The availability of everything means that particular works of pop music lose “symbolic efficiency” to use (and possibly misuse) a term from Žižek. Nothing successfully connotes the zeitgeist; everything invokes a desire to one-up with a better reference or a new meme or detournement of the contemporary. We are too knowing and skeptical to accept anything as unproblematically representative of the now.
I don't see how this stands true, when is other current threads we discussed the "anthem of UBL's death" (what is it, "Party in the USA"?) and Alice shared the music of the Egyptian uprising.
So music made now would not be at all disruptive, he argues, if someone living in 1979 heard it.
Team America's lyrics notwithstanding? Seriously, though, this is impossible to prove.
There would be no retroactive future shock. It doesn’t sound like the future; the future that should be occurring now has been thwarted, lost, effaced. The sense of cultural teleology is gone, vanished, perhaps, in the now pervasive relativism that regards all culture product as potentially valuable.
How the heck is someone supposed to know what the future sounds like?
IMO 'the future' of music for now, is remixes, if only because synthesizers and gigantic libraries of music have never been immediately available to everyone before, but largely because traditional music education is so undervalued that not as many kids know how to play "real" instruments, much less compose music.
But there must be something I'm missing.
edited to fix link
