In order to pursue my girlfriend, I am playing a wonderful guitar sound touched her,


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Shooting your friends with a real gun is a definite faux pas.

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Professor Plum in the Studio with a new Amp

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If only I were the only one at home right now. I don't need my parents asking who Mr. Wiggles is.
Examining Roland Barthes and Theodor Adorno’s analyses of “the text” and “serious music” leads us to conclude that true art is that which is co-produced between subject and object. When discourse and co-creation is required, it is within that very engagement the true art form emerges.

In his essay “From Work to Text,” Roland Barthes draws a distinction between the traditional notion of literary “work”—a product of categorization from disciplines such as linguistics, anthropology, and psychoanalysis, which serves to systemize our understanding of the literary field—and the “text,” which is “obtained by the sliding or overturning of [these] former categories.” Unlike the work, the Text is a field or medium—it is not a tangible object to be found on the shelves of a library. The text spans across time periods and genres, defying categorization and containment by standing apart from traditional disciplines. It has “neither close nor center.” In other words, every text is a “text-between” in constant movement; it is simply a part of the greater intertextual within which every text is held. Barthes mentions Georges Bataille as one contributor to this intertextual, a writer who “wrote texts, perhaps continuously one single text” throughout his life.

Barthes argues that whereas the “work” is merely an object of consumption, the Text abolishes the distance between reading and writing by joining the subject and object in what Barthes calls a “single signifying practice.” This fusion is where the text blossoms: when a reader is able to play with a work, turning the act of passively reading into one of production and activity, the text emerges. Barthes employs the analogy of the history of music, and enumerates three stages of musical history which closely parallel that of literary history. First, there was little difference between playing music and listening to it, and society produced many amateur musicians. Then emerged two simultaneous roles: the ‘interpreter,’ or musician, to whom the bourgeois public delegated its playing, and passive amateurs who listened to music without being able to play it at all. The final stage of musical history is described by Barthes as such: “today post-serial music has radically altered the role of the ‘interpreter’, who is called on to be in some sort the co-author of the score, [thereby] completing it.” Barthes posits that the written word has undergone similar historical transformations, and it has finally arrived at the Text, which demands of the reader “a practical collaboration”.

What exactly is this collaboration, in which the true art form—in this case the Text—emerges? It can be understood through the lens of Theodor Adorno’s description of “serious music” in his essay “On Pop Music.” Like Barthes, Adorno creates his own binary between “popular music” and “serious music.” As Adorno explains, the difference between the two kinds of music lies in Standardization. Popular music consists of a frozen and aloof “whole”; the songs subscribe to a formulaic, “standardized” framework. Slight aberrations within each song only serve to reinforce the “whole” that they all conform to; each detail thereby becomes a “caricature of its own potentialities” because it is never allowed to fully develop. Serious music, on the other hand, consists of a living relationship between details; each detail “virtually contains the whole” and none can be removed or replaced without damaging the whole. The details lead to the exposition of the whole while themselves being produced out of the conception of the whole.
sometimes I see us in a cymbal splash or in the sound of a car crash
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too many excerpts.


“There's never enough time to do all the nothing you want.”
~ Bill Watterson