The Le Mardi Gras Listening Collective is a group of friends who listen to music together and is named after a bar in Pittsburgh where the collective was conceived. In this article we consider ways by which music might be a mode of planning opposed to individuation and measure, and beyond the instrumentalities to which music itself is often submitted. We do so by thinking about how jazz—where it takes on the improvisatory character of the busker, rehearsal, or jam—becomes a form of love. We consider the song as an expression of antagonism that the song itself cannot contain. We ask if we might conceive music as a mode of criminality opposed to the violence and discipline imposed upon the body by capital. We look to understand capitalism by situating the plantation system at its center. We ask what sort of place our listening takes place in and how the song might inhabit it. We wonder what it might mean for all of this to remain unresolved, and how to remain attuned to that irresolution as a form of planning social life.

中文翻译：

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音乐与经济​​规划

Le Mardi Gras Listening Collective 是一群一起听音乐的朋友，以该集体诞生地匹兹堡的一家酒吧命名。在本文中，我们考虑音乐如何成为一种与个性化和衡量相对的计划模式，并超越音乐本身经常被提交的工具。我们通过思考爵士乐——它具有街头艺人、排练或果酱的即兴特征——如何成为一种爱的形式来做到这一点。我们认为这首歌是歌曲本身无法包含的对抗的表达。我们问我们是否可以将音乐视为一种与资本强加给身体的暴力和纪律相对立的犯罪模式。我们希望通过将种植园系统置于其中心来理解资本主义。我们会问我们的聆听发生在什么样的地方，以及这首歌可能如何存在于其中。我们想知道所有这一切仍未解决可能意味着什么，以及如何将这种不确定性作为一种规划社交生活的形式来保持协调。