“Genre is a reductive, old-fashioned, and inherently problematic idea, and we should all be eager to see it rendered moot, but I remain curious about the contours of a post-genre world—what that might open up for the future, and what might be sacrificed.”
“If music is a sort of universal language, then dance music is a recognizable but peculiar dialect—a sort of global Esperanto or patois, which was cobbled together as a response to a post-civil rights, post-sexual revolution 20th century reality. Indeed, as the cliché goes, in the USA it was the music of Blacks, Latinos, gays, and women, all those groups which were outside of the ‘white’ and ‘male’ rock mainstream. But Esperanto was artificially created with pre-defined rules, and it has never fully become a global language (like English did, de facto) because it never had a real geographical or cultural location in which its vocabulary could organically evolve. Therefore, instead of Esperanto, I would suggest that electronic dance music is better described as a patois, in the sense that it evolved over the past 30 or 40 years as the grandchild of back-and-forth encounters from many tribes of different backgrounds. By necessity, just like a patois, much of the ‘correct’ grammar of its parent languages has gotten lost, and instead has been replaced by muddy compromises.”
• Strandbeest inventor Theo Jansen discusses the wind.
“If you repeat the word ‘wind’ enough, it will start blowing. You should try it sometime.”