K-pop bands recruit individuals to be trained/indoctrinated – for years and in an industrial way – in the art of singing, dancing and behaving in a specific way that seeks to appear polite, cute and appealing. The formation of K-pop groups is repetitive, but allows for a certain degree of variety which allows the viewer to prefer one of these groups and the possibility of improvement.
K-pop bands are thrown into a competitive market environment. Those that do not outperform the others or do not create specific peaks (classic works of the sort) perish. Therefore, there is a need for innovations within the restricted formula.
Therefore, we can observe the gradual change from older bands to more current ones that, in many characteristics, surpass the old ones with the exception of a few works whose small details are unforgettable for K-pop fans in general.
Understand that abstract objects are different from each other because their parts are modified..., therefore, the evolution of these objects also occurs through the evolution of their particles. Therefore, we find in K-pop the constituent elements of the evolutionary theory of abstract particles: an abstract object (in this case, the band and its product), abstract particles (characteristics that constitute the band and its product), a process of mutation of these particles (industrial creation of new bands that seek to surpass the previous ones) and the existence of abstract objects that are a peak within their specificity (songs or performances that have entered the history of K-pop as classic works of this genre). Relating this to the rest of the evolutionary theory of the abstract object – with the analysis of historical trends – we can predict that K-pop bands will also give rise to a new species of band that will not be K-pop. We can also infer that K-pop bands were the natural evolution of something that preceded them - that transcended its previous specificity (remember the postulate: the abstract object - in addition to having versions that are apexes within its specificity - also moves towards a version that is so modified that it transcends its specification, creating a new specification or becoming part of another more general abstract object.
This evolutionary process also occurs with all bands in history – considering that every abstract object originated from another that preceded it, which is logical. From the theoretical point of view, K-pop is a descendant of the Beatles (boy band) which – in turn – is a descendant of jazz bands (group structure) which – in turn – are descendants of other groups that are descendants of the shamanic rituals of primitive musicians (the first bands) who played drums and flutes to alter the emotional state of their village.
It may seem strange, but K-pop and shamanic rituals are the same object – a musical group – that has undergone variations as collective consciousnesses have found excuses to modify it in the (not necessarily intentional) direction of the apex. From historical analyses that aim to find the origin of an abstract object, we realize that the most sophisticated and civilized technology is merely the manifestation of something invented in the most primitive periods of humanity.
K-pop bands are thrown into a competitive market environment. Those that do not outperform the others or do not create specific peaks (classic works of the sort) perish. Therefore, there is a need for innovations within the restricted formula.
Therefore, we can observe the gradual change from older bands to more current ones that, in many characteristics, surpass the old ones with the exception of a few works whose small details are unforgettable for K-pop fans in general.
Understand that abstract objects are different from each other because their parts are modified..., therefore, the evolution of these objects also occurs through the evolution of their particles. Therefore, we find in K-pop the constituent elements of the evolutionary theory of abstract particles: an abstract object (in this case, the band and its product), abstract particles (characteristics that constitute the band and its product), a process of mutation of these particles (industrial creation of new bands that seek to surpass the previous ones) and the existence of abstract objects that are a peak within their specificity (songs or performances that have entered the history of K-pop as classic works of this genre). Relating this to the rest of the evolutionary theory of the abstract object – with the analysis of historical trends – we can predict that K-pop bands will also give rise to a new species of band that will not be K-pop. We can also infer that K-pop bands were the natural evolution of something that preceded them - that transcended its previous specificity (remember the postulate: the abstract object - in addition to having versions that are apexes within its specificity - also moves towards a version that is so modified that it transcends its specification, creating a new specification or becoming part of another more general abstract object.
This evolutionary process also occurs with all bands in history – considering that every abstract object originated from another that preceded it, which is logical. From the theoretical point of view, K-pop is a descendant of the Beatles (boy band) which – in turn – is a descendant of jazz bands (group structure) which – in turn – are descendants of other groups that are descendants of the shamanic rituals of primitive musicians (the first bands) who played drums and flutes to alter the emotional state of their village.
It may seem strange, but K-pop and shamanic rituals are the same object – a musical group – that has undergone variations as collective consciousnesses have found excuses to modify it in the (not necessarily intentional) direction of the apex. From historical analyses that aim to find the origin of an abstract object, we realize that the most sophisticated and civilized technology is merely the manifestation of something invented in the most primitive periods of humanity.
