method acting/role play supercedes irony as cultural strategy
I think that's what these guys are all about:
http://www.metamodernism.com/
A sort of oscillation between the desire to believe and the inability to.
http://www.metamodernism.com/
A sort of oscillation between the desire to believe and the inability to.
think this dude may also be talking about what Luka is talking about, albeit from a different angle - what the dude calls Performatism
http://www.artmargins.com/index.php...fter-postmodernism-new-architecture-in-berlin
(ignore the stuff about architecture which is the second part of the essay, the first bit riffs off of then-recent movies) (he wrote a whole book about Performatism which i have not read) (as far as i can tell he's received many critiques and not much in the way of agreement)
but perhaps Luka could elaborate on the shift he's detected, the specific cultural
things that have led him to that conclusion - you dropped this thought-bomb in music, so how is it playing out in music?
(Metamodernism seems a bit like trying to have your cake and eat it -- not unlearn the lessons of postmodernism but shed all the enfeebling side effects and get back all the good things it put out of reach like belief, earnestness, passion, conviction, commitment etc)
http://www.artmargins.com/index.php...fter-postmodernism-new-architecture-in-berlin
(ignore the stuff about architecture which is the second part of the essay, the first bit riffs off of then-recent movies) (he wrote a whole book about Performatism which i have not read) (as far as i can tell he's received many critiques and not much in the way of agreement)
but perhaps Luka could elaborate on the shift he's detected, the specific cultural
things that have led him to that conclusion - you dropped this thought-bomb in music, so how is it playing out in music?
(Metamodernism seems a bit like trying to have your cake and eat it -- not unlearn the lessons of postmodernism but shed all the enfeebling side effects and get back all the good things it put out of reach like belief, earnestness, passion, conviction, commitment etc)
luka
Well-known member
the one thing you fear, as a method actor, is someone digging into your past. before the character had been concieved. before you found the escape hatch. people digging into your past are trying to drag you back to earth, they dont want anyone to escape. again riff raff is good test case his interview with ebro....
luka
Well-known member
in 2008 i was trying to talk about the new world but i abandoned the project cos no one liked it and i lost my mojo. that was the time when i decided i would never try and wrte prose again.
http://degradationceremony.blogspot.co.uk/2008/06/dead-end.html
In Xanadu and Ganymede, fashion has become fancy dress. Walk through the trendier parts of town and you will find yourself sharing the streets with pirates and conquistadors, samurai, Comanche chiefs, characters from the Chinese opera, men in enormous Micronesian masks and grass skirts, geishas, maharajahs, sultans and mandarins.
These characters scorn the factory made garments the masses wear and pay huge prices for tailors to make each unique item.
This trend has given rise to a curious condition. Still extremely rare though everyone on the scene seems to know of cases. Costumes have been taking over their wearers personalities, like the boy dressed as an Inuit shaman who had dreams of being dismembered and put together again, but changed, with something new added to his makeup. Starting speaking in the language of the birds and prophesying, communing with spirits and dancing wildly in the parks, till one day he just disappeared. Or the notorious idler, a self-described artist who adopted the dress of a successful executive until he found himself on the board, 3 years later, not sure how it all happened, a trophy wife whose name he can barely remember sleeping beside him.
http://degradationceremony.blogspot.co.uk/2008/06/dead-end.html
In Xanadu and Ganymede, fashion has become fancy dress. Walk through the trendier parts of town and you will find yourself sharing the streets with pirates and conquistadors, samurai, Comanche chiefs, characters from the Chinese opera, men in enormous Micronesian masks and grass skirts, geishas, maharajahs, sultans and mandarins.
These characters scorn the factory made garments the masses wear and pay huge prices for tailors to make each unique item.
This trend has given rise to a curious condition. Still extremely rare though everyone on the scene seems to know of cases. Costumes have been taking over their wearers personalities, like the boy dressed as an Inuit shaman who had dreams of being dismembered and put together again, but changed, with something new added to his makeup. Starting speaking in the language of the birds and prophesying, communing with spirits and dancing wildly in the parks, till one day he just disappeared. Or the notorious idler, a self-described artist who adopted the dress of a successful executive until he found himself on the board, 3 years later, not sure how it all happened, a trophy wife whose name he can barely remember sleeping beside him.
luka
Well-known member
i think you're onto something
people don't care about authenticity in the sense of a persona being grounded in some reality of the self or how it correlates with social background or any of those metrics of credibility / cred
it's about the convincingness of the persona in that performance situation - making people believe that you believe
(Bruza's "Not Convinced" is about this, the failure of the junior aspiring MC who's being dressed down isn't because he lacks for street cred, but because he doesn't put across the gestures of street knowledge, etc with sufficient skill to conjure authority and realness)
that is a generalised thing in pop music and has been for a while - identity as something you can chop and change - whereas once it was an unusual, noteworthy, self-conscious strategy (Bowie etc), worthy of commentary, and something that was deeply divisive
today it is assumed that the persona presented to the public is malleable, swappable - that it'll change, be discarded, etc as part of a career strategy
nobody expects integrity or consistency
but equally i think you're right that they don't want a sense of inverted commas/quote marks or ironically distancing, they want a performer to be fully vested in the role of the moment -- someone like Robbie Willams rolling his eyes as he sings a passionate song as if mocking the whole enterprise, that wouldn't play. Or the Darkness with the singer dude going 'geeetar' just before the guitar solo
questions:
what, besides the Internet, is behind this shift? *
is it a good thing?
* i think in politics it has become normalised that politicians say one thing to one audience, another thing to another audience. pundits talk about optics, about telling a story, about candidates needing a good narrative -- basically an acceptance of the idea of the constructedness of public persona
people don't care about authenticity in the sense of a persona being grounded in some reality of the self or how it correlates with social background or any of those metrics of credibility / cred
it's about the convincingness of the persona in that performance situation - making people believe that you believe
(Bruza's "Not Convinced" is about this, the failure of the junior aspiring MC who's being dressed down isn't because he lacks for street cred, but because he doesn't put across the gestures of street knowledge, etc with sufficient skill to conjure authority and realness)
that is a generalised thing in pop music and has been for a while - identity as something you can chop and change - whereas once it was an unusual, noteworthy, self-conscious strategy (Bowie etc), worthy of commentary, and something that was deeply divisive
today it is assumed that the persona presented to the public is malleable, swappable - that it'll change, be discarded, etc as part of a career strategy
nobody expects integrity or consistency
but equally i think you're right that they don't want a sense of inverted commas/quote marks or ironically distancing, they want a performer to be fully vested in the role of the moment -- someone like Robbie Willams rolling his eyes as he sings a passionate song as if mocking the whole enterprise, that wouldn't play. Or the Darkness with the singer dude going 'geeetar' just before the guitar solo
questions:
what, besides the Internet, is behind this shift? *
is it a good thing?
* i think in politics it has become normalised that politicians say one thing to one audience, another thing to another audience. pundits talk about optics, about telling a story, about candidates needing a good narrative -- basically an acceptance of the idea of the constructedness of public persona