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Themesicon: navigation pathSound and Imageicon: navigation pathMontage/Sampling/Morphing

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post-humanistic or anti-humanistic conception of futurist models about it—only without the enthusiasm for technology or its being at a systematically decisively place. In its internal self-images and its self-comprehension, at first pop music still operated with classic notions of genius, expression and artistry, of self-identical and selfresponsible great individuals who drew out of themselves—it was not a problem, or at best a problem ritually processed in the form of exclusions and sacrifices, that this selfcomprehension was essentially a self-miscomprehension. It was not until the 1970s and the 1980s, when concept-artistic and secondary work also became apparent within the discourses on self-comprehension in pop music, that one deviated from this model. One now openly spoke of the quotation and prefabrication qualities of pop music elements—without exactly knowing how to treat them stylistically.

The montage dichotomy of the 1970s: Electronics vs. punk

A clear dichotomy, however, already became apparent during the 1970s: an electronic discourse


that operated on a futuristic-posthuman level versus an "angry" pre- to post-punk continuum that used quotes and montage. At first, electronic futurism stood between an admiration of the machine as access to higher—even spiritually higher—spheres in the hippie and drug tradition on the one hand (e.g. the Kosmische Kuriere [10] ), and the affirmation of electronic machines as a sign of progress in terms of civilization, of modernity and technically resolved, formerly social conflicts on the other hand (e.g.Kraftwerk). However, both of these were clearly integral and not montagelike. On the contrary: It seemed to be precisely a sign of the new electronic culture in the 1970s and even still of the synthipop of the early 1980s [e.g. Tangerine Dream] that the fiddled-with and amateur-like quality that had characterized pop music for so long would be left behind in favor of an integral and atmospherically well-rounded sound. This is precisely the reason why for a very long time, the use of the synthesizer in pop music had the reputation of not only not being exactly the politically progressive side of pop music, but also as, so the speak, the rock bottom of montage and also

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