Opaque Mediation. Technology exposed in electronica

Stipendiat ved Institutt for musikkvitenskap (IMV)

Ever since the invention of recording there have been different approaches to the production process in the studio. One approach has been to ‘document’ sound, or give the impression of capturing an actual performance. The other approach has been to foreground the ubiquitous mediating technology involved in the recording process by using its tools to achieve specific aesthetic effect. The latter makes no attempt to simulate a musically ‘live’ situation; instead, it leaves distinctive inscriptions of its own on the sound. A listener’s focus is thus not only directed toward what is mediated but also toward the act of mediation itself. I call this particular aesthetic ‘opaque mediation’ to highlight the degree of exposure of the relevant mediating technology, as opposed to ‘transparent mediation’, in which the ideal is a use of mediating technology that the listener can completely ignore. The concepts of opaque and transparent mediation draw upon essays by the French philosopher Louis Marin, in which he discusses the dual dimension of representation in paintings and semiotics. Opaque and transparent mediation comprise what Max Weber calls ‘ideal types’, analytical poles between which ‘real life’ presents many intermediate positions; these types, then, describe rather than define reality.

This thesis introduces a theoretical framework for opaque and transparent mediation through analysis of electronica music in which opaque mediation is sought for. Opaque mediation is by no means a new phenomenon. However, digitalization offers a far greater array of forms of opaque mediation and has contributed significantly to its aesthetic. This development of technology and expansion of this aesthetic have extended musicians’ and producers’ compositional palette. The thesis will be divided into three parts. The first part will elaborate upon ‘opaque’ versus ‘transparent’ mediation, and discuss the term ‘mediation’ in relation to terms such as ‘representation’. The second part will be a discussion of the historical and cultural context of this aesthetic ideal. It will demonstrate that a listener’s sense of a particular act of mediation as transparent or opaque varies over time, place and musical genre. The third part will consist of analysis of electronica music, in which the mediating technology is exposed in different was, and where this opacity of mediation is the aesthetic ideal. The analysis of the musical material demonstrates that the exposure of the relevant mediating technology contributes significantly to the music’s distinctive character and appeal. The thesis highlights the tremendous importance of mediating technology for musical expression, which has often been ignored in analysis of popular music.