JLIAT wrote: ↑Fri Feb 28, 2020 4:55 am
Cant relate this to the antics of TG and Whitehouse. The provocation to shock by use of child pornography, serial killers and death camps is just that. Originally it was not to advocate...
It's not about the antics, but about the public perception. Nowadays people are way easier to offend and shock. No need for child pornography or serial killers anymore, a cute little doggy will suffice.
I think you are confusing media circus and neo-liberal authority with the general public's attitudes. Evidence, recent "shock" outcomes in elections.
"Cage's 4'33" = 273 seconds xe2x88x92273.15xc2xb0 C = absolute zero."
I can't think of anything in noise pe that's shocking.
Not any more. Not for years and years.
11 year old kept as family sex slave beaten starved forced to have sex with dogs...not shocked disgusted but no shock.
Nazis and politics...not shocking.
Sex...not shocking. Sex play to the point of murder not shocked at all. People are nutty.
Religion...not shocking.
Gore and violence...not shocking.
Noise music of any type...not shocking. Some of the live performance can or could be shocking but lets not confuse good entertainment with something thats actually shocking.
I would like to see a noise/PE release that actually shocks me. Dont think I will anytime soon.
I'm probably jaded or mentally damaged...preinternet damage...the internet just expanded and clarified a few things but it was nothing new.
"Shock art is contemporary art that incorporates disturbing imagery, sound or scents to create a shocking experience. It is a way to disturb "smug, complacent and hypocritical" people.[2] While the art form's proponents argue that it is "imbedded with social commentary" and critics dismiss it as "cultural pollution", it is an increasingly marketable art, described by one art critic in 2001 as "the safest kind of art that an artist can go into the business of making today".[3][4] But while shock art may attract curators and make headlines, Reason magazine's 2007 review of The Art Newspaper suggested that traditional art shows continue to have more popular appeal.[5]"
Young Ladies on the Banks of the Seine, painted in 1856,[28] provoked a scandal. Art critics accustomed to conventional, "timeless" nude women in landscapes were shocked by Courbet's depiction of modern women casually displaying their undergarments.
Le Dxc3xa9jeuner sur l'herbe (The Luncheon on the Grass) xe2x80x93 originally titled Le Bain (The Bath) xe2x80x93 is a large oil on canvas painting by xc3x89douard Manet created in 1862 and 1863. It depicts a female nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusxc3xa9s,[1] where the painting sparked public notoriety and controversy.
Though Manet's The Luncheon on the Grass (Le dxc3xa9jeuner sur l'herbe) sparked controversy in 1863, his Olympia stirred an even bigger uproar when it was first exhibited at the 1865 Paris Salon. Conservatives condemned the work as "immoral" and "vulgar."
... first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a b ed being brought flowers by a servant. Olympia was modelled by Victorine Meurent and Olympia's servant by the art model Laure. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute.
In 1877, Ruskin published a letter describing an exhibition at the Grosvenor Gallery which included Whistlerxe2x80x99s work. He complained in particular about Nocturne in Black and Gold: The Falling Rocket (shown in room 3): xe2x80x98I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the publicxe2x80x99s face.xe2x80x99 Whistler decided to sue Ruskin for libel.
"Cage's 4'33" = 273 seconds xe2x88x92273.15xc2xb0 C = absolute zero."
skull PE lyrics and themes seem to mostly be about hyper focus, compulsion, pathological obsession...???
I argued before that The German Shepherds are/were PE but other people said They weren't but didn't or couldn't articulate why it wasnt PE...it seems to have all the things needed for PE...creepy electronic sounds that aren't harsh by today's standard but in the 80s when it came out...the lyrics and themes...child.molestation serial killers right wing politics and religion.
The German Shepherds are PE...
i'd say pe is a good vehicle for working through any number of possibly unresolved issues one may have have with any number of things. y'know, in a more explicit way than would generally be demanded of the harsh noisemaker. macronympha put a picture of roemer's dad in intensive care on the cover of a now seminal album. almost instant pe cred there. more recently con-dom did something similar with their literal swansong https://www.discogs.com/ja/Con-Dom-How- ... er/1023263
which was and is still very well received and may be going into the classic pe pantheon. i don't really see too many current pe projects, the better respected and better known, working too much in the field of provocation. i really don't. nor necessarily coming from a clearly delineated political vantage. i think there's a lot of interesting stuff going on that wasn't going on before, on the part of composition. part of it may be attributed to the much more active participation of women, such as antichildleague or himukalt, who frankly blow most of the field away. more focus maybe on layering sounds less on the chest beating ha.
