Depuis ma lecture de son Bruits, Jacques Attali est entré dans la longue liste des gens avec qui j’aimerais prendre un café.
- Certains de mes propres billets dans lesquels je mentionne le type en question:
C’est pas tant que je sois d’accord avec ses idées ou même avec son approche. Il me sert pas non plus de modèle. Mais je trouve certaines de ses analyses très compatibles avec ma propre approche et j’aimerais bien pouvoir discuter avec lui, quelques minutes. D’autant plus qu’il me semble assez facile d’approche.
C’est sans doute trompeur, mais son attitude générale me semble rendre possible des contacts informels, au-delà des statuts. Cette attitude est, d’après moi, trop rare parmi certaines catégories d’intellectuels. Pourtant, la vie de l’esprit n’est pas vraiment une quête du prestige.
Haven't read his Music: A Very Short Introduction yet but Nicholas Cook's perspective on music in general sounds quite insightful. A broad definition of music in the context of recent history. Jacques Attali's Noise has some of the same impact on me.
Here's a reading of the French version of the first chapter to Cook's very short introduction.
Anybody read the whole book?
The New York Times > Business > Your Money > Wipe Egg Off Face. Try Again. Voilà:
‘Flows poison like ivy, oh they grimy/Already offers on my sixth album from labels trying to sign me.’
Fairly elaborate piece about the Seagram heir involved in the music industry. What’s interesting here for someone who tends to think of music as expression and creation through sound is to get a peep in other perspectives on music. Sure, the first step to achieve their perspective is to see music as a commodity, which seems rather awkward for a musician But there are more steps involved if one wants to get insight into “corporate culture” of The Biz. It’s not just money. It’s also this notion that “artists” (musicians, mostly singers, with record contracts) create hits or non-hits. Members of that culture seem to think that “hitness” is an intrinsic quality of an artist’s output. Of course, they’re acutely aware that the way people listen to music is influenced by their own processes. But the point is, the comments of analysts and “insiders” still point, when they talk about “the music,” toward music as production.
It’s good to keep in mind that the model is quite recent. Attali’s Noise (read the first edition of the French original Bruits only last year or the year before) describes many steps in the construction of this model…
ZeD – Content Piece – Wilco Interview
Some key issues and concepts. I share his perspective, both as a music fan and as a musician.
It might be important to expand upon the very notion of copyright as applied to music. Jacques Attali’s Bruits discusses this creation and how it was never meant to protect the actual artists.