If the listener's aim is to dismiss pop music as vapid, boring, and willfully naive, that's easy enough to do. It's also paramount in the enjoyment of pop music. The generosity of the listener, particularly of the listener who desires understanding and connection, is paramount in this equation. How do we express exactly what we mean, particularly when we're trying to convey important information? Whether that information is emotional or practical, a description of an internal state or an external occurrence, when we look at how language really works, it's a wonder that we understand one another at all. While Riding Jackson was a bit over-the-top-dare I say performative, representative?-in her insistence upon individual, rational meaning, it's a common concern for most of us. At least for folks like Laura Riding Jackson, for example, who wanted very much for words to have one stable, rational, somehow natural meaning, outside of fallible human usage. The second joke, that there's no real reason, other than tradition as traced by etymology, for us to call that thing a pipe, is a little more unsettling. 'Ceci n'est pas une pipe,' or 'This is not a pipe,' is the phrase written under the pipe in RenГ© Magritte's painting 'The Treachery of Images.' The initial joke is quick and pleasing: this is not a pipe, it's a representation of a pipe. I knew immediately what Jeff meant-that because the poems are so colloquial, so much about how language actually works and sounds, they needed a foil to underscore the fact that no matter how many ums and likes they use, they are still a performance of speech. 'It needs a touch of 'Ceci n'est pas une pipe,'' he said. When I was in the final stages of editing Why We Live in the Dark Ages, a collection of poems about how we talk about science, history, and culture, Jeffrey Schultz, among other dear friends, had a look at the book. Reprinted with the permission of the author. Britney Spears is always tryingДЇrom Why We Live in the Dark Ages (Tavern Books, 2015).В All rights reserved. Hear the difference unless the song wants us to. One note forever without moments of imperfection. Pushes the sound back together as though imperfections were never there.ДЄs though the human voice could move from one note to the next with Auto-Tune pulls out the imperfections and then

Auto-Tune very carefully slides out those moments Moments when their voice wavers, perhaps.

Auto-Tune takes a note and pulls it apart The half-tones you make humans sound like synthesizers. Auto-Tune works by taking out the half-tones. Remember Nelly Furtado?Д®veryone else uses Auto-Tune because if they don't they'll sound like Every singer uses it now, except for Neko Case.

Auto tune star