I now regard my having been a Wagnerian as eccentric. It was a highly dangerous experiment.
beaux-arts
Entropy isn’t what it used to be
In the last years news are over and over again about record breaking prices reached for an artwork at a public auction. Such high pricing strucks not only the old masters but also works for still living artists. As you might know the prices for young artist’s paintings are often assessed by canvas size. So the question for my use-case arises: Is there also a correlation between size and hammer price of famous artworks at auctions?
The Sphinx Without a Secret
Le pop art dépersonnalise, mais il ne rend pas anonyme : rien de plus identifiable que Marilyn, la chaise électrique, un pneu ou une robe, vus par le pop art ; ils ne sont même que cela : immédiatement et exhaustivement identifiables, nous enseignant par là que l’identité n’est pas la personne : le monde futur risque d’être un monde d’identités, mais non de personnes.
We must realize that if Pop Art depersonalized, it does not make anonymous: nothing is more identifiable than Marilyn, the electric chair, a tire, or a dress, as seen by Pop Art; they are in fact nothing but that: immediately and exhaustively identifiable, thereby teaching us that identify is not the person: the future world risks being a world of identities, but not of persons.
{ Roland Barthes, Cette vieille chose, l’art, 1980 }
art { Andy Warhol, Foot and Tire, 1963-64 }
related { David Cronenberg on Foot and Tire }
In this model of time, nothing returns
Our brains show more activity in their emotional regions when the music we are listening to is familiar, regardless of whether or not we actually like it.
related { Young Musicians Reap Long-Term Neuro Benefits }
and { By Licking These Electric Ice Cream Cones, You Can Make Music }
‘We forfeit three-fourths of ourselves in order to be like other people.’ –Schopenhauer
The simplest type of human communication is non verbal signals: things like posture, facial expression, gestures, tone of voice. They are in effect contagious: if you are sad, I will feel a little sad, if I then cheer up, you may too. The signals are indications of emotional states and we tend to react to another’s emotional state by a sort of mimicry that puts us in sync with them. We can carry on a type of emotional conversation in this way. Music appears to use this emotional communication – it causes emotions in us without any accompanying semantic messages. It appears to cause that contagion with three aspects: the rhythmic rate, the sound envelope and the timbre of the sound. For example a happy musical message has a fairly fast rhythm, flat loudness envelop with sharp ends, lots of pitch variation and a simple timbre with few harmonics. Language seems to use the same system for emotion, or at least some emotion. The same rhythm, sound envelope and timbre is used in the delivery of oral language and it carries the same emotional signals. Whether it is music or language, this sound specification cuts right past the semantic and cognitive processes and goes straight to the emotional ones. Language seems to share these emotional signals with music but not the semantic meaning that language contains.
‘The mother of excess is not joy but joylessness.’ –Nietzsche
There are two basic critical responses to today’s art market. One argues that the market has nothing to do with art, and that whatever happens in the market is irrelevant to the actual content, meaning and love of art. Art is to the art market as sailing is to the business of hawking mega-yachts to multibillionaires. The other view, succinctly stated by Perl, is more pessimistic: The art market is ruining art, spiritually and as a cultural practice.
Trespassers Will. That’s short for Trespassers William.
{ North Brother Island was in use by New York City from 1885 to 1963 as a hospital complex to quarantine and treat people suffering from smallpox and typhoid fever then a rehab center and a housing project for WWII vets. In the 1950s a center opened to treat adolescent drug addicts. Heroin addicts were confined to this island and locked in a room until they were clean. By the early 1960s widespread staff corruption and patient recidivism forced the facility to close. It is now uninhabited and designated as a bird sanctuary. | Rsvlts | more photos | Read more: NY Times, Wikipedia }
Me. And me now.
In recent years, numerous studies have shown how music hijacks our relationship with everyday time. For instance, more drinks are sold in bars when with slow-tempo music, which seems to make the bar a more enjoyable environment, one in which patrons want to linger—and order another round. Similarly, consumers spend 38 percent more time in the grocery store when the background music is slow. Familiarity is also a factor. Shoppers perceive longer shopping times when they are familiar with the background music in the store, but actually spend more time shopping when the music is novel. Novel music is perceived as more pleasurable, making the time seem to pass quicker, and so shoppers stay in the stores longer than they may imagine. […]
While music usurps our sensation of time, technology can play a role in altering music’s power to hijack our perception. The advent of audio recording not only changed the way music was disseminated, it changed time perception for generations. Thomas Edison’s cylinder recordings held about four minutes of music. This technological constraint set a standard that dictated the duration of popular music long after that constraint was surpassed. In fact, this average duration persists in popular music as the modus operandi today. […]
Neuroscience gives us insights into how music creates an alternate temporal universe. During periods of intense perceptual engagement, such as being enraptured by music, activity in the prefrontal cortex, which generally focuses on introspection, shuts down. The sensory cortex becomes the focal area of processing and the “self-related” cortex essentially switches off. As neuroscientist Ilan Goldberg describes, “the term ‘losing yourself’ receives here a clear neuronal correlate.” […]
But it is Schubert, more than any other composer, who succeeded in radically commandeering temporal perception. Nowhere is this powerful control of time perception more forceful than in the String Quintet. Schubert composed the four-movement work in 1828, during the feverish last two months of his life. (He died at age 31.) In the work, he turns contrasting distortions of perceptual time into musical structure. Following the opening melody in the first Allegro ma non troppo movement, the second Adagio movement seems to move slowly and be far longer than it really is, then hastens and shortens before returning to a perception of long and slow. The Scherzo that follows reverses the pattern, creating the perception of brevity and speed, followed by a section that feels longer and slower, before returning to a percept of short and fast. The conflict of objective and subjective time is so forcefully felt in the work that it ultimately becomes unified in terms of structural organization.
Tactical comparisons between void and not being there
In the late 1960s and ‘70s, working with the New York City Planning Commission, the sociologist William H. Whyte conducted groundbreaking granular studies of the city’s public spaces, spending hours filming and photographing and taking notes about how people behave in public. Where do they like to sit? Where do they like to stand? When they bump into people they know, how long do their conversations last? […]
Whyte and his acolytes formulated conclusions that were, for their time, counterintuitive. For example, he discovered that city people don’t actually like wide-open, uncluttered spaces. Despite the Modernist assumption that what harried urban people need are oases of nature in the city, if you bother to watch people, you see that they tend to prefer narrow streets, hustle and bustle, crowdedness. Build a high-rise with an acre of empty plaza around it, and the plaza may seem desolate, even dangerous. People will avoid it. If you want people to linger, he wrote, give them seating — but not just benches, which make it impossible for people to face one another. Movable chairs can be better. Also: Never cordon off a fountain.
[…]
For his dissertation at the University of Toronto, Hampton studied an extraordinary early experiment in wired living. In the mid-1990s, a consortium that included IBM and Apple helped raise more than $100 million to turn a new suburban development in Newmarket, Ontario, a Toronto suburb, into the neighborhood of the future. As houses went up, more than half of them got high-speed Internet (this in the age of dial-up), advanced browser software for their computers, a tool for videoconferencing between houses and a Napster-like tool for music sharing. He treated the other homes as a control group. From October 1997 through August 1999, Hampton lived in a basement apartment in the new development, observing and interviewing his neighbors.
Hampton found that, rather than isolating people, technology made them more connected. […] [T]hey were much more successful at addressing local problems, like speeding cars and a small spate of burglaries. They also used their Listserv to coordinate offline events, even sign-ups for a bowling league. Hampton was one of the first scholars to marshal evidence that the web might make people less atomized rather than more.
Hampton crudely summarized his former M.I.T. colleague Sherry Turkle’s book “Alone Together.” “She said: ‘You know, today, people standing at a train station, they’re all talking on their cellphones. Public spaces aren’t communal anymore. No one interacts in public spaces.’ I’m like: ‘How do you know that? We don’t know that. Compared to what? Like, three years ago?’ ”
Turkle said that her decades of observation are pretty conclusive: “When you watch a mother texting as she pushes a stroller — and I follow that mother for blocks, I walk alongside — you know it. You know that the streetscape used to include mothers who spoke to their children.”
[…]
According to Hampton, our tendency to interact with others in public has, if anything, improved since the ‘70s. The P.P.S. films showed that in 1979 about 32 percent of those visited the steps of the Met were alone; in 2010, only 24 percent were alone in the same spot. When I mentioned these results to Sherry Turkle, she said that Hampton could be right about these specific public spaces, but that technology may still have corrosive effects in the home: what it does to families at the dinner table, or in the den. Rich Ling, a mobile-phone researcher in Denmark, also noted the limitations of Hampton’s sample. “He was capturing the middle of the business day,” said Ling, who generally admires Hampton’s work. For businesspeople, “there might be a quick check, do I have an email or a text message, then get on with life.” Fourteen-year-olds might be an entirely different story.
{ NY Times | Continue reading | Thanks Jane JL! }
High dive into frozen waves where the past comes back to life
Of all the modern artist-curator-collectors, one stands out for the eccentricity and extremity of his habit. Viktor Wynd is the grandson of the novelist Patrick O’Brian (who himself wrote a biography of perhaps the greatest collector of the 18th century, Sir Joseph Banks). His Little Shop of Horrorsin Hackney, London, presents an up-to-date collection of curiosities. Visitors are greeted by more taxidermied beasts, from crows to hyenas; the faint-hearted are advised not to proceed downstairs, into Wynd’s dim and dungeon-like cellar, which contains two-headed babies and antique pornography. (There’s a long tradition of such shock exhibits – guests arriving at the home of the celebrated 18th-century anatomist and collectorJohn Hunter were greeted by the preserved erect penis of a hanged man in his hallway.)
Feel the spirit of the boogie band
Although there has been some empirical research on earworms, songs that become caught and replayed in one’s memory over and over again, there has been surprisingly little empirical research on the more general concept of the musical hook, the most salient moment in a piece of music, or the even more general concept of what may make music ‘catchy’. […]
Every piece of music will have a hook – the catchiest part of the piece, whatever that may be – but some pieces of music clearly have much catchier hooks than others. […]
One study has shown that after only 400 ms, listeners can identify familiar music with a significantly greater frequency than one would expect from chance. […]
We have designed an experiment that we believe will help to quantify the effect of catchiness on musical memory. […] Hooked, as we have named the game, comprises three essential tasks: a recognition task, a verification task, and a prediction task. Each of them responds to a scientific need in what we felt was the most entertaining fashion possible. In this way, we hope to be able recruit the largest number of subjects possible without sacrificing scientific quality.
‘Why must everything—anything—contain its own critique?’ –Sarah Nicole Prickett
Research in recent years has suggested that young Americans might be less creative now than in decades past, even while their intelligence — as measured by IQ tests — continues to rise.
But new research from the University of Washington Information School and Harvard University, closely studying 20 years of student creative writing and visual artworks, hints that the dynamics of creativity may not break down as simply as that.
Instead, it may be that some aspects of creativity — such as those employed in visual arts — are gently rising over the years, while other aspects, such as the nuances of creative writing, could be declining. […]
The review of student visual art showed an increase in the sophistication and complexity both in the designs and the subject matter over the years. The pieces, Davis said, seemed “more finished, and fuller, with backgrounds more fully rendered, suggesting greater complexity.” Standard pen-and-ink illustrations grew less common over the period studied, while a broader range of mixed media work was represented.
Conversely, the review of student writing showed the young authors adhering more to “conventional writing practices” and a trend toward less play with genre, more mundane narratives and simpler language over the two decades studied.
A dark unfathom’d tide, of interminable pride
Francis Bacon’s 1969 triptych, “Three Studies of Lucian Freud,” sold for $142.4 million at Christie’s, described as the highest price ever paid for an artwork at auction. […]
Sometime in the 1970s the three panels were sold separately. The right-hand panel was bought by a collector in Rome who spent 20 years trying to reunite the triptych. He bought the middle panel from a Paris dealer in the early 1980s. Then, in the late ‘80s, he bought the left and final panel from a collector in Japan. It is also one of just two full-length triptychs that Bacon painted of Freud — the other, from 1966, is missing.
previously { List of most expensive paintings }
The hard rhymer, where you never been I’m in
The explosion in music consumption over the last century has made ‘what you listen to’ an important personality construct – as well as the root of many social and cultural tribes – and, for many people, their self-perception is closely associated with musical preference. We would perhaps be reluctant to admit that our taste in music alters - softens even - as we get older.
Now, a new study suggests that - while our engagement with it may decline - music stays important to us as we get older, but the music we like adapts to the particular ‘life challenges’ we face at different stages of our lives.
It would seem that, unless you die before you get old, your taste in music will probably change to meet social and psychological needs.
One theory put forward by researchers, based on the study, is that we come to music to experiment with identity and define ourselves, and then use it as a social vehicle to establish our group and find a mate, and later as a more solitary expression of our intellect, status and greater emotional understanding.
photo { Olivia Locher }
‘Time, which is the author of authors.’ –Francis Bacon (1561-1626)
You are doing something new in making exclusive use of second-hand images.
{ David Bourdon interviewed by Andy Warhol | Continue reading }
art { Andy Warhol, Knives, 1981-82 | Andy Warhol, Knives, 1981-82 }
