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(idm) Re: eno, oval...oval, eno.

2 messages · 2 participants · spans 1 day · search this subject
1997-04-23 14:53wrecktangle (idm) Re: eno, oval...oval, eno.
1997-04-24 09:38Iain H. Re: (idm) Re: eno, oval...oval, eno.
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1997-04-23 14:53wrecktangleOn Tue, 22 Apr 1997, it was written: ]it's an interesting question. brian eno is a famous
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wrecktangle
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Date:
Wed, 23 Apr 1997 10:53:11 -0400 (EDT)
Subject:
(idm) Re: eno, oval...oval, eno.
permalink · <Pine.SGI.3.95.970423104431.6827A-100000@umbc8.umbc.edu>
On Tue, 22 Apr 1997, it was written: ]it's an interesting question. brian eno is a famous proponent of ]systems-based music. for example, the album "thursday afternoon" is ]just a dozen or so tape loops running for an hour. it's also one of ]the most beautiful ambient albums ever made. does the ease of its ]construction mean that it is less valid as a work of art? Of course the real decision-making is done by the artist himself, deciding if the work makes him happy or not ...still, an analogy: has anyone painted a picture in the stlye of jackson pollack that looks anything unlike just another jackson pollack painting? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][] [[ http://www.hybridgame.demon.co.uk/idm.htm : 4 IDM IT S3M MOD go here ]] [[][][][ wrecktangle sez: "Walk softly and carry a big spliff." ][][][]] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
1997-04-24 09:38Iain H.>...still, an analogy: has anyone >painted a picture in the stlye of jackson pollack that
From:
Iain H.
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wrecktangle
Cc:
idm
Date:
Thu, 24 Apr 97 10:38:54 +0100
Subject:
Re: (idm) Re: eno, oval...oval, eno.
permalink · <861874704.0526190.0@rjune.demon.co.uk>
quoted 3 lines ...still, an analogy: has anyone>...still, an analogy: has anyone >painted a picture in the stlye of jackson pollack that looks anything >unlike just another jackson pollack painting?
According to popular culture theorists, a media text, such as a jackson pollock painting or chiastic slide or whatever, exists in three separate stages. These are PRODUCTION, the TEXT itself, and CONSUMPTION. Analysing a text in accordance with the connection between the production and text would be concerned with who facilitated it, how did they do it, and for what reason (did jackson pollock paint it? does it copy his style? for what reason did someone paint it? or is it on skam or warp? or similar). Analysing how a text is consumed (the study of hermeneutics) is concerned with interpretation - what do people see in the text?; what are the meanings, values, & pleasures of a text to a consumer? (does it matter that pollock painted it (is the pleasure in it reduced if it isn't actually by him)? what does the text communicate to an observer? etc...). Personally, I don't believe the two can be wholly separated. It would matter to me if it was Sean Booth & Rob Brown over an appropriater of their style (though, their particular stylistic form may be hard to replicate authentically... ;) ) as it would matter to me that an Albert Oehlen (or whomever) painting was authentic - but these are values I give to the text. If I had no personal history of any sort which included connections with a media text then would it matter to me at all who I was listening to or what I was seeing? "Ladies, I don't care what your names are, I just want you to have a good time...". "I'm mad for anything, me". Sorry to be so long winded... :) Rubyjune.