More Aesthetic Clusters and Influences

Brian and I have both been reading Joanna Demers‘  book Listening Through the Noise: the Aesthetics of Experimental Electronic Music (Oxford University Press, October 2010).  Demers is awesomely adept at describing relationships between huge bodies of theory/philosophy and single works/single artists.  Basically, she explores convergences and compound ideas to simultaneously construct historiography of listening, a genealogy of electronic music, and to examine the multiplicity of impetuses behind electronic music (from electronica to electroacoustic modes) within cultural and socio-epistemic currents, while practicing an aesthetic analysis that elucidates trends, trajectories, and tendencies. She sometimes expresses an opinion about why artists are working in a certain way, and she often draws conclusions about the impact of works, while comfortably avoiding judgment of either the work or the artistic attempt behind it.  She would never write a paragraph as convoluted as that last one…

In any case, she has catalyzed a lot of thought about how to describe movements in performance, even on the basic level of vocabulary.

Here are some links  (to videos of performances, as well as video art, music, etc) that have been influencing Brian McCorkle and I during our current development of Institute_Institut with the current PPL.  This work get us riled up. This work makes us want to work.  It all has something in common (to us), is bound (to us) by (our) subjective interest and pleasure in it as “audience.”  Why this work? Here are 5 “bindings”  (which may or may not be perceived by others):

1.) Combination of  a sharp attention to form (“responsibility of form” a la Barthes) with a “chaotic,” violent, and deeply emotional expression/transmission
2.) Playing with authority, democratized perceptual access, sometimes assuming a position of superiority or pedagogy, only to collapse in on itself via virtuosity, repetition, and hysterics
3.) hysterics, heightened text, extended techniques in service of complex and/or heightened emotion
4.) non-classical virtuosity, self-made, home-made, or “new” virtuosity, an invented language, new techniques, obsession with original details
5.) “fleshiness,” human-ness, joy, rage, corporeality, seams showing

“Wian Tritan’s” channel (AKA Ryan Trecartin, a video artist/visual artist)
Laurie Anderson’s Only an Expert
Perfect Lives, a TV opera by Robert Ashley
James Robey and Meredith Monk collaboration  and more Meredith Monk
Paul McCarthy’s The Painter
vocalist June Tyson in excerpt from Space is the Place, Sun Ra and his Arkestra 
Kathleen Supove
Object Collection’s 2010 Problem Radicals
Paul Dresher Ensemble
Benjamin Britten War Requiem (Libera Me)

Parliament Funkadelic

Gerard Grisey
Sten Hanson
(esp. “Bestiary”)



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