation' etc.
Adorno says that "The whole structure of popular music is standardized, even when where the attempt is made to circumvent standarization."
Adorno talks about different types of music, popular and serious music.
"Serious music, for comparative purposes, may be thus characterized: Every detail derives its musical sense from the concrete totality of the piece which, in turn, consists of the life relationship of the details and never of a mere enforcement of a musical scheme." (Adorno On Popular Music, 'A Critical and Cultural Theory Reader', Open University Press, Buckingham, p.212) He uses Beethoven as an example of serious music, where if you listen to all the song, you get it's 'lyrical and expressive quality' and true meaning in context.
In comparison to popular music, if any detail was taken out of context, the listener would still be able to know the song, "it would not affect the musical sense if any detail were taken out of the context; the listener can supply the 'framework' automatically, since it is a mere musical automatism itself.' (P.213) He explains that the beginning chorus to the majority of popular music are all the same, or very similar, due to the standardisation.
"The composition hears for the listener. This is how popular music divests the listener of his spontaniety and promotes conditioned reflexes."(P.215) Adorno explains that when the listener listens to the popular music, they don't think about it, they behave in a 'conditioned' way. Popular music must meet two demands, one is to get the listeners attention, the other "is for the material to fall within the category of what the musically untrained ear listener would call 'natural' music."(P.215) What ever type of music the listener is most comfortable listening to.
"Popular music is 'Pre digested' in a way strongly resembling the fad of 'digests' of printed material.' (P.215)
Pseudo-individualisation
"..endowing cultural mass production with the halo of free choice or open market on the basis of standardization itself. Standardization of song hits keeps the customers in line by doing their listening for them." (P.217) It makes the listeners forget that the music has already been listened to for them (pre-digested).
Adorno says that "The whole structure of popular music is standardized, even when where the attempt is made to circumvent standarization."
Adorno talks about different types of music, popular and serious music.
"Serious music, for comparative purposes, may be thus characterized: Every detail derives its musical sense from the concrete totality of the piece which, in turn, consists of the life relationship of the details and never of a mere enforcement of a musical scheme." (Adorno On Popular Music, 'A Critical and Cultural Theory Reader', Open University Press, Buckingham, p.212) He uses Beethoven as an example of serious music, where if you listen to all the song, you get it's 'lyrical and expressive quality' and true meaning in context.
In comparison to popular music, if any detail was taken out of context, the listener would still be able to know the song, "it would not affect the musical sense if any detail were taken out of the context; the listener can supply the 'framework' automatically, since it is a mere musical automatism itself.' (P.213) He explains that the beginning chorus to the majority of popular music are all the same, or very similar, due to the standardisation.
"The composition hears for the listener. This is how popular music divests the listener of his spontaniety and promotes conditioned reflexes."(P.215) Adorno explains that when the listener listens to the popular music, they don't think about it, they behave in a 'conditioned' way. Popular music must meet two demands, one is to get the listeners attention, the other "is for the material to fall within the category of what the musically untrained ear listener would call 'natural' music."(P.215) What ever type of music the listener is most comfortable listening to.
"Popular music is 'Pre digested' in a way strongly resembling the fad of 'digests' of printed material.' (P.215)
Pseudo-individualisation
"..endowing cultural mass production with the halo of free choice or open market on the basis of standardization itself. Standardization of song hits keeps the customers in line by doing their listening for them." (P.217) It makes the listeners forget that the music has already been listened to for them (pre-digested).
Sunday, 12 December 2010
PANOPTICON
Choose an example of one aspect of contemporary culture that is, in your opinion, panoptic. Write an explanation of this, in approximately 200-300 words, employing key Foucauldian language, such as 'Docile Bodies' or 'self-regulation, and using not less than 5 quotes from the text 'Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.
The hospital could be seen as a modern day equivalent to Michel Foucault's theory on Panopticism. "Each individual, in his place, is securely confined to a cell from which he is seen from the front by the supervisor; but the side walls prevent him from coming into contact with his companions. He is seen, but he does not see; he is the object of information, never a subject in communication."(P.85). The patient maybe in his/her room, and can see outside, but other patients can't see in, except the nurse/surgeon. In some circumstances the patient maybe in a coma or unconscious, in which case somebody else makes the decision to operate and seen as the 'object'.
They are set out in this way, so that they do not infect other people with their illnesses, "if they are patients, there is no danger of contagion..". (P.85)
The patient doesn't know when they are being watched, even when leaving the room, the camera's around the hospital are still 'watching'. This makes people in the hospital behave in a certain way, they are obedient to the hospital rules. Even when there is no one supervising, patients would still be obedient, and become a docile body.
"Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power.' (P.85)
The surveillance in the hospital relates to Foucault's panopticon theory, where the patients are registered in the hospital, and all their personal information (name, age, sex, health) is at the reception, or documents on the computer. "Surveillance is based on a system of permanent registration: reports from the syndics to the intendants, from the intendants to the magistrates or mayor." (A, Easthope & K, McGowan, 'A Critical and Cultural Theory Reader', Open University Press, Buckingham, p.82) The hierachy of people that the information gets passed on to can also be seen in the hospital.. from nurse to surgeon, for example.
The hospital could be seen as a modern day equivalent to Michel Foucault's theory on Panopticism. "Each individual, in his place, is securely confined to a cell from which he is seen from the front by the supervisor; but the side walls prevent him from coming into contact with his companions. He is seen, but he does not see; he is the object of information, never a subject in communication."(P.85). The patient maybe in his/her room, and can see outside, but other patients can't see in, except the nurse/surgeon. In some circumstances the patient maybe in a coma or unconscious, in which case somebody else makes the decision to operate and seen as the 'object'.
They are set out in this way, so that they do not infect other people with their illnesses, "if they are patients, there is no danger of contagion..". (P.85)
The patient doesn't know when they are being watched, even when leaving the room, the camera's around the hospital are still 'watching'. This makes people in the hospital behave in a certain way, they are obedient to the hospital rules. Even when there is no one supervising, patients would still be obedient, and become a docile body.
"Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power.' (P.85)
The surveillance in the hospital relates to Foucault's panopticon theory, where the patients are registered in the hospital, and all their personal information (name, age, sex, health) is at the reception, or documents on the computer. "Surveillance is based on a system of permanent registration: reports from the syndics to the intendants, from the intendants to the magistrates or mayor." (A, Easthope & K, McGowan, 'A Critical and Cultural Theory Reader', Open University Press, Buckingham, p.82) The hierachy of people that the information gets passed on to can also be seen in the hospital.. from nurse to surgeon, for example.
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