Showing posts with label 2020. Show all posts
Showing posts with label 2020. Show all posts
Thursday, December 31, 2020
Monday, December 28, 2020
Sunday, December 27, 2020
Sunday, December 13, 2020
Asemics in Popular Culture: SNL on the Aesthetics of Meaning ... / EZE, 2020
Art can be a protest against convention, but art also defines its own conventions just as it is defined by convention. Does art escape convention? Asemics, as art, certainly has its own conventions. But what happens when asemics operates as a means to unground a convention? Does the ensuing criticism move into the circuit of State and Nomad as defined by Deleuze and Guattari?
The "XXL Rap Roundtable" skit from Saturday Night Live (December 12, 2020) makes a point of posing an asemic performance in a genre against the genre itself. How does asemics operate socially, politically, culturally, and artistically? Asemics here can be taken to be non-sense, i.e. words, utterances, songs, ... without [apparent or shared] meaning. [Note that semantics can be, but need not be, invoked here.]
And is the point at which performance within a genre establishes itself as contrary to convention, i.e. as not [presently] defined by that genre, a type of asemics as it disrupts the mode of meaning offered by the genre? Or do we need another term other than asemic performance for this use of non-sense?
SNL's XXL Rap Roundtable: Pop Culture Asemics
To what end is asemics as non-sense, as an empty placeholder of the formal, as disruption a method?
Thursday, December 10, 2020
Xu Bing: Mixing Media on the Way to Making Asemics: Xu Bing / EZE, 2020
Consider asemics as a form of mixed media. Consider the work of Xu Bing.
Sunday, December 6, 2020
Saturday, November 28, 2020
Monday, November 23, 2020
Sunday, November 15, 2020
Saturday, November 14, 2020
Thursday, November 12, 2020
wReN by Jim Leftwich and Jeff Crouch / EZE, 2020
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were wren
churr chatter
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September
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movies
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gobbling
pish pish
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furrowed
furious
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Sunday, November 8, 2020
myopia, the alphabet soup of the well-defined suddenly un (with Cece Chapman) / EZE, 2020
from Cece Chapman: "out those maps too...especially interesting because of the myopic artists that are never mentioned...but i read a long time ago that monks became monks because of their myopia. that priestesses also in ancient egypt and greece, the most nearsighted the more inbred, the more valuable because they could barely see. their prophecies were valued more as they were less influenced by who was before them asking questions because they couldn't see them. and blind priests and priestesses more valuable...also i had heard the same that the very young being trained by renaissance artists drew detail (like maps and bibles ordered by the rich) to train but as they grew older lost the ability to stay focused and draw detail but was probably their eyes changing. maybe you know what a rapidograph pen is with various points some very tiny used in graphic design. but when i was in school at 16-18 the artist kids used to draw psychedelic designs, and very small details, but later admitted at mid twenties they just couldn't do it anymore."
Saturday, November 7, 2020
Friday, November 6, 2020
Tuesday, November 3, 2020
Notes on Indifferent Text / Jim Leftwich and Jeff Crouch, 2020
THE PASSION OF INDIFFERENCE , 3300 Press/Juxta, San Francisco/Charlottesville, 1997
Sunday, October 25, 2020
Monday, October 19, 2020
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