By Edritch Priest
"Boring Formless Nonsense" intervenes in an aesthetics of failure that has principally been delimited through 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 fashion that provides new buy to aesthetic, philosophical, and moral questions that falter of their damaging potential. Reshaping debates on failure as a cultured class, eldritch Priest exhibits failure to be a hugely doubtful thought. The e-book frames fresh experimental composition as a deviant type of sound artwork whose affective and formal components consider present matters in modern tradition, and gives analyses of musical works and function practices which are hardly ever heard, not to mention regarded as major cultural phenomena - exhibiting the function that obscurity and the esoteric have in articulating present cultural realities. formidable in content material and experimental in its method, "Boring Formless Nonsense" will problem and fracture your perspectives on failure, creativity, and experimental track.
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Extra info for Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure
As such, current aesthetic boredom does not undermine habits of reception, but simply and sincerely fails to be (potentially) interesting, and thus, as William James would suggest, to meet the minimal conditions for experience. However, this form of failure puts the art of waiting perilously close to those practices of what Paul Mann calls “stupid undergrounds”—contemporary vanguards that “feign stupidity” or simulate a “posture of indifference”4 as a way to get off on the symptoms of difference excreted by a selfaware culture’s compulsive need to catalogue and capitalize on (commodify) experience.
Records, television, internet, etcetera). Audio technology, which not only historically leads the way in the escalation of mechanical reproduction’s tendency to become smaller, more portable, and increasingly invisible, disarticulates sound from its site of production in a way that gives the listener permission to disregard the material cradle of sound. Music, which survives its own “live” death by becoming a recording (which is arguably less a death than a reincarnation of sorts), has been indirectly affected by this capacity for dis-articulation in that individuals in contemporary industrial societies have effectively learned how to listen away from or “unlisten” to musical sounds that are always, to some degree, drifting in the background.
In contrast to the certitudes of artists like Dick Higgins, who give boredom a euphoric aura, and Andy Warhol, whose repetitions suggest that boredom is the affective corollary of commodity culture’s delight in simulated novelty, the contemporary While repetition, slowness, and suspension are not exclusive to experimental composition, I emphasize the Cagean tradition of composition here, for a certain conviction and celebration of boredom is fundamental to the aesthetics of post-Cagean composition in a way that the drone doom metal of SunnO))) or the numbingly pensive groove of British dubstep never is.
Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure by Edritch Priest