“...where there is a lot of sound...”: Resistance, Subjectivity and the Trilanguag- ing of the Media of Enunciation in Manu Chao’s Clandes t ino and Próxima Es tación... Espe ranza

Music is more than an object of study: it is a way of perceiving the world. A tool of understanding. Today, no theorizing accomplished through language or mathematics can suffice any longer; it is incapable of accounting for what is essential in time — the qualitative and the fluid, threats and violence. In the face of the growing ambiguity of the signs being used and exchanged, the most well-established concepts are crumbling and every theory is wavering. . . . It is thus necessary to imagine radically new theoretical forms, in order to speak to new realities. Music, the organisation of noise, is one such form. (4)