notes on art behind the cut.
normally, I don't post crap like this here but my real site is down and I want to keep this accessible. i need to get serious about applying to grad school to get my mfa. if i'm going to associate with neurotic personalities as a career hazard, i choose artists/academics over information technologists.
no guitar tab and very little glen branca.
the art of the break up
axiom: modern, conceptual art is a media virus: art = the product (vector) + the idea (payload) ergo, the artist must develop and marry two distinct forms.
lessons learned from architecture thesis - explored the boundaries of architectural foundations. the external forces, the wind, weather, the flow. traffic flow, actual use as a strange attractor. the architectural space summoning and shaping the "intangibles?" thesis: these are both physical things (cars, people, rain) and ideas (transactions, conversations) that are the content (payload?) architecture. architecture as a media virus?
the boundary between media and message? reread mcluhan.
the electric guitar - the mid-20th century developed the marriage of the taut strummed metal strings of the guitar with the overdriven distorted loudspeaker in order to articulate it's own scream. The amp is the electric in electric guitar and is played just as the strings are played. merely utilizing the amp for increased volume is to limit its possibility of expression. Playing clean, as in jazz or country music, it forgoes this possibility. according to amptone.com (principles of rock guitar tone,
http://www.amptone.com/toneprinciples.htm) four essentials of good electric guitar tone are: "All 4 degrees of distortion: preamp distortion, power-tube saturation, output transformer distortion, and speaker distortion." distortion! fluttering tubes driven past their design limits, speaker cones replace music with the frenzied buzz of paper.
early jesus and mary chain: the vector is the beach boys, the payload is nihilism and noise!
nyc no wave - the no is no vector. teenage jesus and the jerks, glen branca, dna
the architecture of albert speer and the third reich. designs lines were strictly mundane but his gift was the in the use of scale; the cathedral of light and the new berlin, germainia. not just scale in architectural form, but scale in logistics as minister of armaments and most interestingly, the temporal scale of architecture in his "the theory of ruin value" (die ruinenwerttheorie). buildings are driven by use and outside forces past their usual design value and collapse. the design is extended to include this period of decay. past the known boundaries of architecture.
einstuerzende neubauten.
alvin lucier sitting in his room.
possibility: film reciprocity failure?
thesis = the distortion point is the transition to (uh, chaos theory memory, where are you) a higher order computation? (ruby rucker's only skimmed thru copy of the lifebox, the seashell, and the soul lies in bed beside me.) i think rucker would say the transition to a second order computation?
what is sound at the third order? the forth? living self-aware sound forms, atmospherically fettered? how wound they sustain themselves? feedback?
thesis: my interest is in creating/enabling self-sustained situations that surf the boundary of intent and hazard? self-sustained? really? isn't that overreaching? explain that in terms of a successful scarcity-based business model.
thesis: speaking of reich, thought: if you're going to do something new, execute it will a heavy dosage of minimalism. in 50 years, kraftwerk will be remembered but not the beatles. the beatles music (and genre, r&b) will be less relevant. electronic pop, however, will still be played. there are no embarrassing synth-sax faux-world music riffs in kraftwerk.
"We believe in nothing, Lebowski. Nothing. And tomorrow we come back and we cut off your chonson."