Posts matching tags 'postmodernism'
2008/4/19
In the 1990s, Two Russian-born, US-based conceptual artists calling themselves Komar and Melamid created what they intend to be the world's most unlikeable song. The 22-minute opus is assembled from a palette of elements determined (through a poll) to be the least desirable aspects of songs, and includes things like an operatic soprano rapping about cowboys over a tuba-backed bassline and bagpipe breaks, a children's choir singing inane holiday ditties and advertising Wal-Mart, and someone shouts political slogans over elevator music. It is, in its own way, awesome:
The most unwanted music is over 25 minutes long, veers wildly between loud and quiet sections, between fast and slow tempos, and features timbres of extremely high and low pitch, with each dichotomy presented in abrupt transition. The most unwanted orchestra was determined to be large, and features the accordion and bagpipe (which tie at 13% as the most unwanted instrument), banjo, flute, tuba, harp, organ, synthesizer (the only instrument that appears in both the most wanted and most unwanted ensembles). An operatic soprano raps and sings atonal music, advertising jingles, political slogans, and "elevator" music, and a children's choir sings jingles and holiday songs. The most unwanted subjects for lyrics are cowboys and holidays, and the most unwanted listening circumstances are involuntary exposure to commercials and elevator music. Therefore, it can be shown that if there is no covariance—someone who dislikes bagpipes is as likely to hate elevator music as someone who despises the organ, for example—fewer than 200 individuals of the world's total population would enjoy this piece.Komar and Melamid also produced what their research pointed to as America's most wanted song; it's somewhat less interesting, being a schmaltzy assemblage of Kenny G-esque sax, FM electric piano, R&B female vocals and husky male vocals, not to mention the obligatory guitar solo and not one but two truck driver's gear changes. It is, quite literally, a statistical average of early-1990s commercial radio music; if you're morbidly curious, there's a MP3 here. They also did a survey of what the American public liked to see most in paintings, and produced the resulting work of art, an autumnal landscape with wild animals, a family enjoying the outdoors—and, standing in the middle of it, George Washington.
From the artists' own website:
In an age where opinion polls and market research invade almost every aspect of our "democratic/consumer" society (with the notable exception of art), Komar and Melamid's project poses relevant questions that an art-interested public, and society in general often fail to ask: What would art look like if it were to please the greatest number of people? Or conversely: What kind of culture is produced by a society that lives and governs itself by opinion polls?
(via Boing Boing) ¶ [1 comment]
2005/12/20
In his journal post today, Momus talks about postmodern mash-up/pastiche artists like Chicks On Speed, The KLF and Donna Summer referencing rock, with a layer of detachment:
It fits a template Ex-Berliner music journalist David Strauss has called "playback music", which includes Berlin-based artists like Chicks on Speed and Kevin Blechdom. Possibly even me. The playback artists ... perform a sort of pomo cabaret music, sampling and playing back selected music from the past, recombining it like curators. They're, inevitably, taking the piss, and never more so than when they feature their ultimate object of veneration, delectation and derision, the phallic electric guitar. That's why I call them chicks with dicks. They have ironic dicks firmly in their cheeks. Jason, aka Donna, is one of them, one of us. He calls it Cock Rock Disco, but it's the same difference, really. We don't play guitars! Yes, we do! But ironic ones!
ll pop music is parody to some degree, but some are clever enough to disguise it and can therefore tap into the inherent fascism of rock audiences. Because, make no mistake about it, rock music is fascist. Anybody addressing a stadium is basically reliving the Nuremberg rally. But because Jason is a nice, intelligent, cultivated man, and because that's pretty apparent—come on, look at those cute vikings, the tasteful references to 1960s Czech animation!—I suspect his recontextualised rock riffs will strike American adolescent Nordic Supremacist ears—hould they ever strike them at all—as gay. Because "gay" is the word the not-so-bright use instead of "ironic".I wonder where he would place bands like The Darkness and Wolfmother, who play over-the-top rock with apparent 110% sincere belief in the power of it, whilst being aware of the referentiality and formulaicity of what they are doing, and slyly acknowledging their references.
2005/8/31
Creationists in the US have launched upon a new offensive: buying up the country's numerous dinosaur-shaped roadside attractions and turning them into Creationist propaganda exhibits, disputing the Godless heathen assertion that dinosaurs died out before humanity arose:
The nearly 7-acre museum, low-tech theme park and science center embodies its founder's belief that God created the world in six days. The dinosaurs, even super carnivores such as T. rex, dined as vegetarians in the Garden of Eden until Adam and Eve sinned -- and only then did they feast on other creatures, according to the Christian-based young-Earth theory.
About 4,500 years after Adam and Eve arrived, the theory goes, pairs of baby dinosaurs huddled in Noah's Ark, and a colossal flood drowned the rest and scattered their fossils. The ark-borne animals repopulated the planet -- meaning that folk tales about fire-breathing beasts are accounts of humans battling dinosaurs, who still roamed the planet.Cranky old atheist scientists have responded with the usual disdain:
"Dinosaurs lived in the Garden of Eden, and Noah's Ark? Give me a break," said Kevin Padian, curator at the University of California Museum of Paleontology in Berkeley and president of National Center for Science Education, an Oakland group that supports teaching evolution. "For them, 'The Flintstones' is a documentary."But the Creationists aren't daunted:
The pastor and the Kanters now hope to turn Mr. Rex's innards into exhibits about cryptozoology -- the study of speculative creatures, such as Bigfoot -- and creationism. They will somewhat mirror those in Santee, which takes visitors from Genesis to modern times with placards that say Darwin "came at just the right time to be the catalyst for a revival of ancient paganism" and that evolution birthed Communism, racism and Nazism.
Kids flock to the huge statues. "And it's not like they're crying, 'Oh, mommy, take me out, I'm scared.' They're drawn to it," Chiles said. "There's something in their DNA that knows man walked with these creatures on Earth."In other words, "in your heart, you know it's flat".
I wonder how long until the Creationists' Australian counterparts start buying or building roadside Big Things to spread their message; and, indeed, how much Federal Government funding they will be eligible to receive for such faith-based programmes.
Along similar lines: a New Republic article on how the religious right adopted postmodernist relativism as a weapon against that frustrating Enlightenment empiricist tradition, paving the way for know-nothingisms like "Intelligent Design" to be passed off as equally valid alternatives. It'll be interesting to see whether they'll succeed by weight of numbers in rolling back the Enlightenment and rendering scientific rationalism as a secret doctrine much like alchemy, taught only on a need-to-know basis to those who design and launch the religious-broadcasting satellites and web browsers the masses use, or whether the counter-Enlightenment will burn itself out, and possibly drive inquiring minds towards hardcore atheism at the same time.
(via bOING bOING) ¶ [3 comments]
2002/5/6
Simon Reynolds on 80s revivalism:
This last microtrend -- effectively a re-revival -- highlights one of the ironies of the 80's resurgence, for the 80's were the first era in pop in which recycling and retrospection became rife. There were vogues for ska, rockabilly, psychedelia and other musical antecedents. "With 1980's retro, we have reached the point of second-order recycling," said Andrew Ross, a cultural critic who is the director of the American studies program at New York University. "It's the equivalent, God forbid, of double quotation marks."
Modern digital technology is so sophisticated that producers make electronic music that sounds almost as if it were played by a live band, full of subtle rhythmic irregularities that create a humanlike feel and jazzy swing. But just as punk rockers embraced a raw, elemental music, rejecting the overproduced sound of 70's rock, today's electro groups use old-fashioned synthesizers and drum machines. They prefer cold tones and stiff beats because they evoke a period when electronic music seemed alien and forbiddingly novel. They are making machine-music and proud of it.
For many clubgoers, the 80's were a time when rock and dance music were in lively conversation with each other. Club music then was full of punky attitude and personality, a stark contrast to the functional music and faceless D.J.'s who dominate today's post-rave dance culture.
(There we have it; New Wave's Big Comeback.) (ta, Toby!)
