el arquitecto de mi propio destino

composer / writer / generator of useless ideas. more about

[cryptonature]

Somewhere, there are orcas. I’m in my little gray house in Ohio surrounded by the stale, staticky air of winter indoors, but somewhere there are orcas. It’s an easy fact to forget. It’s easy to shrink your world to what you can see. But thankfully, somewhere, there are orcas.

[youcanstillwhistle]

I think the "pre" and "post" parts in "preposterous" should cancel each other out but everyone else seems to find my idea completely erous

[thelambliesdown1974]

Me and the guys at the gym making biscuits on each other and meowing

[aistobascistod]

Thus Spake Zoroaster : Also Sprach Zarathustra :: Thumb the Brake on that Rollercoaster : Almbo the Brrach on that Rallercathustra

[penguintim]

"Heterostraightphobia doesn't exist"

Me, an innocent heterostraight: Good macklemorning to you

Tumbler SWJs:

[caroloftheshells]

on the other (another? third?) hand we have this:

["Iggy [Pop]'s experimental translations have survived in vague memory. Programs and scores do not exist for these performances, and the attachments he formed with such institutions as Elektra Records, the Grande Ballroom in Detroit, or even the New York club culture of Andy Warhol, carried no force in the experimentalist network. In comparison, [John] Cage translated rock loudness into a network that had already been fortified by attachments to strong institutions, including the New York Philharmonic and modern art galleries, and his preserved manuscripts and letters, published scores, and numerous publications enact a durability and clarity that Iggy's performances lacked.

"The difference between strong and weak translations is crucial for understanding what I call 'actually existing experimentalism.' Those critics in thrall to idealist, or imaginary, experimentalism (marked by an interest in the abstract, formalist qualities associated with the grouping) would be drawn to several familiar themes in the Stooges' work: shock, open form, the incorporation of noise, the attempted erasure of the boundary between performer and listener, the construction of new instruments, and an interest in non-Western musics. But this kind of formalist process of gathering musical texts under the rubric of 'the experimental' through the identification of shared aesthetic traits mistakes the effect of a network for its causes. An approach attuned to actually existing experimentalism does not bracket the practicalities involved in enacting its reality, but instead shows how that network was put together-- how successful translations were effected, and how other translations failed to have illocutionary force.

"The complicated drone textures of The Wolfman, the music of Theatre of Eternal Music, and the songs 'I'm Waiting for the Man' and 'I Wanna Be Your Dog' are clearly related to each other. A formalist approach might point to these sonic similarities to group the works in a tradition: they are connected because they sound alike. Alternatively, the network model shows that these two examples were already linked together in a variety of ways, and that the shared formal properties are their sonic trace: they sound alike because they are connected. The difference is important. If definitions of experimentalism, to quote [Michael] Nyman, 'ultimately depend on purely musical considerations,' there can be no adequate explanation of the experimental music network that we have ended up with. Why aren't the Stooges included? Clearly another layer of selection is operating. I am not making a normative argument for expanding the boundaries of the canon of experimentalism ('the Stooges should be included'). Such a project would erase history and obscure the powerful social, institutional, and economic currents that have defined this formation in the first place. The network model instead offers a way of understanding the complexities of attachment-- how the Stooges can be both associated with a particular formation and absent from its canonical history."]

benjamin piekut (experimentalism otherwise, 2011)

[caroloftheshells]

context, *this* (abbreviated by lena & peterson as AgSIT) is a cited jumping off point for kronengold's genre-constitutive attributes. this is from the american sociological review so not published for an audience of musicologists or musicians per se. and i think kronengold's sort of nuance overload(?) where so many aspects of musical experience are placed on the same playing field as music distribution networks is in part a reaction to its inclusion of just a few of these things (e.g. dress/adornment/drugs), essentially trying to "musicalize" it more. but i think this also has the same baseline limitation as the kronengold list of, yk, undifferentiated list-making, not to mention the surrounding text has odd arbitrary cutoffs for its forms like "avant-garde means there are 12 or fewer people involved and the group disbands after a month" (really!). i see the kronengold intro as doubly reacting to this kind of patchy engagement with quote unquote "real music" and to (otoh) work-centric musicologists, trying to chart a middle ground of, like, knowing what the fuck you're talking about musically while also thinking systemically and historically. i don't think it totally happens but i believe that is the goal at least

[caroloftheshells]

[dailynarnia]

is jake gyllenhaal gay??

why would you ask us, a narnia blog, this

[caroloftheshells]

Visit Original Link

[caroloftheshells]

some of my favorites

[segamascott]

happy pride month

[caroloftheshells]

[caroloftheshells]

Visit Original Link

[caroloftheshells]

[caroloftheshells]

here's the intro to kronengold's living genres in late modernity: american music of the long 1970s

[inthetags]

reblog and put in the tags your favorite genre combinations in fiction. (example: investigative horror i.e. mystery and horror. or for a more common example, romcom i.e. romance and comedy)