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dustedmagazine · 3 years

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Dust Volume 6, Number 13

Trees

It’s four in the afternoon and already getting dark, a foot of snow on the way. One year is nearly over — and yes, we’ve got some essays on that coming up after the holiday break — and another one is taking shape in our inboxes, mail chutes and hard drives. But for right now, let’s take another look at 2020, doubling back on the records that caught our ears without exactly fitting our schedules, the ones that almost got away. Here are the usual free improvisations and long drones, hip hop upstarts and cowpunk also-rans, a harpist, a cellist, a tabletop guitarist and at least one stellar punk record that has us hoping for sweaty live music again in 2021. Contributors this time included Bill Meyer, Bryon Hayes, Andrew Forrell, Patrick Masterson, Jennifer Kelly, Jonathan Shaw, Arthur Krumins, Ian Mathers and Ray Garraty, heck let’s call it a quorum, and see you again in the New Year.

Mac Blackout — Love Profess (Trouble In Mind)

Love Profess by Mac Blackout

Mac Blackout owes his surname to his membership in the Functional Blackouts. That’s a garage combo that was once the subject of an article about how they’d been banned from various venues on account of the destructive chaos of their live performances. But you can’t do that forever, and nowadays Mac’s a painter and solo recording artist. His latest sounds are unlikely to make anyone want to put a chair into the mirror behind the bar, but they might send you flipping through your record collection, looking for the sounds that you and he have in common. Love Profess opens with a burst of piano-pounding, sax-overblowing free jazz, but that lasts for about nine seconds before it gets swallowed by some John Bender-worthy synth throb. Give “Wandering Spheres” a couple more minutes, and Mr. Blackout goes full La Dusseldorf on us. By turns spacy, spooky and seriously compelled to vent nocturnal loneliness, this half-hour long LP is both as familiar and as unknown as a well-shuffled deck of cards.

Bill Meyer

Ross Birdwise — Perfect Failures (Never Anything)

Perfect Failures by Ross Birdwise

Vancouver-based electronic improviser Ross Birdwise rails against spatio-temporal norms. The concepts of tempo and rhythm are malleable in his universe. Architecturally, Birdwise is Antoni Gaudí, working in fluid lines to build incomprehensible structures. With Perfect Failures, he leaps even further away from the orthogonal grid of musical construction, dissolving beats into grains of sound. The warped rhythms found on Frame Drag are divested in favor of an approach that more resembles electroacoustic composition. As a matter of fact, the title track comes on like a digital recreation of a piece of classic musique concrète. Birdwise avoids venturing into purely ambient territory yet borrows some signifiers from the genre: keyboard melodies, elongated tones, washes of sound. He overlays these seemingly innocuous elements with crashes of noise, oblique jump cuts and hyperkinetic sequences, constantly forcing us to shift focus to make sense of his soundscapes. The febrile nature of the music is what intoxicates, but the discordant melodies are what enthrall.

Bryon Hayes

C_G — C_G (edelfaul recordings)

C_G by C_G

Belgium-based French electronic artist Eduardo Ribuyo (C_C) and Israeli drummer Ilia Gorovitz (Stumpf) join forces on C_G, a one-take collaboration of molecular machine noise and improvised percussion. It opens as a slow creep, Gorovitz playing minimal rhythms that sound like someone walking through the pre-dawn streets of an awakening city. Ribuyo accretes whirrs, cracks and electrical pops to evoke the dread of a night not over. On “Normalising Cruelty,” for instance, the discomfort builds, the drums tumble in flight, the noise intensifies. The relative conventionality of the percussion tracks seems intentional and serves to focus attention on the granular details Ribuyo conjures from his machines. Think the experiments of similarly minded Mille Plateaux and Raster Norton artists. When played through headphones at volume, its full queasy Room 101 buzz and grind squirms most effectively into the brain. Easy listening this is not, but if and when home gatherings resume this would be an ideal way to clear the house.

Andrew Forell

Che Noir — After 12 EP (TCF Music Group)

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If you’ve been paying attention to hip-hop in the last few years, Buffalo’s Griselda camp has dominated the “old heads” conversation away from whatever the kids are vibing to on TikTok. But there’s life away from an Eminem partnership, and not just in the form of Benny the Butcher: Witness Che Noir, who has been on fire throughout 2020. After starting off the year with the 38 Spesh-produced Juno and following it up with the Apollo Brown-produced As God Intended, Che’s closing things out with this self-produced seven-song EP that covers a wide range of territory without dipping into tales of street hustling, just the age old struggle to get some respect. “Hunger Games” is an early highlight that shows her chemistry with Ransom and 38 Spesh, while she completely takes over in speaking to the times on “Moment in the Sun,” which is the clear emotional highlight of the EP. Amber Simone’s pleading chorus on closer “Grace” is another stylistic turn and closes things on a high note. The last words you hear are Simone’s as she sings, “Imma go get it”; the lingering effect is that you know Che Noir is already showing you as much. Miss this one at your own risk.

Patrick Masterson

Cong Josie — “Leather Whip” b/w “Maxine” (It Records)

Leather Whip / Maxine (AA single) by Cong Josie

Frankie Teardrop rides again in this smoking synth punk single from Australia’s Cong Josie. “Leather Whip” is about as menacing and minimal as synthesizer music gets, braced by the hard slap of gate-reverbed drums and a claw-picked bass sound (maybe electronic?) and Cong Josie’s whispery insinuations. “Maxine” is just as stripped, with blotchy bass sound and swishing drum machine rhythms framing a haunted rockabilly love song. It’s very Suicide, but isn’t that a good thing?

Jennifer Kelly

Divine Horsemen — Live 1985-1987 (Feeding Tube)

Divine Horsemen “Live”1985-1987 by Divine Horsemen

With Divine Horsemen, Chris D of the Flesh Eaters had a brief but memorable run in vivid, gothic, country-tinged punk. This disc commemorates two red-hot live outings from 1985 and 1987, the first at Safari Sam’s in Huntington Beach, California, the second at Boston’s The Rat. A sharply realized recording shows how this band’s sound fit into the cowpunk parameters set by X, with strident guitar clangor and hard knocking rock rhythms (the ax-heavy line-up featured in this recording included Wayne James, Marshall Rohner and Peter Andrus on guitars, the Flesh Eater’s Robyn Jameson on bass). The secret weapon, though, was the ongoing and volatile vocal duel between the front man and his then-wife Julie Christensen, a classically trained soprano with an unholy vibrato-laced belt. You can hear how she transformed his art by comparing the Flesh Eater’s version of “Poison Arrow” with the one here. It’s as aggressive as ever, musically, and Chris D. is in full florid, echoey, goth-punk mode. Christensen, however, is molten fire, letting loose cascades and flurries of wild vibrating song. There’s a scorching, stomping romp through the vamping “Hell’s Belle,” and a lurid rendering of mad, howling “Frankie Silver,” and, towards the end, a muscular take on the Stones’ “Gimme Shelter.” Christensen later made a mark as one of Leonard Cohen’s favorite backup singers, and Chris D is still knocking around with a reunited, all-star Flesh Eaters, though there’s some talk of getting this band back together as well. I’d go.

Jennifer Kelly

Dezron Douglas & Brandee Younger — Force Majeure (International Anthem)

Force Majeure by Dezron Douglas & Brandee Younger

Harlem harpist Brandee Younger and bassist Dezron Douglas faced down New York’s early months of quarantine with a series of live broadcasts recorded in their apartment on a single microphone. This document of intimate resilience collects highlights of the Friday ritual. Younger and Douglas perform covers of spiritual Jazz, soul and pop songs as well as the delightfully titled original “Toilet Paper Romance.” The music is so close you feel the fingers on the strings and frets. Younger’s harp playing is a revelation, pianistic on John Coltrane’s “Equinox”, pointillist yet robust on his “Wise One” which they dedicate to Ahmaud Arbery. Douglas provides vigorous and sympathetic accompaniment and his solo rendition of Sting’s “Inshallah” is a tender tough exploration of his instrument. Along the way there are lovely versions of pieces by, amongst others, Alice Coltrane, Kate Bush and Clifton Davis. Douglas closes with the words “Black music cannot be recreated it can only be expressed” and Force Majeure demonstrates that the same goes for humanity and creativity.

Andrew Forell

Avalon Emerson — 040 12” (AD 93)

040 by Avalon Emerson

It’s been a big year for Avalon Emerson, who started 2020 prepping a move from Berlin to East Los Angeles and ends it back home stateside with an almost universally acclaimed DJ-Kicks entry to her credit. This three-song 12” for the label fka Whities is a nice way to close out a triumphant year, illustrating her penchant for bright melodies and percussive detail. “One Long Day Till I See You Again” is a welcoming slice of beatless percolation to close; “Winter and Water” leans heavily on rhythmic tricks in the middle. That makes A1 “Rotting Hills” the ideal lead as a balance between them. There may not be so obvious a gimmick as a Magnetic Fields cover, but that makes it no less valuable for showing what Emerson can do. Call it one more fluorescent rush.

Patrick Masterson

End Forest — Proroctwo (Self-released)

Proroctwo (The Prophecy) by End Forest

For some of us, the fusion of folk music forms with crust and metal mostly issues in obscenities like Finntroll (yep, a Finnish band that makes folk metal songs about…trolls) or in politically toxic, Völkisch nationalist fantasias. But some bands get it right; see Botanist’s remarkable work, and see also End Forest, an act just emerging from Poland’s punk underground. Singer Paula Pieczonka employs a traditional Slavic vocal technique that roughly translates to “white singing” — but before you get creeped out by any potential fascist vibes, please know that the “whiteness” at stake in the phrase is purely an aesthetic value. And her voice is really great, open and soaring. “Proroctwo (The Prophecy)” has the sweep and drama of a lot of contemporary crust, and all of the genre’s interest in symbolic violence. The lyrics envision a future wrought and wracked by social conflict, a coming conflagration of torn bodies and of piles of dislodged teeth housed in some horrific archive of viciousness (that’s quite an image). It’s harrowing stuff, big guitar chords accented by sitar and flute. The track is available on Bandcamp, along with several inventive remixes by Polish musicians and DJs, like Tomek Jedynak and Dawid Chrapla. End Forest indicates that a full record is forthcoming sometime in spring. Looking forward to it, y’all.

Jonathan Shaw

Lori Goldson — On a Moonlit Hill in Slovenia (Eiderdown Records)

On A Moonlit Hill In Slovenia by Lori Goldston

Goldson creates movement and tension in an arresting way with a rough-hewn approach to the cello. This could be a good entry point to her solo work, which is varied and bridges the gap between DIY attitude and elevated levels of musicianship and considered approach. The flow of her playing here evokes the almost brutal scrape of the strings, which gives a welcome texture to the melodic squiggles.

Arthur Krumins

Hot Chip — LateNightTales (LateNightTales)

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The LateNightTales series of artist-curated mixes has seen a fair bit of variation over the years since Fila Brazilia first took up the torch in 2001, which makes a certain amount of sense; how we spend our late nights can differ wildly, of course. Hot Chip’s instalment in the series hits some of the expected notes (at least one cover, in this case a deeply moving one of the Velvet Underground’s “Candy Says” they’ve been playing since Alexis Taylor and Joe Goddard were in high school together; a closing story track, in this case Taylor’s father reading a bit from Finnegan’s Wake) and otherwise depicts the kind of late night Dusted readers might be more familiar with than most; one where a clearly voracious and eclectic listener is keeping their own private party going just for another hour or so, but always keeping things just quiet and subtle enough to not wake up anyone upstairs. The three other, non-cover new Hot Chip tracks all make for standouts here but there’s plenty of room for accolades, whether it’s for the smoothly groovy (Pale Blue, Mike Saita, Beatrice Dillon), the more avant garde (Christina Vantzou, About Group, Nils Frahm) to just plain off-kilter pop (Fever Ray, PlanningToRock, Hot Chip themselves). The result works as both a wonderful playlist and a survey of the band’s sonic world; and it does work best when everyone else is in bed.

Ian Mathers

Annette Krebs Jean-Luc Guionnet — Pointe Sèche (Inexhaustible Editions)

pointe sèche by Jean-Luc Guionnet, Annette Krebs

Annette Krebs and Jean-Luc Guionnet recorded the three long, numbered tracks on Pointe Sèche (translation: Dry Point) over the course of three days at St. Peter’s Parish church in Bistrica ob Sotli, Slovenia. Location matters because this music couldn’t happen just anywhere; Guionnet plays church organ. Krebs was once part of the post-Keith Rowe generation of tabletop guitarists, but since 2014 she has abandoned strings and fretboards in favor of a series of hybrid instruments called konstruktions. Konstruktion #4, which appears on this record, includes suspended pieces of metal, a handful of toy animals, a wooden sounding board, vocal and contact microphones and a couple touch screens that manage computer programs. While both musicians have extensive backgrounds in improvisation, this recording sounds more like an audio transcription of a multi-media collage. Guionnet plays his large instrument quite softly, extracting machine-like hums, brief burps and dopplering tones that flicker around the periphery of Krebs’ fragments of speech, distant clangs and unidentifiable events. The resulting sounds resolutely defy decoding, which is its own reward in a time when so much music can be reduced to easily identifiable antecedents.

Bill Meyer

KMRU — ftpim (The Substation)

ftpim by KMRU

If you happened to catch Peel, Joseph Kamaru’s wonderful release on Editions Mego in late July, but haven’t paid attention before or since, early December’s half-hour two-tracker ftpim done for (and mastered by) Room40 leader Lawrence English is a Janus-faced example of the Nairobi-based ambient artist’s power. As Ian Forsythe put it in his BOGO review of both Peel and Opaquer, “Something that can define an effective ambient record is an ability to disintegrate the perimeter of the record itself and the outside world,” a line I think about every time I listen to KMRU now. “Figures Emerge” feels more immediately accessible to me as a relatable environment where the gentle, pulsing drone is occasionally greeted by sounds outside the studio, while “From the People I Met” is more difficult terrain, a distorted fog of post-shoegaze harmonic decay — no less interesting, but perhaps more metaphorical in its take on the outside world. (Or not, given how 2020 has gone.)

Patrick Masterson

Paul Lovens / Florian Stoffner—Tetratne (Ezz-thetics)

Enough years separate drummer Paul Lovens and guitarist Florian Stoffner that they could be father and son, and Lovens membership in the Schlippenbach Trio, and Lovens role as drummer in the legendarily long-running Schlippenbach Trio establishes him as an august elder of free improvisation. But the partnership they exhibit on this CD is one of equals committed to making music that is of one mind. Whether matching sparse string-tugging to purposefully collapsing batterie or burrowing sprung-spring wobbles to an immense cymbal wash, the duo plays without regard for showing us one guy or the other’s stuff. The point, it seems, is to how they imagine as one, and their combined craniums generate plenty of imagination. They operate in a realm close to that occupied by Derek Bailey and John Stevens, or Roger Smith and Louis Moholo-Moholo, but their patch of turf is entirely their own.

Bill Meyer

Mr. Teenage — Automatic Love (Self-Release)

Automatic Love by Mr. Teenage

Melbourne, Australia’s fertile garage punk scene has squeeze out another good one in Mr. Teenage, a Buzzcockian foursome prone to short, sharp riffs and sing-along choruses. A four-song EP starts with the title track, whose arch talk-sung verse erupts into rabid, rip-sawing guitar, like Devo meeting the Wipers. “Waste of Time” piles palm muted urgency with explosive release, with a good bit of the Clash in the crashing, clangor. “KIDS” struts and swaggers in a rough-edged way that’s close to the violence of early Reigning Sound or Texas’ Bad Sports. “Oh, the kids these days,” to borrow a phrase, they’re pretty good.

Jennifer Kelly

Nekra — Royal Disruptor (La Vida Es Un Mus)

Royal Disruptor by Nekra

Remember punk shows? Remember half-lit, dusty basements and fully lit, dirty kids? Remember your sneaker soles sticking to scuffed, gummy linoleum? Remember greasy denim battle jackets and hand-drawn Sharpie slogans? Remember warm beer (watery domestic suds in cans and cups) and cold stares (angsty bravado and bad attitude for its own sake)? Remember anarchists arguing with nihilists, and riot grrrls arguing with rocker boys? Remember people laughing and people smoking and people shouting and people spitting, all without masks? Remember the anticipation that crisps the air when the amps switch on? Feedback from the cheap-ass mic stabbing your ears? Beefy dudes elbowing through the press of flesh? That volatile, stomachy mix of happiness and truculence? Those warm-up thumps of the bass drum and the initial strums of crackling guitar? Remember all that? For the time being, in the United States of Dysfunction, here’s the closest thing you’ll get: an EP of feral, fast punk songs that sound like they’re happening live, right in front of your face. Thanks, Nekra — I really needed that.

Jonathan Shaw

Neuringer / Dulberger / Masri — Dromedaries II (Relative Pitch)

Dromedaries II by Keir Neuringer, Shayna Dulberger, Julius Masri

Yes, Dromedaries II is a sequel. It follows by three years a debut cassette which was sold in the sort of microquantities that 21st century cassettes are sold. So, it’s more likely that you have heard another of the bands that the trio’s alto saxophonist, Keir Neuringer, plays in — Irreversible Entanglements. While the two combos don’t sound that similar, they share a commitment to improvising propulsive, cohesive music that will put a boot up your butt if you get in the way. While IE focuses on supplying music that frames and exemplifies the stern proclamations of vocalist Camae Ayewa, the trio plays instrumental free jazz that balances individual expression with collective support. Neuringer, double bassist Shayna Dulberger and drummer Julius Masri play like their eyes are on the horizon, but each musician’s ears are tuned into what the other two are doing. The result is music that seems to move in concerted fashion, but usually has someone doing something that pulls against the prevailing thrust in ways that heighten tension, but never force the music off track.

Bill Meyer

Kelly Lee Owens — Inner Song (Smalltown Supersound)

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One of the distinctive things about Kelly Lee Owens’ marvellous debut LP a few years ago, as noted here, is that it felt so confident and distinct that it could have easily been the work of a much more seasoned producer. That impression, of a deftly skilled hand at the controls and a keen artistic sensibility and taste shaping it all, certainly doesn’t recede on Inner Song, whether it finds Owens homaging the grandmother who provided support and inspiration (“Jeanette”), gently but firmly rejecting unhealthy relationships (the utterly gorgeous “L.I.N.E.”) or teaming up with John Cale to make some bilingual, deep Welsh ambient dub (“Corner of My Sky”). And that’s one pretty randomly chosen three-song run! Owens continues to excel at both crafting gorgeous, lived-in productions and maybe especially with her handling of voices (her own and others), and she’s comfortable enough in her own skin that if she wants to open up the album with an instrumental Radiohead version (“Arpeggi”) she will, and she’ll make it feel natural, too.

Ian Mathers

San Kazakgascar — Emotional Crevasse (Lather Records)

Emotional Crevasse by San Kazakgascar

You won’t find San Kazakgascar on any map, but give a listen and you’ll know where this combo is coming from. Geographically, they hail from Sacramento CA, where they share personnel with Swimming In Bengal. But sonically, they are the product of a journey through music libraries that likely started out in a Savage Republic and sweated in the shadow of Sun City Girls. They likely spent time in the teetering stacks of music collections compiled in a time when the problematic aspects of the term world music were outweighed by the lure of sounds you hadn’t heard before. More important than where they’ve been, though, is the impulse to go someplace other than where they’re currently standing. To accomplish this, twangy guitars, rhythms that straighten your spine whilst swiveling your hips, bottom-dredging saxophone and a cameo appearance by a throat singer who understands that part of a shaman’s job is to scare you each take their turn stepping up and pointing your mind elsewhere. Where it goes after that is up to you.

Bill Meyer

John Sharkey III — “I Found Everyone This Way” (12XU)

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Has Sharkey mellowed? This early peek at the upcoming solo album from the Clockcleaner legend and Dark Blue proprietor suggests a pensive mood, with liquid jangle and surprisingly subdued and lyrical delivery (albeit in the man’s inimitable hollowed out and wounded snarl). But give the artist a power ballad if that’s what he wants. The song has a graceful arc to it, a doomed romanticism and not an ounce of cloying sentiment.

Jennifer Kelly

Sky Furrows — Sky Furrows (Tape Drift Records/Skell Records/Philthy Rex Records)

Sky Furrows by Sky Furrows

Sky Furrows don’t take long to match sound and message. As Karen Schoemer drops references to SST Records and Raymond Pettibone, bassist Eric Hardiman and drummer Philip Donnelly whip up a tense groove that could easily have been played by Mike Watt and George Hurley. Mike Griffin’s spidery, treble-rich guitar picking is a little less specifically referential, but does sound like it was fed through a signal chain of gear that would have been affordable back in the first Bush administration. The next track looks back a bit further; Schoemer’s voice aside, it sounds like Joy Division might have done if Tom Herman had turned up, pushed Martin Hannet out of the control room before he could ladle on the effects and instead laid down some space blues licks. Schoemer recites rather than sings in a cadence that recalls Lee Ranaldo’s; pre-internet underground rock is in this band’s DNA. The sounds themselves are persistently cool, but one drawback of having a poet instead of a singer up front is an apparent reluctance to vary the structure; it would not have hurt to break things up with some contrasting passages here or there.

Bill Meyer

Soft on Crime — “You’ve Already Made Up Your Mind” b/w “Rubyanne” (EatsIt)

7'' by Soft on Crime

These Dublin fuzz-punks kick up a guitar-chiming clangor in A-Side, “You’ve Already Made Up Your Mind,” which might have you reaching for your old Sugar records. Sharp but sweet, the cut is an unruly gem buoyed by melody but bristling with attitude. “Rubyanne” is slower, softer and more ingratiating, embellished with baroque pop elements like flute, saxophone and choral counterpoints. “Little 8 Track” fills out this brief disc, with crunching, buzz-hopped bass and a bit of guitar jangle under whisper-y romantic vocals. It’s a bit hard to get a handle on the band, based on such disparate samples, but intriguing enough to make you want to settle the matter whenever more material becomes available.

Jennifer Kelly

Theoxinia — See the Lapith King Burn (Bandcamp)

See the Lapith King Burn by Theoxenia

Students of Greek mythology will grasp it right away, but in the internet age, it doesn’t take anyone long to figure out that when you name your record See the Lapith King Burn, you’re casting your lot for better or worse with the party animals. The Lapiths were one side of a lineage that also involved the considerably less sober-sided Centaurs, and the two sides of the family had a bloody showdown at a wedding that has been taken to symbolize the war between civilization and wildness. Theoxinia is Dave Shuford (No-Neck Blues Band, Rhyton, D. Charles Speer & the Helix) and his small circle of stringed instruments and low-cost repeating devices. If you were to dig through his past discography, it most closely resembles the LP Arghiledes (Thrill Jockey) in its explicitly Hellenic-psychedelic vibe. But, like so many folks in recent times, Shuford has decided to bypass the expanse and aggravation of physical publication in favor of marketing this LP-sized recording on Bandcamp. If that fact really bugs you, I guess you could start a label and make the man an offer. But if fuzz-tone bouzouki, sped-up loops and unerringly traced dance steps that will look most convincing when executed with a knife between your teeth and the sheriff’s wallet poking mockingly out of the top of your breast pocket sounds like your jam, See the Lapith King Burn awaits you in the realm of digital insubstantiality.

Bill Meyer

Trees — 50th Anniversary Edition (Earth Recordings)

Trees (50th Anniversary Edition) by Trees

This boxed set presents the two original Trees albums from the early 1970s, The Garden of Jane Delawney and On the Shore, with the addition of demos and sundry recordings from the era. Here the band took the UK folk rock sound emergent at the time and drew it out into its jammy and somewhat arena rock guitar soloing conclusion. It’s good to have all of this in one place to document the myriad ways that Trees wrapped traditional material into new forms and with a bracing, druggy feel.

Arthur Krumins

Uncivilized — Garden (UNCIV MUSIC)

Garden by Uncivilized

Guitarist Tom Csatari presides over NYC-based large jazz ensemble known as Uncivilized, whose fusion-y discography stretches back a couple of years and prominently incorporates a cover of the Angelo Badalamenti theme from Twin Peaks. This 27-track album was recorded live at Brooklyn’s Pioneer Works space in 2018 with a nine-piece band, who navigate drones and dances and the multi-part Meltedy Candy STOMP, a sinuous exploration of space age keyboards and surging big band instruments. Jaimie Branch, who lives next door to Csatari and was invited on a whim at the last minute, joins in for the second half including a smoldering rendition of the Lynch theme. It’s damn fine (though not coffee). Later on, Stevie Wonder gets the Uncivilized treatment in a pensive cover of “Evil,” led by warm guitar, blowsy sax and a little bit of jazz flute.

Jennifer Kelly

Unwed Sailor — Look Alive (Old Bear Records)

Look Alive by Unwed Sailor

Johnathon Ford, who plays bass for Pedro the Lion, has been at the center of Unwed Sailor for two decades, gathering a changing cohort of players to realize his lucid instrumental compositions. Here, as on last year’s Heavy Age, Eric Swatzell adds guitars and Matthew Putnam drums to Ford’s essential bass and keyboard sounds. Yet while Heavy Age brooded, Look Alive grooves with bright clarity, riding insistent basslines through highly colored landscapes of synths and drums. The title track bounds with optimism, with big swirls of synth sound enveloping a rigorous cadence of bass and drums. “Camino Reel” is more guitar-centric but just as uplifting, opening out into squalling shoe-gaze-y walls of amplified sound. Ford, who usually leans on post-punk influences like New Order and the Cure, indulges an affinity for dance, here, especially audible on the trance-y “Gone Jungle” remix by GJ.

Jennifer Kelly

Your Old Droog — Dump YOD Krutoy Edition (Self-released)

Dump YOD: Krutoy Edition by YOD

American rapper Your Old Droog has been releasing solid music for years. He never had ups for the same reason he never had downs: he never left his comfort zone. Dump YOD Krutoy Edition (where “krutoy” stands for “rude boy” or “badass”) may be his breakthrough album. He always kept his Soviet origins in check, and here for the first time he draws his imagery from three different sources: New York urban present, Ukrainian folk and Soviet and post-Soviet past (even Boris Yeltsin makes an appearance). In this boiling pot, a new Your Old Droog is rising, among balalaikas and mean streets of NYC, matryoshkas and producers with boring beats, babushkas and graffiti writers.

Ray Garraty

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cumulohimbus · 5 years

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100 things I want to do in my lifetime

So, I had a really good conversation today with friends, and I opened up briefly about my stay in a psych ward a few years ago. It came up because I am acutely aware that I haven't been doing well, and am scared to return to a situation anything like my previous stay at said ward despite knowing that being hospitalized would probably be very beneficial at this time in my life. Talking about it did make me remember something though, something that gave me a lot of hope. While my experience with a psych ward was overwhelmingly negative, there was a part of treatment that really got through to me at the time. It especially helped with my suicidal ideation, which is something that's been really problematic for me again lately. Since I remembered it, I'm going to revisit the exercise, and I encourage anyone and everyone who also struggles with suicidal thoughts, thoughts of self harm, mental health issues, or even if you're just having a bad day, to give this a try. It's simple. Make a list of 100 things you want to do in your life. They can be as realistic or unrealistic as you want them to be. They can be big, long-term goals, or small, silly goals, and everything in between. The only rules are to write 100 things, and to avoid sarcastic or pessimistic things like saying one of your goals is to die or something like that. Save the list! Then someday you can go back and cross off things that you've accomplished or edit as you see necessary. Without further ado, here is my list:

1. I want to get my name legally changed to Larkspur Emmett so my dead name is no more

2. I want to get top surgery

3. I want to rekindle relationships within my family, especially with my cousins

4. I want to get scuba certified

5. I want to dive over the "sunken island" location on the lake my family had a cabin on that I visited frequently while growing up

6. I want to go diving in general, seeing a coral reef in person is an especially huge dream of mine

7. I want to rekindle my knowledge of the Spanish language and eventually become fluent

8. I want to continue learning American Sign Language

9. I want to learn more about my ancestry; I know I'm a vast mix of probably mostly European blood, but my family comes from so many different places and I'd like to know more about them

10. I want to finish the art commission I started for my close friend

11. I want to travel to places like Costa Rica, Japan, Chile, and Australia

12. I want to go on exotic travel adventures with a future romantic partner or close friend

13. I want to get my Bachelor's degree

14. I want to earn enough money to live comfortably, probably with pets

15. I want to adopt a pembroke welsh corgi

16. I want to beat my eating disorder(s) for good and be able to stop taking medication to help if at all possible

17. I want to go ziplining

18. I want to go skydiving

19. I want to hike through the Monteverde biological cloud forest reserve in Costa Rica

20. I want to develop a drag persona and perform as my persona on a regular basis

21. I want to make a fursuit (yes I said it, fite me)

22. I want to finish an entire animated music video

23. I want to learn more about plants and successfully keep one alive for longer than a year

24. I want to try my hand at raising an ant colony

25. I want to go swimming more often

26. I want to learn more martial arts

27. I want to learn to be a leader in my community

28. I want to work harder in my college classes

29. I want to learn to not fear loneliness and abandonment, and to appreciate my alone time

30. I want to get (many) more self-designed tattoos

31. I want to continue learning how to appreciate my body without caring about other people's opinions on what is considered "attractive"

32. I want to eat more whole foods both because they're healthy for me and taste far better than anything with chemicals in it

33. I want to meet a few famous people in person, can't think of many off the top of my head though, but I know there are a couple

34. I want to take dance classes again

35. I want to learn how to play a musical instrument (I mean, I took 7 years of piano and can kinda read music, but I wanna learn an instrument that's better suited for short fingers lolol, maybe french horn?)

36. I want to finish the paintings I've started

37. I want to learn how to digitally render things realistically

38. I want to finish the fanfiction piece I started a couple years ago

39. I want to become more patient and less envious

40. I want to heccing fly, okay?

41. I want to feel like relaxation is deserved and expected, and not a luxury only for those who can afford it

42. I want to reassemble an animal skeleton

43. I want to dig up a fossil (specifically of some sort of mesozoic creature, that'd be so cool)

44. I want to get back to using my planner

45. I want to play more (board, card, video, etc.) games with my friends

46. I want to disassociate less and be present in the real world more often

47. I want to be more informed about what is going on both in general, but especially in my more immediate environment

48. I want to take up better drawing habits (more life drawing, warm ups, breaks, etc.)

49. I want to try a real goddamn piña colada, bonus points if it's on the beach

50. I want to try existing in a portable living situation, like a renovated bus or van, for a while

51. I want to learn basic wilderness survival skills

52. I want to learn how to identify many different species of all types of organisms, especially plants and animals

53. I want to get my vehicle fixed up nice and maybe hand paint some things on it

54. I want to learn more about different cultures because they're fascinating and I want to be as respectful of all people as I possibly can be

55. I want to paint the waterfall jungle mural of my dreams in my future house

56. I want to gain better control of my emotions and my responses to them

57. I want to fabricate a working pair of wings for human beings

58. I want to learn/do more embroidery

59. I want to get a cerulean blue Corvette stingray

60. I want to get better about not procrastinating

61. I want to go to more events/be more involved wherever I am

62. I want to go for more walks to places I haven't been to before, bonus points if it's in the middle of the night and/or in the rain

63. I want to do things like play in inflatable obstacle courses and ride on roller coasters without caring about whether other people judge me for doing those things as an adult

64. I want to regain the physical strength I have lost from being sedentary while my mental health has been at its lowest

65. I want to spend more time laying in the sunshine, preferably with the bare minimum of clothes on because I enjoy the warmth on my skin

66. I want to cuddle more with others that feel comfortable enough to participate in that with me

67. I want to learn more about the fabrication of clothing and design/make some outfits for myself

68. I want to cosplay, maybe go to a convention sometime

69. I want to go skinny dipping >:3 (look, it's number 69 on the list, okay?)

70. I want to try all sorts of foods I've never had before

71. I want to see a butterfly leaving its cocoon in real life again

72. I want to read more of the books I own

73. I want to be kissed by someone again...it's been over 4 years...

74. I want to eliminate my habit of requiring a Youtube gaming playlist to be playing in order for me to fall asleep

75. I want to learn more about the history of the lgbtqia2s+ community

76. I want to learn how to cook for myself better, and like, actually use those skills on a regular basis

77. I want to learn how to take care of my vehicle better on my own, like how to change a tire and such

78. I want to learn to communicate better, and just, in general how to be the best friend I can be

79. I want to stop using all substances for the purpose of drowning out my surroundings and messing with my temporal senses, if I'm going to drink/smoke/get high/whatever, I want it to be because I want to for fun, not because I want the chemicals to take the edge off my mental illness(es)

80. I want to start taking better care of my dental hygiene

81. I want to learn more about my legal rights and finances and other "adult" stuff that doesn't really get taught to you unless you specifically go looking for it

82. You know the somewhat obnoxious game Bop It? Yeah, I want one of those again, keeps me entertained for a long time

83. I want to design more things in general, more characters and their outfits and personalities and the worlds they live in, I enjoy that

84. I want to spend more time outdoors with my friends, watch sunsets and collect miscellaneous objects from the universe and such

85. I want to teach someone something, sit down and maybe teach someone how I draw or about something that I am at least somewhat knowledgeable about

86. I want to go to more aquariums; if/when I travel more I want to go to every aquarium I come across

87. I want to start a legit collection of something and like, build it up over a long period of time so it gets pretty impressive

88. I want to get my eyes surgically corrected so I don't have to wear glasses or fiddle with contacts

89. I want to learn more about Greek and Latin roots and just words and symbolism in general

90. I want to lose the embarrassment I have about my hyperfixations because I deserve to not feel ashamed of the things that bring me satisfaction and joy, and it's okay if other people don't share my enthusiasm about such things, I just want to learn to not be embarrassed that I like stuff

91. I want to get over my fears/discomfort re: nudity, especially for life drawing classes; see, it's one thing to see someone nude and divert my eyes but for life drawing I'm kinda forced to look...

92. I want to understand myself better and learn to love me instead of the opposite; I want to be full of love for the beautiful people around me and I want to really solidify in my brain that I am one of those beautiful people

93. I want to do more things for others that are meaningful because that makes me happy, and I want to learn to do those things while also respecting everyone's, including my own, boundaries

94. I want to develop a sleep schedule that is healthy and appropriate, and that I'm able to maintain

95. I want to run in the rain more often and jump in puddles (edit: while typing this it started storming out and I had to run outside in my bunny pajama short-shorts, winter boots, and a sweatshirt, to grab my box of silly plant seed experiments before they blew away, so progress is already being made)

96. I want to get over my intense fear of making phone calls

97. I want to learn how to sing better with my new and improved deeper voice from being on Testosterone

98. I want to get my first tattoo fixed up and hopefully renew the meaning it had to me at the time that I got it -- I want to try to keep that promise

99. I want to spend more time actively working on improving my mental health

100. I want to see more, I want to learn more, I want to do more, I want to be the version of myself that is genuinely amazed and curious by all manner of things, and I know that part of me is still there

And now, once you've finished your list, you have 100 reasons to not give up, because there's no way of knowing what you're capable of doing if you don't exist to try.

#long post #for future reference #silver writes #mental health things #but positive #100 things i want to do #i'll add a keep reading thing later #can't figure out how to do that on mobile

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brookespatial400 · 4 years

Text

Start of draft

“The concept of atmosphere is interesting because it holds a series of opposites – presence and absence, materiality and ideality, definite and indefinite, singularity and generality – in a relation of tension” (Anderson, 2009).

Atmosphere

Atmospheres are always being created and broken, as bodies explore environments they are never complete, stagnant or at peace. Atmosphere helps create certain meaning to aesthetic objects. Atmosphere of objects evoke feelings or emotions in the observer or listener. “The singular affective quality of an aesthetic object is ‘open’ to being ‘apprehended’ through feelings or emotions”. Katherine Mansfield House and Garden is full of aesthetic objects of significant value for us to interpret how she and her family lived in the victorian/edwardian era. This, creating a wide area for me to explore the idea of peoples feelings and emotions within the house as it did once exist with a family inhabiting it, but now it does not. It is subject of someones life, and it is now being explored with viewers to take their own interpretation of the living environment (Anderson, 2009).

“Atmosphere is an interesting concept, then, because it unsettles the distinction between affect and emotion that has emerged in recent work on emotion, space and society as one answer to the question of how the social relates to the affective and emotive dimensions of life” (Anderson, 2009).

“Affect with the impersonal and objective. Emotion with the personal and subjective” (Anderson, 2009).

Affect

The relationship between physical things determines a persons emotions and feelings strengthening our senses that spaces are accordingly designed for their purposes (Anderson, 2009). Being able to analyse design through the idea of affect opens up a new way of understanding the design process as spatial-temporal, experiential conditions moved by relationships, instead of being restricted to problem solving and form creations. Affect is the idea of protecting the correlation between ideas, values and objects. Interiors should be looked at as active, temporal, material processes that produce room for investigating and evolving theories of affect (Kidd & Smitheram, 2016). “These interior processes involve the relation between the emotional realm of humans to the interior’s environment; engagement with measurable and concrete materialities and phenomenology of atmospheres; static forms of interior enclosures and spatio-temporality of interior practice” (Kidd & Smitheram, 2016). The interior design process shouldn’t see affect as an obstacle, rather we should see affect as an opportunity bringing together human and non human forces (Kidd & Smitheram, 2016).

Experience

Story telling experiences told through artefacts hold such strong connections, but how can we attain greater integration between the artefacts and the information they hold and the visitors experience?

Katherine Mansfield House hold artefacts with strong story telling experiences and these could be strengthened through Katherine Mansfield’s short stories that are in connection with the house. Technology driven design can open up many opportunities allowing me to pass on knowledge and information from the artefacts and Katherine Mansfields stories through experience. A vital part of museum branding is to enhance identity and maintain appropriate strategies directed at highlighting the exceptional characteristics of the artefacts and the stories they hold (Falco & Vassos, 2017). For smaller museums there’s an opportunity to create live experiences with the artefacts, with the aim to attract a diverse audience. During my visit to the Katherine Mansfield House I recorded a few different sounds of the experiences I came across. I think there is a strong opportunity for theme-based storytelling to be added into the Katherine Mansfield House expanding the experience for visitors. Katherine Mansfield holds a collection of items from the victorian/edwardian era, showing how they house may have looked when Katherine and her family lived there (Falco & Vassos, 2017).

Art and architecture

These projects have new elements inserted into existing contexts with the aim off critiquing the system of the past in the present, outlining the repressed history. Artist Sophie Calle created an installation where she positioned 30 short story texts and items that were of significance to Siggmund Freud’s own writing and belongings. The texts from Calle reveal moments of her life, including memories of her childhood and secrets regarding her adult relationships. As the onlooker makes their way through Freuds house, Calle’s biography unfolds, but in no particular order. Calle has situated the cards and objects in a way that connections can be made between the details of her life and those psychoanalytic theories of Freud’s (Rendell, 2006). Calle produces her work through her life stories creating then the artwork. The precise positioning of the objects and cards doesn’t just allow us to interpret Calle’s figure, but also allows space onto which we can view aspects of ourselves. Like the Katherine Mansfield house, the reflections aren’t far off as Freud lived in this house for the last year of his life and since it has been turned into a museum. “What interests me here in Calle’s work is the way in which the series of interlocking subjective and narrative insertions bring to the fore the museums presentation of Freud and his writing from a more personal persepctive” (Rendell, 2006).

“All our sensory systems ‘think’ in the sense of structuring our relationships with the world” (Pallasmaa, 2017).

Embody

Creative productions require people to concentrate both on the perspective of the world and also that of themselves, the development of knowledge from the creative piece will then advance the humans ability to imagine (Pallasmaa, 2017).

Connections we make with the world are all produced through our senses. The body is the form of identity and self presentation, but the importance of the body is simply its physical and physiological quality. These quality are often underestimated as the foundation of embodied existence and knowledge, the complete recognition of the human condition (Pallasmaa, 2017).

“In my view, the foremost skill of the architect is, likewise, to turn the multi-dimensional essence of the design task into embodied and lived sensations and images; eventu- ally the entire personality and body of the designer becomes the site of the design task, and the task is lived rather than understood” (Pallasmaa, 2017).

The highest architects aren’t there to create new architectural realities, they aim to reveal and express what is already existing in the space, finding the natural potentials. Katherine Mansfield is a site with a lot of potential, the historical value is a strong aspect to focus on. Expressing what is/was in the space, finding the additional natural potentials to create a space, that reflects on the Victorian/Edwardian as well as bringing in some aspects of the 21st century (Pallasmaa, 2017). The emotional and aesthetic factor within the Katherine Mansfield house, along with embodied individual recognition, is just as important in scientific creativity as it is in the creation and understanding of art.

Anderson, B. (2009). Affective atmospheres. Emotion, Space and Society, 2(2), 77–81. https://doi.org/10.1016/j.emospa.2009.08.005

Falco, F. D., & Vassos, S. (2017). Museum Experience Design: A Modern Storytelling Methodology. The Design Journal, 20(sup1), S3975–S3983. https://doi.org/10.1080/14606925.2017.1352900

Kidd, A., & Smitheram, J. (2016). Kerstin Thompson Architects: Exploring affect in interior’s sticky design process. Interiors, 7(2–3), 111–134. https://doi.org/10.1080/20419112.2016.1191147

Pallasmaa, J. (2017). Embodied and Existential Wisdom in Architecture: The Thinking Hand. Body & Society, 23(1), 96–111. https://doi.org/10.1177/1357034X16681443

Rendell, J. (2006). Art and architecture: A place between (Wellington 720.1 Ren). I. B. Tauris.

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trainerjoshie · 5 days

Text

AMAZING Pokémon TCG SV Temporal Forces (2024) Reuniclus illustration by Atsushi Furusawa (removed card text)

#atsushi furusawa #pokémon #official art #card art #pokémon trading card game #tcg #pokemon #full card art #pokémon scarlet and violet #temporal forces #temporal forces full card art #reuniclus #duosion #solosis #psychic pokemon

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biointernet · 4 years

Text

Hourglass 134 Father Time

I can use my time much better working on tomorrow's problem than by fretting about yesterday's. Admiral King

Hourglass 134 Father Time

Antique Old Religious Art Print Saint George, Dragon, Hourglass, Angels, Bell, Ringer

Father Time and Mother Nature

Time-Space Relations, Spacetime Mother Nature, Mother Earth Time-Space Family Why is it called Father Time? As an image “Father Time’s origins are curious”. The ancient Greeks themselves began to confuse chronos, their word for time, with the agricultural god Cronos, who had the attibute of a harvester’s sickle.

Hourglass 134

Symbols of Time

Hourglass 259, post card, Father Time Hourglass 266, post card, Father Time Hourglass 265, post card Hourglass 264, Father Time, post card Hourglass 263, Father Time, post card Hourglass 262, post card, Father Time Hourglass 261, post card Hourglass 260, post card, Father Time Hourglass 259, post card, Father Time Hourglass 258, post card, Father Time Hourglass 256 Father Time Hourglass 257, post card Hourglass 256, post card, Father Time Hourglass 243, post card, Father Time Hourglass 236, post card, Father Time Hourglass 293 post card, Mother Nature Hourglass 292 post card, Mother Nature Hourglass 134 Father Time

Hourglass 134, back side Hourglass 134 Father Time

Time symbolism

What is the symbol of time?

Symbol of Time – The Hourglass

Time symbolism – What is the symbol of time? My Hourglass Collection – Time and Hourglass History and Symbolism. Welcome to MHC Virtual Museum! Time Symbolism, or time semiotics as it’s known in technical circles, plays such a large part in human communication because people are constantly looking for deeper meaning. Whether it’s in the stars, drawn on a cave wall or in the newest visual content, we add such meaning to our communication through the use and interpretation of signs. SYMBOLIC TIME is understood to be the temporal form that organizes the symbols of a religious system into an order of periodicity. Hourglass and Death on St Thomas’ Church Hourglass – symbol of Death Hourglass and Skeleton “Hourglass and Cards” Exhibition Father and Mother of Time Time Hub The Hourglass, Hourglass History Hourglass symbolism Hourglass Body Hourglass Tattoo Symbols of Time In addition to time-related themes, the hourglass is synonymous with cycles and balance Energy passes between the two sides of the hourglass just as the energies of our world are contained by the atmosphere and crust. All of the natural processes and cycles occur there (not including what happens in space, of course), which gives us a greater sense of relation with our environment. This also forces us to realize our roles in the natural cycles happening around us. Hourglass symbolism

Hourglass History

This 1338 fresco showing the personification of Temperance is the first known depiction of an hourglass in either art or letters. So basically all the evidence points to the hourglass being invented around 1000-1100 AD, during that era’s great advances in maritime navigation. This dating gives the hourglass roughly enough time to become widely used and to enter the material record around 1300.Not everyone, however, is convinced.

The Hourglass, Hourglass History

The origin of the hourglass is unclear See also:

Time symbolism

Time is… The Full History of Time Time in physics and time Science Symbolism of Melencolia I by Albrecht Dürer Time and Text

DADA Time

Text, Time, MHC Extinction Rebellion – Time against Life The End of Time Hourglass and Death on St Thomas’ Church Hourglass – symbol of Death Death does not Exist Hourglass and Skeleton “Hourglass and Cards” Exhibition Father and Mother of Time Time Hub Time Philosophy Time synonyms Time perception and Sense of Time Time Travel + Time Management = Time Travel Management The Hourglass, Hourglass History Hourglass symbolism Hourglass Figure Hourglass Tattoo Symbols of Time Beauty Bio-Net Father Time Department Father Time and Mother Nature Lunar calendar and Moon’s phases Time Management Time Management tools Time Travel Management MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter Read the full article

#AntiqueOldReligiousArtPrint #Bell #Cronos #Dragon #FatherTime #Hourglassfact #Timesymbol

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micaramel · 4 years

Link

Artist: Jan Vorisek

Venue: Kunsthaus Glarus

Exhibition Title: Collapse Poem

Date: March 15 – May 24, 2020

Selected By: Tenzing Barshee

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist; Galerie Bernhard, Zurich; and Kunsthaus Glarus. Photos by��Gunnar Meier.

Press Release:

Even as the invitation card was being printed, Collapse Poem was seemingly a metaphorical expression of the regularity of collapses. While the works are installed in the space and I am writing this text, the image of collapse has moved into the (media) ubiquity of the everyday. An invisible virus is spreading rapidly through our bodies and minds, precipitating the destabilization of public life and infrastructure, the normality of our social and everyday habits and activities. The collapse as a condition where we can’t be certain whether it is—perhaps unnoticed— already there, or about to come, unstoppable as mathematical calculations have already predicted. At first still a statistically abstract and geographically distant threat, the virus is now here. Not with full force but invisibly, and yet ever present in numbers, data, and facts; as rumor it ruptures our notions of society and community, relationships and love, of work, and what we understand as freedom. The increased distance, the negative space between our bodies is permeated by a new state of affairs, by crisis opportunism as well as resistance and a desire for normality. The current seductively reading of the exhibition title which is above all meant to be aesthetic is tied to two important elements in Jan Vorisek’s exhibition: first, the referenced question of temporality and related social activities and habits, or, as here, institutional processes (the installing of work, the opening time, the exhibition duration) whose matter-of-fact-ness is undermined by the negative space of the virus. The temporal frame and associated conventions, such as visiting the exhibition, are always important parts of Jan Vorisek’s practice, which is linked to formats of presentation and performance. Jan Vorisek’s works are almost always created for specific exhibition settings and are unstable in a variety of ways: they are created on site as time-constrained material dispositifs, at the outset their eventual form is unknown. After the exhibition is over their shape is necessarily lost. The recycled materials employed are also not necessarily permanent. The often-used, industrial and technological objects or components find their way back into various modes of circulation after the exhibition. The layered materials and resulting configurations function as intermediary zones that are subjected to a theatrical temporality. On the other hand, Jan Vorisek’s installations and sculptures always stand in relationship to a psycho-social logic and play with physical and spatial impulses situated between sexualization and fear, between anxiety and delirium. The negative space and the feelings, fears, and euphoria expanding within them are therefore always part of these dispositifs, which, under entirely new paradigms of production and a global circulation of goods, repeatedly draw on set pieces from a history of sculpture situated between Land Art and Minimalism, between form and anti-form.

Collapse Poem forms two interrelated spatial settings in two exhibition spaces situated above and below one another in the right wing of Kunsthaus Glarus. Whether the collapse is still imminent or has already occurred is unclear. Two material mechanisms—collapsing in on and reconstituting themselves, reified in rotating apparatuses and layered building blocks—form the basis of the exhibition’s various overlapping and repeating structures. The accessible architecture is a kind of service-oriented readymade: such inflatable forms can be ordered online in all conceivable shapes and colors; typically they are shipped around the world as bouncy castles and inflatable forms of advertising. The industrially processed material and simple sculptural form reference a minimal aesthetics, whereas the monochrome, fetish-like black material of the oversized structure is also reminiscent of painterly gestures for example. When walking through it, it feels more like an eerie, science-fiction film set in the vein of Alien. At the end of the labyrinth, the feeling of latent, spatial panic is taken to infinity in the video Exercise in Isolation (2020).

Stretching out over the upper floor is a not-yet-finished or already ruinesque structure. Memory Hotel (2020) is immersed in a dystopian sunset. Here a fragmentary architecture constructed with manual effort; there a technological apparatus keeping the spatial structure in motion and thus in shape. The clear lines of the exhibition architecture—metal struts between skylights and artificial stone slabs on the floor—form the grid on which everything else is constructed. While circulating air ensures that the shape of the labyrinth remains constant, borrowed bricks serve as a solid, albeit fragile fixed image throughout the duration of the exhibition. Suspended from the exposed ceiling is a small model house of glass and lead that reminds one of the no-longer-visible transparency of the architecture here. The resulting gap also affords a view of the simple mechanism for blacking out light. The interweaving of acoustics and spatial order is one of Jan Vorisek’s central concerns. Palinopisa (2020), a video loop, and the endlessly rotating lamps, I forgot the word but I remember the feeling (2019), repeat overlapping lighting moods and sounds. The instant of rotation is just as unsettling given its meditative, immersive effect. Both spaces are linked by the photograph of a dragonfly hanging in the stairwell. The Fortune Teller (2020) as a figure that presages the truth points to the future as an unpredictable factor that, like the past, is populated by life forms with at times diverging interests.

Accompanying the exhibition there will be released an artist’s book.

Judith Welter, March 13, 2020

Link: Jan Vorisek at Kunsthaus Glarus

from Contemporary Art Daily https://bit.ly/2YcXPii

#micaramel

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halas1 · 5 years

Audio

The Last Generation of Experts

Experimental Israel celebrates its 30th installation, and a celebration it is, as our 30th guest is a person that has dedicated herself to experimentation in action and thought throughout her career – the composer Dganit Elyakim. Elyakim, a student of the late Prof. Arie Shapira in Israel, and later a graduate of The Hague Conservatory, can be easily attested to as a member of the avant-garde; in fact, her entire oeuvre exemplifies this fact. However, it is not too far into our interview, or should I say – her lecture, where Elyakim claims that today there is no, and cannot be an avant-garde!

As hinted to earlier, Elyakim comes prepared; a day prior to our interview, when we recorded Elyakim’s improv piece, 10 Thumbs 2 Left Hands, on the emaciated piano belonging to The Hall Project at the Digital Art Lab, she mentioned in passing that I should brace myself for an entire theory regarding experimentalism. Elyakim has followed our programs closely and was about to suggest her unique theory, which in abstract, at least, relates experimentalism to technological advancement.

Elyakim suggest a threefold division on the timeline of artistic history: a prehistoric age, an age of literacy and machine, and our own time – namely the technological era. In order to clarify the immediate dichotomy between the first two stages of artistic time, she plays for us and compares a vocal piece by Guillaume Du Fay and a piano sonata by Beethoven. Whereas the latter sounds intensely dramatic and full of narrative based change, the former seems almost of a meditative quality – or indeed as Gyorgy Ligeti suggested, music without time. Elyakim proposes that the force at the base of this huge change is the advent of instruments, or in context – of instruments that were able to lead rather than merely accompany. Whereas the voice historically took centre stage, it more often than not paraded its inherent cantabile quality. The instruments of the time, and indeed of music throughout history up to that moment, attempted merely to mimic the voice. However, the newly improved and sturdy instruments were able not only to overcome the voice, but suggested technical possibilities that would require singers later in history to become extremes experts to the point of contortion, and this now in attempt to mimic instrumental qualities and possibilities.

This is merely one example out of many technological advancements that allowed artists, if indeed in tune with the ideas of their times, to create experiments cum renegade art. As it were – art followed technology. But Elyakim doesn’t suffice with this notion, and suggest that literacy itself, and particularly musical literacy can be seen as perhaps the most substantial exchange between technological advances and experimentalism. In similar fashion to how written language allowed a substantial change in how we as a species use language, so did musical language create a similar revolution for music. Those in tune enough with the possibilities this new tool could offer, were, by default, the first experimenters in the field. Similarly, Elyakim hails someone such as J.S. Bach as a true experimenter, exemplified by his staunch stand in favour of equal temperament. Indeed, in the Well Tempered Clavier, Bach arranges the pieces in an ascending chromatic order, indicating that the old relation of scales (via 5ths and 4ths) is obsolete.

Moving into the age of the machine, the age of the experts, or indeed the age of literacy, we are confronted with an artistic boom related intrinsically to the almost fantastically swift technological changes. However, this age, which in part can be deemed humanistic, sees an odd societal shift from the tribal to the personal. Accordingly, this is an age of experts. Man and woman no longer linger on the remnants of a hunter-gatherer society, wherein a person needed several skills and traits in order to live or survive. Suddenly a person had one specialised trait in which s/he is trained, and this would be their life-long occupation.

In contrast, our current age is marked by one particular and enormously substantial technological advancement: the control of electrical currents. This, in Elyakim’s view, is seen as a reshuffling of the historical card deck, as it created de facto changes in the way we live and think. As far as art is concerned, the 20th century is marked with a shift towards electronic music, and more so, a music that is becoming more and more interactive, which, in a way, heralds a return to improvisatory practices, also a current mark of musical change. But the effects on music and art are only second, if not a consequence of the effects new technological advancements have had on society at large. Elyakim sees society as reverting to its traditional tribal role, and more so, she recognises a growing interactivity in all aspects of life. A simple example is given with social media, and the accessibility of knowledge over the Internet. Indeed, I have to agree that the Internet presents a paradigm shift that could potentially signal the dawn of a new era in the way we share information. However, Elyakim takes this thought process even further, claiming that we are, no doubt, the last generation of experts. The academies, guilds, and masters of the past are no longer necessary. One can acquire knowledge and indeed produce various products, physical as well as intellectual, without any external aid. Elyakim presents us with a generation of artists that cannot, by default, be deemed avant-garde, as the front line keeps advancing at a pace faster than our psyches can fathom. We, as artists, are merely attempting to keep up, which in turn sends us into subjective realms and indeed “scenes”. Elyakim continues and exclaims – this new technological world is suddenly interested not only in products, but also in processes. In some cases the process is of larger importance than the product, and in other cases the process is the product. Accordingly, Elyakim suggests that artists in this age are in the process of an “endless work in progress”, and indeed sees this trajectory continuing for an indefinite time.

It is at this point Elyakim and I go into a discussion regarding this analysis of our time and its supposed deterministic trajectory. The interactivity Elyakim points to, I see merely as yet another consumer related attribute, which could be taken back the Marcusean critique presented in his One Dimensional Man. Whereas there is, no doubt, a burst in daily use requiring interactive choice, it still does not quite feel as if this same interactivity allows more choice or indeed freedom on the personal level. If anything, it seems that interactivity manages to even further facilitate pacification by presenting a supposed new freedom. I continue and suggest that this poignantly exemplifies the dire need for experts and expertise more than ever before, and further points towards our need for a “filtration” system where knowledge and information are concerned. However, the point on which Elyakim and I completely agree is the current trajectory of art, which seems decentralized, in an ever-growing flirtation with chance, and seemingly preferring the question to the resounding exclamation mark. Elyakim present us with a recording of her piece 1×1.1 from her debut album, Failing Better (a paraphrase on Beckett: Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better). 1×1.1 is a form we have come to know and love in recent artistic time, namely a structured improvisation, in this case, for bass clarinet and live electronics. Very much in tow with the dedicated recording Elyakim presented us with for our broadcast (this time, a complete improvisation on piano frame (harp) and live electronics), there is an amalgamation of all her ideas in this piece. Whether her theories hold water, as is the case with theories, only time will tell. But Elyakim’s art, attempts not only to parade these theories, but also actually live by them. In a future project, Elyakim presents the idea of creating a web-based opera. The stage, claims Elyakim emphatically, has been but made obsolete by the advent of the Internet, and accordingly, an opera as an art form need no longer exist on stage, but in a non-temporal arena such as an HTML based page on the web. Like Shapira, her composition teacher before her, who wrote a radio-based opera, and Robert Ashley, whom Elyakim reveres in the utmost, who wrote his Perfect Lives for television, Elyakim wishes to join and continue this trajectory. It again raises the question – what’s next? And I personally believe that this has always been a good prompt to be made by art.

#Dganit Elyakim #Electroacoustic #Experimental #Experimental Israel #Ophir Ilzetzki #ישראל הנסיונית #דגנית אליקים #אופיר אילזצקי

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redabiz2 · 6 years

Text

The Cookie ParadeBook And Earthquake Safety Impacts Lives Positively

By Matthew Russell

The disaster the poses great danger is the disaster that scientists cannot foretell. Although with advancement in technology, scientists are failing to know when an earthquake will occur and even its frequency. A lot of countries are still dealing with the consequences made by the disasters. Every home of every citizen has been destroyed, families are losing their family members, and their livelihood being taken away by natural forces. Fortunately, there is still the existence of individuals whose hearts aim to provide help by organizing The Cookie ParadeBook and Earthquake Safety enable to free every citizen from the pain that the person is continually dealing with. The lives of the citizens of Ecuador changed drastically in just a matter of two minutes. The nation is still struggling in rehabilitating the cities, and every citizen is suffering more every passing minute. However, hope is not lost for the people, since there are still some that trying hard for them to support the nation in rehabilitating the cities and provide every citizen with comfort not only through giving material support, but also emotional support. This started by human beings in every corner of the world sending cookies to Ecuador since it has been proven and tested that a cookie will make that frown turn upside down. As this movement progresses, the individuals behind this movement would need to increase their budget, and thus, they are needing every human being to pitch in. Their course of action is to publish a manual that is filled with artful works created by the little ones in Ecuador. The manual is not solely filled with artful works of the little ones, it has inclusions like what the necessary preparations are when disaster occurs, the appropriate action while it is occurring, and how to be safe after its occurs. Thus, this will not only profit the little ones, the donators will also reap benefits, too. Yet, what makes this beneficial is the goodness they will feel in helping their fellow human beings. In the book, there would be tips on having readiness when calamity strike, and list of things to prepare. Also, included are the things to do when the shaking begins along with the things to avoid after the shaking. Therefore, they will have an all around knowledge on the safety. An invention in this digital age that human beings have taken advantage of is the online search. Through an online search, they are able to find the digital platform that guides them in donating to the charity. The information of your credit card is safeguarded, and therefore, one will not to worry about it. However, giving donations is not the only contribution one can make. One can also give through volunteerism. The application can be easily done on the site. A student or anyone who can give time or anyone who are very willing to aid are very much welcome. On the websites, they can also search for the events that were organized, that are happening, or going to happen. Therefore, they can get a glimpse of the good work the cause has done. Also, they will have ease while being on the website since it can be easily navigated. In a world full of chaos, it is ideal to extend help to others. Your money that you donated will not only bring temporal joy, but a permanent and positive effect to their lives. After all, your money is just a tool for you to aid, your heart is the one that is making great change.

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If you are looking for information about The Cookie ParadeBook and Earthquake Safety, come to our web pages today. More details are available at https://ift.tt/2OQOyEA now.

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reginakrawetscofa-blog · 7 years

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ASSESSMENT 1: GLITCH

STATEMENT

The rise of glitch art correlates with the ascendancy of technology in our daily lives and provides opportunity for cultural commentary on the question of just who or what is in control. Do we control technology or does it control us? By portraying a biological glitch, something that we as humans have no agency over despite all our progress with the technologies of genetic mapping and manipulation, this work makes a commentary on the dialectics of control and unpredictability.

This work capitalises on the specific aesthetics of glitch art, pixelated or jagged lines evoking static or white noise with highly saturated rainbow colours set against a dark background reminiscent of a computer screen. The intention of the monochromatic black on black embroidery overlaid with metallic rainbow thread not only emulates the aesthetic of glitch art but is intended to force the viewer to step closer to the work, to pause and look closely and contemplate the issues faced by individuals living with chromosomal disorders. Furthermore, the appearance of the chromosomes that are missing sections of genetic material is a representation of a specific subset of glitch art known as ‘datamoshing’ where media is intentionally distorted through the loss of data during file compression and tangentially echoes the process of cell division that is illustrated in the karyotype.

The inclusion of a title and numbering was necessary as it added more graphic design elements characteristic of a poster. The title Some Glitches Aren’t Temporary as a statement is a refutation of the common definition of a glitch as “a minor problem that causes a temporary setback” and refers the depiction in the poster of an array of glitches in the reproduction of information during conception. The reference to temporality also asserts that, as technology has become a fixture in our lives, so has glitch art become a permanent part of our artistic cannon.

Bibliography:

Anonymous, Friendship Circle Blog, 13 chromosomal disorders you may not have heard of, May 22, 2012, http:/www.friendshipcircle.org/blog/2012/05/22/13-chromosomal-disorders-youve-never-heard-of/

Emory, S., Creators, A Wild Glitch Appeared! These 8 Artists Are Bringing Glitch Art into the Real World, November 27, 2014, http://creators.vice.com/en_au/article/gvwv7y/8-artists-are-bringing-glitch-art-into-the-real-world

Khemsurov, M., Sight Unseen, Ferruccio Laviani on his Good Vibrations Series, April 28, 2014, htpp://www.sightunseen.com/2014/04/ferruccio-laviani-on-his-good-vibrations-series/

Merriam Webster Dictionary, https://www.merriam-webster.com/dictionary/glitch

Mufson, B., Creators, These Playing Cards Are Full of Mind-Bending Glitches, Sept 5, 2016 http://creators.vice.com/en_us/article/aengyz/glitch-art-goes-physical-with-reality-bending-playing-cards

Roy, M., The Periphery, Glitch it Good: Understanding The Glitch Art Movement, December 2014, http://www.theperipherymag.com/on-the-arts-glitch-it-good/

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agosnesrerose · 7 years

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The 1913 Armory Show: America’s First Art War

William-Adolphe Bouguereau. The Wave, 1896. Oil on canvas; 47.64 × 63.19 inches (121 × 160.5 cm). Private collection.

America has been an epicenter of avant-garde art for a long time, but this was not always the case. The reasons for the rise of the American art world are plural and complex. In part, this rise resulted from a mix of post-World War II affluence, which created collectors, and Cold War politics, which weaponized American modernism and deployed it as proof of cultural superiority. But the American art world’s claim to center stage also rested on America adopting and modifying European avant-garde styles. If, as Serge Guilbaut put it, New York “stole the idea of modern art,”1 it had to first know about modern art. Perhaps no single event marked as epochal a moment in America’s avant-garde awakening as the International Exhibition of Modern Art held at New York’s 69th Regiment Armory in 1913. Tellingly, the Armory Show (as it is popularly known) did not just jolt young American artists into a new dialogue with experimental forms; it also polarized the American public and started what would be a long and loud battle, between people who claimed to be championing the most excellent and advanced artistic ideas, and others who thought those people were obviously, painfully, full of it.

In the eighteenth and nineteenth centuries, artists were trained at academies, in which idealistic realism reigned supreme. Academic art tended to promote softened, perfected forms and to render the artist’s hand invisible. Many European artists of the mid-1800s rebelled against academic art, but in America at the turn of the century, academic styles and modes of exhibition were still strong. So, in 1911, four young artists who were fed up with the academy—Jerome Myers, Elmer MacRae, Walt Kuhn, and Henry Fitch Taylor—began meeting at the Madison Gallery in New York to discuss new strategies for exhibiting art in the United States.

That group eventually gave birth to the Association of American Painters and Sculptors (AAPS), composed of young anti-academy artists. In 1913, AAPS organized the Armory Show. By this time, the purview of AAPS had expanded to include bringing the newest European art to American audiences. The president of AAPS opened the show with these words:

The members of this association have shown you that American artists—young American artists, that is—do not dread, and have no need to dread, the ideas or culture of Europe. They believe that in the domain of art only the best should rule. This exhibition will be epoch making in the history of American art. Tonight will be the red-letter night in the history of not only of American but of all modern art.2

The members of the association felt that it was time the American people had an opportunity to see and judge for themselves concerning the work of the Europeans who are creating a new art.

So, what would Americans make of this new art, when given the opportunity to “judge for themselves”?

Paul Cezanne. An Old Woman with a Rosary, 1895–96. Oil on canvas; 31.7 x 25.8 inches (80.6 x 65.5 cm). Courtesy of the National Gallery, London.

On display at the Armory Show were more than twelve hundred works of art by more than three hundred artists from the United States and abroad. There were newly minted Old Masters: Cézanne, Van Gogh, and Gauguin were well represented. But the work that captured people’s imagination—and, in some cases, enraged them—was of a more recent vintage. Contemporary avant-garde movements got the most attention, and it was the disorienting intensity and spatial decomposition found in Cubism that was the talk of the town. One painting in particular became almost synonymous with the succès de scandale of the Armory Show: Nude Descending a Staircase, No. 2 (1912), a painting by French artist Marcel Duchamp, who, in later years, would develop quite a reputation for attracting adversarial attention to himself.

Why did Nude stand out from the show and from other Cubist work there? First, its pictorial fragmentation was more violent and jagged than other similar paintings; its lines were closely knitted and overlapping, resembling sketch-work as much as traditional brushstrokes. While other Cubist works of the period stressed the multiplicity of a single moment—which is to say, an artist might render a subject from multiple angles—Nude combined this strategy with a Futurist-inflected temporality, simultaneously representing multiple moments in time. So, it played with at least two different kinds of psychic torsion. In other words, the painting appears to portray a woman at many, various stages of walking down a set of stairs and does so from many, various angles. This way of dealing with time aligns the painting with Eadweard Muybridge‘s (and others’) early photographic motion studies and, by extension, with cinema. But Duchamp combined this almost diagrammatic linearity with strategies of visual obstruction, placing the work uncomfortably between legibility and illegibility: now you see it, now you don’t. In a way, Nude angered people because they understood it too well, but also not enough: what is really frustrating to a viewer is a false start, not a foregone conclusion. The bottom half of the painting contains at least six triangular shapes that can easily be seen as bent legs; the middle section has five ovals that call to mind hip bones. But while you might be able to make out a face in the upper right-hand corner, the angular chaos in the upper left section of the painting cannot be easily synthesized. By rhyming this mindful disorientation with photography and cinema, Duchamp seemed to be saying something about modern life: maybe perception and cognition were changing at the rate of technology. Or the speed of light.

The most famous condemnation of Nude drew on a peculiarly modern metaphor to make its point. Julian Street called Nude “an explosion in a shingle factory.”3 This was by no means the only creative put-down hurled at Duchamp; Nude was variously described as “a lot of disguised golf clubs and bags,” “an assortment of half-made leather saddles,” an “elevated railroad stairway in ruins after an earthquake,” a “dynamic suit of Japanese armor,” a “pack of brown cards in a nightmare,” an “orderly heap of broken violins,” and an “academic painting of an artichoke.”4 Of all these, it was “explosion in a shingle factory”—linking together two particularly modern things, explosions and factories—that stuck and is often used to refer to Duchamp’s painting even today.

While it was the work that got the single most attention, Nude was not alone in drawing heat. The New York Times opened its review of the Armory Show with a few obviously rhetorical questions:

What does the work of the Cubists and Futurists mean? Have these “progressives” really outstripped all the rest of us, glimpsed the future, and used a form of artistic expression that is simply esoteric to the great laggard public? Is their work a conspicuous milestone in the progress of art? Or is it junk?5

Readers wrote to local and city papers, calling the art “nonsense” and declaiming its “amorphous conceits.”6 Gertrude Stein, as a champion of some of the most reviled art, came in for a drubbing many times. One writer complained that Stein’s criticism sounded like a drunk “who is suddenly called upon to make an after-dinner speech.”7 The Chicago Tribune published this poem:

I called the canvas Cow with cud And hung it on the line, Altho’ to me ’twas vague as mud ‘Twas clear to Gertrude Stein8

Theodore Roosevelt, then President of the United States, attempted to be evenhanded, writing in Outlook magazine, “The exhibitors are quite right as to the need of showing to our people in this manner the art forces which of late have been at work in Europe, forces which cannot be ignored.”9 After this brief nod of approval, he went on, “This does not mean that I in the least accept the view that these men take of the European extremists whose pictures are here exhibited.”10 In other words, Americans should keep track of the European avant-gardes, but by no means approve of them.

During the month Nude was on view, hardly a day went by without a story about the Armory Show appearing in the press. As a result, attendance swelled. Numerous writers could not help but compare the show—and whatever you think of the art, you cannot deny a certain aptness in the comparison—to productions by P. T. Barnum. The Armory Show became a circus.

On March 29, 1913, two weeks after the show closed, The Literary Digest published a collection of letters to editors around the country under the title, “The Mob as Art Critic.” [PDF] Some of the letters are astounding, if only in terms of the amount of energy people were willing to put into them. One man, claiming to be a scientist, worked his prose into brilliant contortions, fuming about the scientific language used by artists and critics favoring Cubism. He wrote:

These “sensations” we hear about “reproducing” are impossible of reproduction—even in the mind, still more on canvas—for when they are gone they are gone forever. What takes their place is not a sensation at all but a memory, and a memory is not a sensation. The sensation experienced upon being outside of a good dinner is gone, and it can not be reproduced by remembering it (nor painting its portrait), luckily for cooks. And just as a memory of the sensation—or “thrill”—of a dinner presents none of the satisfactions of the sensation itself, neither do the memories of any other sort of thrills.11

Georges Braque. Violin: “Mozart/Kubelick,” 1912. Oil on canvas; 18.1 x 24 inches (46 x 61 cm). Private collection.

The supreme irony of the passage is that, with its incoherent insistence and repetition and recoding of familiar nouns, it ends up sounding a lot like a poem by Gertrude Stein. The phrase, “What takes their place is not a sensation at all but a memory, and a memory is not a sensation,” could well have come straight from any of Stein’s most impenetrable texts (for example: “You are extraordinary within your limits, but your limits are extraordinarily there”12).

One concerned citizen was kinder to the scientific language being used to describe this modern art. In fact, she thought the art should be renamed “sensationalism . . . not in the popular sense, but in the scientific application of the term.”13 She went on:

For these artists are endeavoring to give a pictorial representation of the physical reaction to sense stimuli, the cellular and nervous reactions which carry the messages of sense perception to the brain. They attempt to diagram the shiver which indicates to you that you are cold; the nerve shock and accelerated heart action which mean fear.14

Armory Show NYC, Interior, 1913. Photo by Percy Rainford

While she granted there was skill involved, she ultimately thought the art should be “more appropriately placed in the lecture-room of a professor of psychology than in an art-gallery”; her ultimate complaint, in the form of a question, was, “But is it beautiful?”15 She thought not. That question would be echoed eighty years later, in 1993, when CBS ran an infamous j’accuse against the contemporary art establishment in a 60 Minutes segment called, “Yes . . . But Is It Art?” The title of segment not only played on widespread public suspicion of the arts (most people would answer, “No, it is not”), but also recalled the ontological vertigo that had overtaken the art world around the time of Marcel Duchamp’s Fountain (1917), an industrially produced urinal he re-christened as an art object.

Coming at a time when the National Endowment for the Arts was gearing up to battle Congress for its very life, that episode of 60 Minutes touched a nerve both in the art world and outside it. America was fed up with contemporary art, and contemporary artists, for their part, were fed up with America. People had drawn the battle lines back in 1913, with the reaction to the Armory Show.

But the story is more complicated than that.

Something interesting happened in the art world during the 1960s, ’70s, and ’80s. The Surrealist concern with the articulation of psychologically repressed desires—such as violent sexuality and sexualized violence—developed into a widespread concern with the articulation of systematically repressed identities: queer, black, Chicano, bisexual, transgendered, diasporic, postcolonial, and so on. The reaction to this art—art that embraced what came to be called “identity politics”—was of a different nature than the reaction provoked by the Armory Show. Many critics during the culture wars actually used formal incomprehension to mask a greater understanding of a work’s real meaning. Critics of, say, queer art did not fundamentally puzzle over what they were looking at. And this is where we are today.

The virulent homophobia unleashed on the National Portrait Gallery’s Hide/Seek exhibit by the Cybercast News Service last November is an illustration of how much the debate about art has changed in the past hundred years. In some ways less insular, contemporary art is also less insulated from the day’s most divisive issues. It feels almost quaint to look back on a time when what angered people about art was that it violated the rules of perspective and of the unity of time and place, or that it unbound color from object. If these battles weren’t always pretty—for they were frequently fueled by class resentment—they still seem, relative to contemporary circumstances, somewhat bloodless.

1. Serge Guilbaut, How New York Stole the Idea of Modern Art (Chicago: University of Chicago Press, 1985). 2. Milton W. Brown, The Story of the Armory Show (New York: Abbeville Press, 1988), 43. 3. Brown, 137. 4. All quoted ibid. 5. Kenyon Cox, “Cubists and Futurists Are Making Insanity Pay,” New York Times, March 16, 1913, VI, 1. 6. “The Mob as Art Critic,” Literary Digest 46, no. 13 (March 29, 1913): 708. 7. Robert Tuttle Morris, Microbes and Men (New York: Doubleday, Page, & Co., 1915), 261. 8. All quoted in Brown, 138. 9. Theodore Roosevelt, “A Layman’s Point of View,” The Outlook, March 29, 1913, 718. 10. Ibid. 11. “The Mob as Art Critic,” 708. 12. Gertrude Stein, Everybody’s Autobiography (1937; reprint Boston: Exact Change, 2004), 38. 13. “The Mob as Art Critic,” 708. 14. Ibid. 15. “The Mob as Art Critic,” 709.

Editor’s note: This essay was originally published on Art21.org in November 2011.

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