Boring Formless Nonsense: Experimental Music and the by Edritch Priest

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 specializes in modern experimental composition during which failure rubs shoulders with the kinds of likelihood, noise, and obscurity. In those works we pay attention failure anew. We listen boredom, formlessness, and nonsense in a fashion that offers new buy to aesthetic, philosophical, and moral questions that falter of their unfavourable potential. Reshaping debates on failure as a classy class, eldritch Priest indicates failure to be a hugely doubtful idea. The publication 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 - displaying the position that obscurity and the esoteric have in articulating present cultural realities. bold in content material and experimental in its strategy, "Boring Formless Nonsense" will problem and fracture your perspectives on failure, creativity, and experimental song.

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Its failure is my failure, a strange loop that lets me be both knight and knave, right and wrong, sincere and full of shit. It is a way to show how failure lives out the way one lives in contradictions: the way one finds interest in boredom, form in formlessness, and sense in nonsense. But before moving on to the study proper, I want to consider the risk that’s involved with living in failure’s contradictions. Living in contradiction is exceptional. Basically, to live in contradiction is to enjoy an abnormal disconnect between knowledge and action.

Whereas structural listening is based upon a set of historically developed techniques for immobilizing the body and sequestering its faculty of hearing in order to restrict perception to the active reception-interpretation of a work’s immanent formal relations, the unintentional cultivation of distraction, in a sense, reverses this process and expands the field of immanence indefinitely, making the body sensitive to everything that is not structurally significant, even to things that it cannot hear.

Nonsense is not merely a relational term that is conterminous with sense, but, as I will explain, like sense, nonsense is something to creatively move on. ” Like these forms of expression, nonsense is characterized by a failure to respect the firmity and transcendence of “truth” and/or “meaning” and thereby shows reality to be a plastic and inventive thing. 55 Instead, I attempt to create a situation that is problematic in the sense that a problem is not something to be solved so much as it is something to be creatively accosted.

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