Where is the avant-garde?
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- an expensive car driven by a fool beyond psychedelia corpsey's law dribbled by jeremy lin focus on the nipple it's fucking vr porn it's not fucking vr porn its fucking memes living information please abandon this train of thought now politics is downstream of culture sublime decay the g-o-d function the new gothic the people the plasmate the warrior-philosopher
constant escape
winter withered, warm
Ah yes, I wasn't familiar with him before I saw him mentioned hereThat was Don DeLillo,
Mao II - Wikipedia
en.wikipedia.org
shiels
_
Wasnt that baudrillard?
11 September attacks
In a press conference in Hamburg on 16 September 2001, Stockhausen was asked by a journalist whether the characters in Licht were for him "merely some figures out of a common cultural history" or rather "material appearances". Stockhausen replied, "I pray daily to Michael, but not to Lucifer. I have renounced him. But he is very much present, like in New York recently" (Stockhausen 2002, 76). The same journalist then asked how the events of 11 September had affected him, and how he viewed reports of the attack in connection with the harmony of humanity represented in Hymnen. He answered:
Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practise ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment. I couldn't do that. Compared to that, we are nothing, as composers. [...] It is a crime, you know of course, because the people did not agree to it. They did not come to the "concert". That is obvious. And nobody had told them: "You could be killed in the process." (Stockhausen 2002, 76–77)
As a result of the reaction to the press report of Stockhausen's comments, a four-day festival of his work in Hamburg was cancelled. In addition, his pianist daughter announced to the press that she would no longer appear under the name "Stockhausen" (Lentricchia and McAuliffe 2003, 7). In a subsequent message, he stated that the press had published "false, defamatory reports" about his comments, and said:
At the press conference in Hamburg, I was asked if Michael, Eve and Lucifer were historical figures of the past and I answered that they exist now, for example Lucifer in New York. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. He uses his high degree of intelligence to destroy creation. He does not know love. After further questions about the events in America, I said that such a plan appeared to be Lucifer's greatest work of art. Of course I used the designation "work of art" to mean the work of destruction personified in Lucifer. In the context of my other comments this was unequivocal. (Stockhausen 2001a)
constant escape
winter withered, warm
Yeah I'm fine with theater-going days coming to an end.
And "avant-garde+disruptive" is an interesting point, seeing as avant-garde translates to "foreguard" or cutting edge. The extremity of the force of destabilization/disruption/deterritorialization, as expressed... culturally?
I suppose you get writers trying to depict our present moment, with up to the minute cultural analyses of the latest technology and so on, but like Faulkner said, “the past isn’t dead, it’s not even past.” I just like to throw this in reverse, this fetish for the contemporary, and show how it is completely infused with all of these frames or ghost, if you like, of its own past. And the future itself is a kind of fiction produced of that odd couple. These time twists, and…flexes…it’s something that Joyce understands so well. I think literature at its best as a privileged access to this omnipresence of pasts, presents, and futures that are all up in the air. Nothing is less contemporary than contemporary art or fiction. Than art that has something to say about the now. I think the whole point of the now is that it’s precisely what we can’t articulate.
Leo
Well-known member
I've always felt avant-garde has a greater value when it's a work (or body of work) that is clearly uniquely different and ahead of the curve (of common practice, of popular tastes, etc.), but that is also understood, appreciated and even appropriated sometime in the years that follow. ahead of the cultural curve, and then understood/influential afterwards.
this is distinguished from work/bodies of work that are clearly unique, but have no pull, no influence. weird outliers that are their own thing, but don't influence other artists and culture.
maybe it's not fair to place a value judgment on either...the non-influential outlier avant-garde is still impressive in its own way, but I just think it's more interesting to see an artist who is ahead of the curve and an eventual cultural influence.
this is distinguished from work/bodies of work that are clearly unique, but have no pull, no influence. weird outliers that are their own thing, but don't influence other artists and culture.
maybe it's not fair to place a value judgment on either...the non-influential outlier avant-garde is still impressive in its own way, but I just think it's more interesting to see an artist who is ahead of the curve and an eventual cultural influence.
craner
Beast of Burden
I missed this, I think it deserves another airing.
Leo
Well-known member
not really. hmm...maybe Philip glass, minimalism brought to modern classical, ahead of its time and then quite influential in the years following.
