Difference and Fragmentation
This chapter provides a closer look at the differentiation of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) intellectuals in 1984 in relation to the Institute's two major areas of work, the musical-aesthetic and the technological. It presents a chart that represents an analysis of IRCAM intellectual subjects as interpreted through the lens of the earlier characterizations of modernism and postmodernism. The chapter suggests that the IRCAM subjects' positions can be seen as informed by, and yet as particular expression of, discourses on modernism and postmodernism. It discusses the mechanisms in the construction of aesthetics and technology at IRCAM, and considers experimental music as constituting a marginal subculture and the exclusion of popular music.
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