How to Critique Art l Music Synth as Critique Tool | Episode 30

How to Critique Art l Music Synth as Critique Tool | Episode 30


the ability to critically assess to make value judgments about works of contemporary art and design is an extremely important component of the development of the artist or designer we begin with art it is a rare occasion when the art will actually agreed on something this episode we’re going to take a look and one tool to help clarify that process to provide you with criteria and a method to determine the quality of works of art and design when he’s like that one we’re going to use my piece entitled the many ways i remained defiant in the face of institutionalized stupidity object of defiance number one after to get America calming for the brown museum as a way of systematically discussing how to evaluate works of contemporary art Francis Bacon in his meditation sacred and 1597 put forth the idea knowledge itself is power and of course we have Michel Foucault’s counter power is knowledge let’s operate under a completely different premise let’s think about the work of art as a kind of waveform and let’s use the way synthesizers like the Minimoog and the Nordlead shape sound as a cognitive tool a synthesizer is an electronic musical instrument that generates electric signals that are converted to sound in an electronic synthesizer the bass electronic signal is often created with what’s called an envelope generator in A.D.S.R. Synthesis the contour of the signal is shaped by four parameters attack decay sustain and release it can be beneficial to critically assess to evaluate the quality of works of visual art and design through an A.D.S.R. model let’s slow down time and examine the first one hundred thousandth of a second in the presence of a work of art the absolute moment the art experience makes itself available to you through your senses it’s critically important to sensitize yourself to your initial immediate emotional intellectual phenomenological and retinal reaction to the work this is what we will refer to as the attack of the work it’s how you feel about the work in the first one 1 hundred thousandth of a second in the presence of the art experience sensitize yourself to this moment and make note all works of art have unique attack characteristics some work so fast some slow attack of a work corresponds with american philosopher Charles Sanders Pierce’s notion of Firstness Firstness is that which who’s being is simply in itself it is the sensation of having only one thing occupying your thoughts and permeate your consciousness decay this is the moment the object is subjected to a cognitive load to thinking decay marks the moment we begin the process of intellectualizing that thing in front of us it is when we attempt to make sense of the art experience during decay we track and take note of content character and quality of our thinking as engendered by the art experience why is this important works of art are ideas made manifest works of art must be able to endure and more importantly reward a sustained cognitive load but i think i think of the issue that your piece raised was that there’s a reality out there and that artists are confronting an art and artists use art to ask some very serious and interesting questions and you return to a series of questions that seem to be based on the assumption that what art is what artists can get away with that what art is a is a kind of a sham promoted by people marketing product and promoted by magazines interested in supporting they at they’re advertiser base of dealers and that’s what artists but in fact our asks far more interesting question about the society were living in about our are fragile lives as people living in the late 20th century and into those kinds of questions that your piece into just gloss over by to sustain the ability for the work to sustain cognition some works reward deep-thinking others punish understanding the nature and character of thought the presence of the object is a key component in critical assessments of work of determining the quality of the work interpretation is the process whereby a viewer makes sense of the work intellectualize is the work and suggest works about this conception of art is cognition as important thinking is one of the many ways that I remain defiant in the face of institutionalized stupidity as people who appreciate how hard it is t be an artist in a industrial ask partial world release is a measure of how persistent cognitive space of the work after the viewer as left its direct presence after the viewer has left the work does the experience of the work remain present in the mind and to what degree and is that presence productively problematic release speaks directly to the quality of work how fecund how capable of producing offspring is no questions in the context of an auction room that was your favorite thank you showed these artworks up there like like like so many slaves being auctioned off thats your question was how much are they paying for this stuff how can they be such fools to pay that kind of money without for a moment leaving the possibility that the intelligent people are interested in it intelligent people discourse and colleges me about it because the art itself is intelligent work made by in college and people you you made it seem like like a commercial side and yo is too valuable and what contact should be used but this is a visual mnemonic device for the practicing artist the entire the entire point here is to attempt to come to a deeper understanding of critical assessment of contemporary art so that we can make more powerful work fast to get and chainsaw sculptures office call for inevitably you will get a chainsaw bear this tool has a bias to it you know you see if a now of course it’s important to point out that this is one cognitive tool all works of art all works of visual art established for themselves a system of internal logic and it’s important cycle through a whole host of critical tools in order to come to a deeper understanding of the true nature of the object of the work in future episodes will take a look at a number of different tools that may be appropriate for different types of work all right don’t be shy reach out to your boy hit me up on twitter follow me on instagram and leave some comments in the comment section below your questions your comments your issues the problems they really do fuel further episodes so until next time

9 thoughts on “How to Critique Art l Music Synth as Critique Tool | Episode 30”

  1. Elliott. Love your show. This episode is especially juicy. Your ADSR model really holds up for me. Not only in assessing creative work in the wild, but for evaluating an original idea to pursue, or a work in progress. Thanks for a new tool, Bro. Technological metaphors are a super interesting way to think about thinking. Even while it may seem counter intuitive to believe that a conscious being could "learn" something from a machine. Finding new angles from which to view the world keeps the perspective fresh. I wish EVERYONE would learn to view/think about work this way. I'm tired of hearing from well meaning folks about how "creative" I am or "Man, how do you come up with this stuff". I LONG for deeper discussions about my endeavors. Outside of grad school, good critique is hard to come by. I hope some enlightened 2nd grade teacher is sharing "Studio Practice" with some 8 year olds out there. Keep up the great work, Elliott. I'm a fan.

  2. I am wondering how you feel about challenging audiences that do not have the reinforcement of academic knowledge. Are there steps to leading some one to these challenges or leverage points within these phases that allow for universal entry? I really am interested in the steps it takes to truly impact or disenfranchise institutionalized stupidity.

  3. When Facebook made it possible for people to pre-approve tags, I think it pivoted their platform from being a real social network into this other thing: a self-curated propaganda channel. Now almost everyone competes to seem better fed, better looking, better traveled than all their friends, and cultivates this flattering fictional character based on what they want people to think about them. My reaction to that is that now I hate editing polish, or staging, or obvious narcissism on Youtube. So I've found myself drawn to entertainers who take the opposite approach, and look horrendous on purpose, or make themselves sound abrasive when they talk (Think Million Dollar Extreme, or Filthy Frank.) And now I've gone down that road myself in making videos – I use the worst voice I know how to do, I look unkempt, I play my id, (Doctor Downvote in "Unsubscribed"). My question for you is, do you think being intentionally off-putting in superficial or sensory ways handicaps your work by tanking the Attack Phase? (For example, don't affect a grating voice?) Thank you for your time!

Leave a Reply

Your email address will not be published. Required fields are marked *