By Edritch Priest
"Boring Formless Nonsense" intervenes in an aesthetics of failure that has mostly been delimited by means of the visible arts and its avant-garde legacies. It makes a speciality of modern experimental composition within which failure rubs shoulders with the types of likelihood, noise, and obscurity. In those works we pay attention failure anew. We pay attention boredom, formlessness, and nonsense in a manner that provides new buy to aesthetic, philosophical, and moral questions that falter of their detrimental strength. Reshaping debates on failure as a classy classification, eldritch Priest exhibits failure to be a hugely doubtful proposal. The ebook frames contemporary experimental composition as a deviant type of sound paintings whose affective and formal components think about present concerns in modern tradition, and provides analyses of musical works and function practices which are hardly ever heard, not to mention regarded as major cultural phenomena - displaying the function that obscurity and the esoteric have in articulating present cultural realities. bold in content material and experimental in its technique, "Boring Formless Nonsense" will problem and fracture your perspectives on failure, creativity, and experimental tune.
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Additional resources for Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure
99. 24 Arising, curiously, at the same moment when the feminist and civil rights movements began to assert the agency of marginal identities. 25 See Orrin Klapp, Overload and Boredom (New York: Greenwood Press, 1986). 26 Seán Desmond Healy, Boredom, Self, and Culture (Rutherford; London: Fairleigh Dickinson University Press, 1984), 87. Boring 47 mood developed from a minor to a major affliction through the gradual de-centring of tradition, culture, and ultimately self—social and historical structures affording the organization of one’s conduct and experience into meaningful and practical events.
However, the refrain of Mein Schatz does not easily modulate the negative valence of its un-dramatic insistence in the way that other forms and other uses of music are conventionally intended to do. As an aesthetic expression of the repetition of the difference that is each presented tone, there is no formal way of escaping the kind of exhausting mood that its tedium engenders. Such a slow and persistently constrained set of movements is so allied to enervated forms of feeling that it’s not a matter of whether this work is tedious, but rather of how the intensity of this tedium is valenced.
Constance Garnett (New York: Dover Publications, 1992), 3. 68 1 Boring It turns out that bliss—a second-by-second joy + gratitude at the gift of being alive, conscious—lies on the other side of crushing, crushing boredom. Pay close attention to the most tedious thing you can find … and, in waves, a boredom like you’ve never known will wash over you and just about kill you. Ride these out, and it’s like stepping from black and white into color. Like water after days in the desert. Constant bliss in every atom.
Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure by Edritch Priest