(Roughly) Daily

Posts Tagged ‘aesthetics

“People ought to stop saying, ‘Rock is dead.’ It gets old.”*…

Big Star (Jody Stephens, Andy Hummel, Alex Chilton), photographed by William Eggleston

Mo Troper (and here) offers a treatise on the hotly debated subgenre Power Pop…

What is power pop? It is a question many have asked and few have satisfyingly answered. To many, power pop is any modern idealization of mid-‘60s British pop, a sticky and sickly sweet Neapolitan of “chiming guitars,” “heavy drums” and “aching vocal harmonies.” The Raspberries, Big Star, Badfinger, Todd Rundgren — these are just a few of power pop’s pioneering practitioners.

There are entire message boards and stuffy Facebook groups dedicated to debating its origins and musical properties. Power pop fandom is as isolated as it is isolating. Most of the year it’s a pasty shut-in muttering to itself, every now and then it’s an evangelist screaming from the rooftops. To be a power pop “fan” is to be in endless pursuit of the greatest post-Beatles guitar pop single the general public has yet to hear. And once you find it: Should you share it with the world or keep it all to yourself?

To the outside world — and even to nominal double-P fans — the drama and rigorous dialectic associated with this genre is insane, and understandably so.

The gatekeeping makes a little more sense if you relate power pop to a more general aesthetic phenomenon: camp.

Susan Sontag published her essay Notes on “Camp” in 1964, the same year The Beatles conquered America. According to the Wikipedia article on camp, the phrase is “etymologically obscure” — it was once a specific cultural posture associated with working-class gay communities, but it would later be subsumed under (or, co-opted by) the postmodern umbrella. Sontag herself believed camp was fundamentally non-discriminating, although acknowledges it is by and large a sensibility created by gay men. Attempting to distinguish “camp” from other, similar aesthetics is campy. 

“Camp is the consistently aesthetic experience of the world,” Sontag writes. “The whole point of camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to ‘the serious.’ One can be serious about the frivolous, frivolous about the serious.”

Like camp art, the lines between seriousness and frivolity in power pop can be maddeningly obscure. Fountains of Wayne are often considered one of the greatest power pop bands of all time; their most celebrated record, Welcome Interstate Managers, is not power pop in the strict, sonic sense — it covers everything from Oasis and Cars pastiche to acoustic confessionals and quasi-lounge. What makes this record so great — and what makes it so campy — is the level of scholarship, commitment, and straight-faced passion the band brings to their interpretations of old hat musical tropes. Camp, according to Sontag, “reeks of self-love” even when it revels in parody.

Power Pop Is Camp,” from @mo_troper.

(To Moe’s point: “That Thing You Do,” the song performed by the fictional 1960s band The Wonders in Tom Hank’s film of the same name, was written by Adam Schlesinger, co-founder of Fountains of Wayne. It succeeded both in the film as an evocation of the Beatles-inspired melodic pop of 1964-65 and as a power pop success of it own (it charted in 1997 in the U.S. and Australia and was nominated for both an Oscar and a Golden Globe.)

* Matthew Sweet

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As we tap our toes, we might recall that it was on this date in 1961 that record store manager Brian Epstein called the Cavern Club in Liverpool to arrange to see a lunchtime performance the following day by a local group, The Beatles. After the show, he went backstage to introduce himself… returned for several subsequent shows… left his retailing career to become the group’s manager… and helped them become… well, the ultimate inspiration for Power Pop.

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“The relation between what we see and what we know is never settled”*…

 

Ways of seeing

 

Ways of Seeing is a 1972 BBC television series of four 30-minute films created chiefly by writer John Berger, with producer Mike Dibb.  Berger’s scripts were adapted into a book of the same name.  The series is partially a response to Kenneth Clark’s Civilisation series, which offered a traditionalist view of the Western artistic and cultural canon.  Berger criticizes those conventional Western cultural aesthetics by raising questions about hidden ideologies in visual images.

A BAFTA award winner, it rapidly became regarded as one of the most influential art programs ever made.

Episode One is here (others available at the links on that page):

 

For appreciations of the series’ continuing relevance, see “7 reasons why you should watch of John Berger’s Ways of Seeing,” “How John Berger changed our way of seeing art,” and “Lessons We Can Learn From John Berger.”

* John Berger, Ways of Seeing

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As we interrogate images, we might recall that it was on this date in 1863 that an exhibit was created in Paris from the paintings that were rejected by the jurors of the Salon of the French Academy. 

In that year of the Annual Salon more than half of the works of art, over 2,000, were not selected to be part of the exhibit. Therefore the “Salon des Refusés” was held, giving those artists a chance to exhibit their work.  The idea for this alternative Salon was that of Emperor Napolean III who felt the jurors were too harsh, and this would give the public a chance to decide for themselves.

As Robert Rosenblum wrote in the book 19th-Century Art:

“This so-called Salon des Refusés, however, immediately took on the stature of a counterestablishment manifestation, where artists at war with authority could be seen and where the public could go either to jeer or to enlarge their ideas of what a work of art could be.  The counter-Salon opened two weeks after the official one, on May 15, and immediately attracted hordes of Parisians, who numbered as many as four thousand on a Sunday, when admission was free.”

The Salon des Refusés was a turning point in French 19th century art and included works by Manet, Whistler, and Henri Fantin-Latour. [source]

985px-Edouard_Manet_024

Manet, The Luncheon in the Grass, 1863

 

Written by (Roughly) Daily

May 15, 2020 at 1:01 am

“Wherever I found a library, I immediately felt at home”*…

 

Public_Library_p16

The nation’s smallest library (now closed), Hartland Four Corners, Vt., 1994. “At the time I made this photograph, its entire collection of 70 boxes of books had been sold to a local used-book dealer for $125.”

 

In celebration of National Library Week, (Roughly) Daily is revisiting photographer Robert Dawson

There are over 17,000 public libraries in this country. Since I began the project in 1994, I have photographed hundreds of libraries in 48 states. From Alaska to Florida, New England to the West Coast, the photographs reveal a vibrant, essential, yet threatened system.

A public library can mean different things to different people. For me, the library offers our best example of the public commons. For many, the library upholds the 19th-century belief that the future of democracy is contingent upon an educated citizenry. For others, the library simply means free access to the Internet, or a warm place to take shelter, a chance for an education, or the endless possibilities that jump to life in your imagination the moment you open the cover of a book…

Public_Library_p95

Library, Death Valley National Park, Calif., 2009. “This remote library in a trailer is the only library for hundreds of miles.”

See more at American Library, peruse Dawson’s The Public Library: A Photographic Essay, and visit his site.

And while physical libraries are closed for the time being, don’t forget “7 digital libraries you can visit from your couch“– and the mother of all online library resources, the Internet Archive.

* Charles Simic

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As we check it out, we might send thoughtful birthday greetings to Immanuel Kant; he was born on this date in 1724.  One of the central figures of modern philosophy, Kant is remembered primarily for his efforts to unite reason with experience (e.g., Critique of Pure Reason [Kritik der reinen Vernunft], 1781), and for his work on ethics (e.g., Metaphysics of Morals [Die Metaphysik der Sitten], 1797) and aesthetics (e.g., Critique of Judgment [Kritik der Urteilskraft], 1790).  But he made important contributions to mathematics and astronomy as well; for example: Kant’s argument that mathematical truths are a form of synthetic a priori knowledge was cited by Einstein as an important early influence on his work.  And his description of the Milky Way as a lens-shaped collection of stars that represented only one of many “island universes,” was later shown to be accurate by Herschel.

There is … only a single categorical imperative and it is this: Act only on that maxim through which you can at the same time will that it should become a universal law.

– Chapter 11, Metaphysics of Morals

 source

 

 

Written by (Roughly) Daily

April 22, 2020 at 1:01 am

“Beauty is only skin deep, but ugly goes clean to the bone”*…

 

Ugly

 

in 2016, Pantone 448 C (“Drab Dark Brown”) was selected as the color for plain tobacco and cigarette packaging in Australia, after market research determined that it was the least attractive of all colors.  (The Australian Department of Health initially referred to the color as “olive green,” but the name was changed after concerns were expressed by the Australian Olive Association.)

Since 2016, the same color has also been used for plain cigarette packaging in France, the United Kingdom, Israel, Norway, New Zealand, Slovenia, Saudi Arabia and Turkey.

The ugliest color in the world.

* Dorothy Parker

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As we throw shade, we might recall that it was on this date in 2013 that “The Shard” was officially opened.  Designed by Renzo Piano, it is the tallest building the the U.K. (and until yesterday, was the tallest building in the E.U.).

240px-The_Shard_from_the_Sky_Garden_2015 source

 

Written by (Roughly) Daily

February 1, 2020 at 1:01 am

“Everything should be made as simple as possible, but not simpler”*…

 

simplicity

 

We are addicted to accumulation. The minimalist lifestyle seems like a conscientious way of approaching the world now that we have realised that materialism, accelerating since the industrial revolution, is literally destroying the planet…

Minimalism, I came to think, is not necessarily a voluntary personal choice, but an inevitable societal and cultural shift responding to the experience of living through the 2000s

The iPhone’s function depends on an enormous, complex, ugly superstructure of satellites and undersea cables that certainly are not designed in pristine whiteness. Minimalist design encourages us to forget everything a product relies on and imagine, in this case, that the internet consists of carefully shaped glass and steel alone…

The phrase describes the alienated presence that we feel when we are aware of both our individual physical bodies and our collective causation of environmental damage and climate change. While we calmly walk down the street, watch a film or go food shopping, we are also the source of pollution drifting across the Pacific or a tsunami in Indonesia. The second body is the source of an unplaceable anxiety: the problems are undeniably our fault, even though it feels as if we cannot do anything about them because of the sheer difference in scale

It is easy to feel like a minimalist when you can order food, summon a car or rent a room using a single brick of steel and silicon. But in reality, it is the opposite. We are taking advantage of a maximalist assemblage. Just because something looks simple does not mean it is; the aesthetics of simplicity cloak artifice, or even unsustainable excess.

This slickness is part of minimalism’s marketing pitch. According to one survey in a magazine called Minimalissimo, you can now buy minimalist coffee tables, water carafes, headphones, sneakers, wristwatches, speakers, scissors and bookends, each in the same monochromatic, severe style familiar from Instagram, and often with pricetags in the hundreds, if not thousands. What they all seem to offer is a kind of mythical just-rightness, the promise that if you just consume this one perfect thing, then you won’t need to buy anything else in the future – at least until the old thing is upgraded and some new level of possible perfection is found.

From the ‘KonMari method’ to Apple’s barely-there design philosophy, we are forever being urged to declutter and simplify our lives. But does minimalism really make us any happier? “The empty promises of Marie Kondo and the craze for minimalism.”

Via Patrick Tanguay’s Sentiers

* Albert Einstein

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As we cathect on curation, we might recall that it was on this date in 1790 that Dr. Joseph-Ignace Guillotin demonstrated his invention, the guillotine, for the first time, in Paris.  An opponent of capital punishment, Guillotin believed his device, at least, the simplest, most elegant, and most humane way to dispatch the punished.  Exactly three years later, on this date in 1793, his device removed the head of King Louis the XVI.

The execution of Louis XVI (source)

 

Written by (Roughly) Daily

January 21, 2020 at 1:01 am

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