Group Play and Happy Togetherness. Femdom pt 2.

version

version

Well-known member
It's like when a male author writes from the perspective of a female character and brings up their boobs.
 
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sadmanbarty

Well-known member
version said:
Happy Hardcore sounds artificially feminine to me, a masculine idea of the feminine.
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emotion dispensed so rapidly as to become information. they are signals, no longer feelings.

red is no longer rothko, but a flashing emergency light.
 
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thirdform

pass the sick bucket
version said:
Happy Hardcore sounds artificially feminine to me, a masculine idea of the feminine.
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I mean dem 2 sound more weirded out than this so im not sure what you're trying to say here. ok barty made a contention and you're running with it without challenging it, this is the problem here.


Also far less droid-like than dem 2.

 
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mvuent

Void Dweller
sadmanbarty said:
masculine music is the phenomenology of velocity, feminine music is the phenomenology of physiology.

this speaks to the cognitive processes of of fight vs surrender. movement vs rest.

feminine music intimately and precisely maps out the body; breathy vocals, the way it textural on the skin, it's preoccupation with taste. these are only entertained by our cognition when we're inactive.


when you get punched you don't actually feel the pain till after the fight's over. masculine music is about processing of events and information (often rapidly).
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so the distinction is more on the level of how you engage with the music than about musical tropes acting as signifiers or whatever. that probably should have been obvious to me by now. but still, different formal elements (breathy vocals) can encourage you to experience it on each--which is along the lines of what I was thinking about.
 
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sadmanbarty

Well-known member
mvuent said:
so the distinction is more on the level of how you engage with the music than about musical tropes acting as signifiers or whatever. that probably should have been obvious to me. but still, different formal elements (breathy vocals) can encourage you to experience it on each--which is along the lines of what I was thinking about.
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rhythmic intricacy is a musical trope that i imagine is inherently perceived in terms of velocity, and not particularly relatable to the feeling of a body (other than the movement of a body)"



whereas these textures are so immersive and warm that they inherently relate to the skin and to warmth


 
luka

luka

Well-known member
version said:
This makes me think that third's thing of antihuman machine music has to lean toward the masculine.
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One of the things I was trying to talk about on the iconisation thread was the way a human motion, for example the hitting of a drum, is idealised and abstracted into engineering. It becomes a mathematics of efficiency.

Now I would say that machine music is now anachronistic. Obviously, machines belong to a material universe.

There are pieces of music which work like machines. the pieces fit together like machine parts not like bodies occupying a shared space.
 
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version

version

Well-known member
They all sound artificially feminine to varying degrees to me, even the tunes with a real female vocalist. It's all resting on top of machine-like rhythms. That Force And Styles tune sounds like a sped-up factory production line.
 
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thirdform

pass the sick bucket
yeh cos women don't work in the factories innit.

This is what im trying to do, break down the binaries and noone's helping. let's talk about sophie then. where does she fit on this axis?
 
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sadmanbarty

Well-known member
thirdform said:
are you gonna argue this is more feminin than gala?

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nothing is either one or the other.

the staccato stabs intersecting are about information perception. they don't relate to physiology in any real experienced way.

on the other hand the warm organ sounds or the vocals do.
 
luka

luka

Well-known member
mvuent said:
of the quoted content this was what resonated with me the most the first time I read it. just a way of being receptive/attuned to what different music does, rather than selectively looking for certain qualities and missing what’s actually interesting about the thing in front of you. (not that’s inherently bad, or that we don’t do it most of the time.)

maybe part of the idea is to get past boring good/bad 3.5/5 stars type judgments—but it does seem to give an idea of what music succeeding means: basically ‘vividness’ of qualities like the ones described (e.g. sense of motion is an important one). but if music doesn’t strike you as vivid in any sense, it might not be that whoever made it failed, but that their creative energy was focused on qualities that are still undiscovered to you.

(probably still missing how this connects to the other stuff at this point)
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Yes this is all very much part of what I was trying to get at. Particularly the undiscovered part. What we don't know yet.
 
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luka

luka

Well-known member
thirdform said:
yeh cos women don't work in the factories innit.

This is what im trying to do, break down the binaries and noone's helping. let's talk about sophie then. where does she fit on this axis?
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What happens when you break down the binary?
 
luka

luka

Well-known member
luka said:
I'm inclined to think that it is difficult to map a space without poles. Without axes. But perhaps I'm not using my imagination. Help me.
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Quiet/loud is a binary
Fast/slow
High/low

How do we move beyond those?
 
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