“A dramatic presentation should be an act of initiation during which the spectator will be awed and even terrified… During that experience of terror or frenzy… the spectator will be in a position to understand a new set of truths, superhuman in quality.” (Wallace Fowlie on Artaud’s “Theater of Cruelty”)
Gabe Duquette, writing at Liposuction, divides artistic fit into two categories: chords and maps.
Chords are elements combined in a way that is appealing, but not because the combination describes reality. Chords exploit the many evolved sweet spots of the senses. They can be comprised of “real” things but prioritize creation of an experience over transmission of knowledge. Chords can be consonant or dissonant — the sum of their parts can elicit pleasure or irritation, or even revulsion. Chocolate and peanut butter fit better than chocolate and ketchup. Continue reading “Maps, Chords, and Effect Ideas”
One of the critical ideas I’ve found most interesting of late is a seeming contradiction: Just because it sounds like bad music doesn’t mean it is bad music. “Just because it reads like a bad novel doesn’t mean it’s a bad novel” is also sort of true, but a bit more complicated.
The tenability of the first statement, of course, is the result of specific parameters for what it means to sound bad versus be bad. Specifically, the phrasing of “sounding like bad music” is key: it opens the possibility, when X track sounds like bad music Y, that the sonic trappings and features which X shares with Y music are not in themselves bad; that the “bad music” in question is ineffective or unpleasant for reasons separate from its overlap with track X.
Continue reading ““If It Sounds Bad It Is Bad””
A Conversation with Gabriel Duquette and Haley Thurston
Gabriel Duquette is a co-founder of Liposuction (tagline “aesthetics without all the fat”). He started the site with Haley Thurston, who studied art at Yale before contributing to Carcinistion and Ribbonfarm (her more casual art writing can be found at The Sublemon). Both are interested primarily in “retro-engineering” and applying “epistemic hygiene” to matters of taste and aesthetics. They write loosely within the community — and from the intellectual framework — of postrationalism (alongside critics like Sarah Perry and Venkatesh Rao).
Continue reading “Art As Engineering”