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 “The Resonant”
The Merely Epic
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 “The Merely Epic”
Corpus as Concept: Poetic Sensibilities in Literary-Theoretic Discourse
There are two parts to an argument I want to make but lack the qualifications: 1) showing poetry, and poets in large, express, across their corpus, a worldview or way of seeing; 2) showing that literary-theoretic discourse actively leverages poets as concept handles in meta-level discourse (discourse about discourse; that is, to talk about how we talk about the world, to interrogate worldviews and discourses. Reading digs a channel, a channel dug with others’ words, through which communication can pass. Poets become stand-ins for sensibilities, the mystical, religious Blake held in opposition to the more level, moderate Wordworth (as in Kirsch’s Why Trilling Matters). Or the romanticism of Wordsworth held in opposition to the chthonic, darker Coleridge (as in Paglia’s Sexual Personae). Continue reading “Corpus as Concept: Poetic Sensibilities in Literary-Theoretic Discourse”
Protected: Notes to “Oscillation / Fashion”
Oscillation / Fashion
1. Oscillation
You can never really tell when James Murphy’s being sincere, whether he’s making fun of others or making fun of himself. “Pow Pow”’s his statement of philosophy—“from this position / I can totally see how the decision was reached”—which is a sort of pragmatist-PoMo enlightenment: acknowledge perspective’s providence on truth and then turn it into a middle-aged reasonableness (over youthful anger, over Roman conceit). Continue reading “Oscillation / Fashion”
Poets are Intelligence Assets
As I understand it, the idea in Benjamin Hoffman’s “Poets are intelligence assets” is that there’s all this ambient information about specific cultural moments which is packed into a text unintentionally. My impression is past theorists have called this, loosely, “ideology,” though the word carries deep-politic connotations. “Worldview” may be a better term, but I’m not as familiar with the theory as I should be. Continue reading “Poets are Intelligence Assets”
Abstraction & Processing
The art historian Jack Flam (2014) refers to this aspect of abstraction as “a new claim on truth.” By dismantling perspective, abstract art requires our brain to come up with a new logic of bottom-up processing. The work of Mondrian relies heavily on the brain’s early steps in processing objects, steps that depend on line segments and axis of orientation, and on the brain’s processing of color. But these bottom-up processes are likely to be modified or overridden altogether by extensive, creative top-down processing.
— from Reductionism in Art and Brain Science, Bob Grant
Metric Prose in Austen’s Emma
Above: the opening lines to excerpt. “She was” acts rhythmically as a pick-up or poetic pre-head. Stressed syllables are marked with a caret as is standard in musical notation. Continue reading “Metric Prose in Austen’s Emma”
Return Maximization
Before I write, I pull a small lump of metal, no larger than a thimble, melted and dimpled and deformed, from the windowsill. According to the Sedona Crystal Vortex shop in Sedona, AZ it’s a meteorite, capable of activating Kundalini energy plus simulating the third eye and/or crown chakras. I rub it between my fingers, feeling its weight, its material strangeness. I don’t believe in the New Age but I like the idea that this thing may or may not be from outer space, that I could have been scammed and it doesn’t even matter, that everything’s from outer space if we’re being technical and it’s the sort of technicality that mocks any attempt at de-vagueifying the unshapen. Continue reading “Return Maximization”
Chloë Sevigny is Not the Coolest Girl in the World
From a February 10, 2017 profile of Chloë in the New York Times Magazine:
It’s difficult to fathom how, exactly, this quaint Connecticut upbringing gave rise to the downtown It Girl and eventual indie actress the novelist Jay McInerney dubbed, in a now-infamous 1994 New Yorker profile, “the coolest girl in the world.”
As “now-infamous” suggests, that descriptor of Sevigny caught on. It haunts Downtown culture, is echoed club-side in mixtures of envy and admiration. April 10 2017, Nylon: We’re now 23 years into Sevigny’s Condé-sanctioned reign as “the coolest girl in the world.” Except McInerney, nor the Condé Nast-funded New Yorker, never bestowed that title upon her. Here’s the original 1994 piece, alleged quotation nowhere in site. Continue reading “Chloë Sevigny is Not the Coolest Girl in the World”
