Titlebook: Hope and Wish Image in Music Technology; David P. Rando Book 2017 The Editor(s) (if applicable) and The Author(s), under exclusive license

fulmination

Introduction: Audible Hope, wish. Our modes of production have generated such material abundance and such remarkable capabilities that by reason and by any stretch of the imagination they . changed the world in these essential ways by now, but still have failed to do so. We now possess so many things that people in the past u

鐵塔等

Wish Images and Wishful Images: Benjamin and Bloch,technological innovations, as envisioned by Benjamin, and of music’s unique capacity to venture beyond the limits of articulation and to attach to unrealized possibilities, in a world, as theorized by Bloch, whose future is still radically up for grabs.

耐寒

The Music of Wish Images: Filesharing and Utopia,uggests a special relationship between free music and free people. In order to realize the wish image contained in the practice of music filesharing, the social longings it represents would have to be brought into consciousness through critical discourse, and then completed beyond the scope of its practice in a new social order.

舉止粗野的人

The Mixtape as Wishtape: Heterotopia, Translation, and Nostalgia,the commodified fragments of music back into an unalienated musical whole or totality. While the cultural nostalgia surrounding the mixtape makes it easily soluble into politically regressive and sometimes troubling wishes, the mixtape is ultimately aligned with Bloch’s image of music as a wishful expression of the New and the Not-Yet-Conscious.

挫敗

,“The Enemy Has Never Ceased to Be Victorious”: Anne Frank and Neutral Milk Hotel,past hopes that have been dashed by an “enemy [who] has never ceased to be victorious.” However, through a discussion of songwriter Jeff Mangum’s surprise performance in Zuccotti Park during Occupy Wall Street, I discuss enduring resistances to repressed wishful images that prevent the wish image from being realized or made real.

Incisor

Conclusion: The Happy Appearance and the Wishful Tendency in Cultural Criticism,logical claim for approaching music commodities and services (and cultural objects and practices more generally) through a simultaneously skeptical and wishful perspective, even at the risk that belief in the wishful appearance can, in Bloch’s words, “l(fā)ure us demonically into the void.”

災(zāi)難

,The Artist and Technology: William Gaddis’s ,, or the World’s Smallest Player Piano Playing Itself nstrumental uses of technology. Through the novel’s meditation on the player piano, there emerges a repressed technological wish image for a better world without (capitalist) artists, or even the need for them.

字謎游戲

埋伏

Limerick

e of music in the digital environment through cultural, busi.This book proposes that new music technologies attract unconscious desires for socialism and collectivity, enabling millions of people living under capitalism to dream of repressed social alternatives. Grounded in the philosophical writing