Roxy Music records assemble selves rather than express a pre-existing subjectivity

Evidence

The early Roxy records are Ferry’s Warhol-Frankensteinian attempts — the joins still showing, thrillingly, horrifyingly — to hand-machine a space that would incorporate his day and his night self. So they are not so much expressions of a coherent subjectivity as a kind of destratificationin-progress, the production, on the fly, of a pop art plane of consistency which he could feel at unhome in. — Mark Fisher (edited by Darren Ambrose), K-Punk, 884

Categorization

• XREF: Ties Ferry to the Ripley/glam theme of assembled, performed self over authentic inner life (ch14), and the Deleuzean ‘de-stratification in progress’ vocabulary Fisher carries throughout. — connects to: Tale form replaced lyrical subjectivity in post-Romantic rock — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1109; The violin’s tone embodies the Cartesian lyric subject and its suppression marks postindividualism — Fredric Jameson, Marxism and Form, 52; A band’s inauthenticity can itself be its genuine artistic material. — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1052

Broader Connections

• The violin’s tone embodies the Cartesian lyric subject and its suppression marks postindividualism #corroborates (0.75) — Fredric Jameson, Marxism and Form, 52
• Tale form replaced lyrical subjectivity in post-Romantic rock #expands (0.72) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1109