Ambient Music And The Impulse Towards Deconstruction :: essays research papers

Out of Light cometh Darkness, dark ambient music and the impulse towards deconstruction 2000 Daniel du Prie1. These recordings whitethorn be seen as a notation of our deadminded society, but not as a reaction against it, we will all become ambient dead heads, if not... (Archon Satani, In Shelter, liner note, 1994)If not, then ellipsis. The conditional clause of fact, followed by an open-ended ellipsis, where not only the conjunction between a conditional present and an effected next (then...), but the whole of future time itself is omitted is a good way to immerse oneself in a description towards a functional definition of a difficult form of a popular underground music (I write popular because it is, in critical terms, usually excluded from the domain of high culture, or hard music, being more aligned with other popular underground genres, eg, industrial, death metal), that would seem to defy the very notion of popularity a priori I write of questionable dark ambient music. 2 . Your attention is drawn to a notation of the future as ellipsis, as a potent form of signifying a coming-into-being that is never-yet, and may well up never be, as a danger The future can only be anticipated in the form of an absolute danger. It is that which breaks absolutely with the constituted northward and only be proclaimed, presented, as a sort of monstrosity (Derrida, 1974 3).This ellipsis of the future, signifying danger (becoming, in Archon Satanis space, dead headed), also dislodges the comfort of the present, and of presence of the representing object, and its notification to the object represented, of the sign versus its referent. Hence the need for a notation, obtuse of signifying directives, not yet as a denotation and decoding, full of revealed meaning, of a certain character of society but only of the function of recording qua art in reality, over and against symbolised reality, and even without any metaphysical reality. Archon Satani refuse permission for the ir recordings (not yet historicised as music, nor art) to be seen and hence, to be read as a reaction qua art against society we will all become ambient dead heads...3. In refusing music, and art, and reaction as historically revealed, politics are also seen to be refused. The future is one where the listener-subject will become as dead as the given inanimacy of the purlieu that surrounds her. Fundamentally psychoanalytic desires those hinged upon death and sex may be in nuance in such a statement.