1. The 1975
“One and the same civilization produces simultaneously two such different things as a poem by T.S. Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover… [W]hat perspective of culture is large enough to enable us to situate them in an enlightening relation to each other?”
—Clement Greenberg, “Avant Garde & Kitsch” Continue reading “The 1975’s Brief Inquiry”
Spilled Reality, “One more on The 1975?”:
The 1975 bloomed late in pop critics’ multi-decade questioning of masculine-rockist values like authenticity and edginess. In the new pop(ul)ist paradigm, entertainment value and its near heuristic, melodic propulsion, are strong arguments for aesthetic quality in themselves. Authenticity is redefined, less a matter of sheer aesthetic originality (anxiety of influence) or economic identity (working class fetish) but of emotional confession or appearance thereof. The boolean fact of politicization, and the polarity of sympathy, matter more than the sophistication of approach. Continue reading “Flowers in a Pop(ul)ist Paradigm”
Taken from Ghosts of My Life by Mark Fisher, esp. “No Longer the Pleasures: Joy Division,” and “K-Punk, or the Glampunk Art Pop Discontinuum.” Continue reading “Teenage v. Depressive Ontology”
In his introduction to The Ubuweb Anthology of Conceptual Writing, Craig Dworkin positions conceptual writing in opposition to romantic expression, to writing that conveys “the emotional truth of the self.” But he replaces it with a vision of writing that’s true to its linguistic self, writing that can’t be conceived of as taking any other form. Continue reading “Against Expression”
When the shitty stream is gone, it will be remembered and missed. Continue reading “Someplace, Somewhere, Someone”
Idea: Young animals of countless species have been observed engaging in play, exploring their environment, testing boundaries, and entering low-stakes simulations of behavior that will in adulthood become high-stakes (e.g. wrestling, hunting, dollhouses). In humans, playful exploration in this sense is associated with the sincere enthusiasm of discovery—young children can still be surprised or highly excited in the face of imminent newness. These patterns of behavior inevitably leave a trace in group epistemics; that is, there is a strong association in the culture, conscious or not, between affects like enthusiasm or playfulness and the status of an organism with much to learn. Continue reading “Enthusiasm, Play, and “Cool””
The title of Sontag’s “Against Interpretation” is misleading, and regularly confuses readers who believe her “erotics of art” precludes interpretive dot-connecting and inference. This is not the case: the piece is more accurately titled “Against Allegorization,” or “Against Ideological Readings” — those hermeneutic approaches that set out to find “encoded” and symbolic meanings in a work of literature according to the reader’s personal schema. Continue reading “Sontag v. Top-down Frames”
Cognitive poetics is one of the most exciting literary-theoretic subfields I’ve stumbled upon. So far as I can tell, Peter Stockwell, whose paper on resonance I’ve cited previously, is one of cognitive poetics’ primary authorities, and has written an introduction to the discipline (Cognitive Poetics: An Introduction, 2002).
Stockwell summarizes “schema theory,” a composite of different theorists’ attempts to better grasp how readers bring interpretive contexts and frameworks to texts during a literary encounter. We can understand “schemas” loosely in the way Piaget, Kant, and Schmidhuber have all used it:¹ a mental framework and interpretive system into which new ideas are tested and assimilated. Synonyms for schema include framework, worldview, way of seeing, interpretive filter, and mental model. Continue reading “Schematic Disruption”
Second set of notes to “Oscillation / Fashion.” First set here.
Fashion trends are marked by continuity, changing incrementally but continuously year to year. Continue reading “Notes to “Oscillation / Fashion,” pt. 2”
Sianne Ngai and Haley Thurston have done much, I think, for aesthetics by formalizing certain descriptive terms previously used informally: the zany, cute, and merely interesting (Ngai); the baroque, whimsy, and cheesy (Thurston). I want to continue that project here. Continue reading “Vibe Vectors”