唷Stuart Hall还和Salman Rushdie辩论过……
可能是我看的东西不够多，但是想到比较特别的有关ethnicity的叙事，很喜欢福克纳的《烧马棚》
感觉在等待冷却的那一刻降临，已经隐隐有预感
Merda d’Artista
在On Beauty里看到这个作品，搜索了一篇相关的博文看，里面很有意思的观点是：
后世发现罐子里其实并不是粪便，而是塑料，这一点反而使作品失去其意义了吗？
如果真的是粪便的时候，这个作品实际上因其【恶心的冒犯】而拥有意义；而当恶心的意味消失，冒犯也显得不那么强烈，反倒失去其魅力。
Afterwards, it was discovered that Piero Manzoni filled his cans not, with Merda d'Artista, but with plaster.
Does that matter?
Does the concept still stand? Or should the Tate get rid of their investment fast?
The idea still matters, the mystery is still there, that suspense that is behind all story made the idea brilliant art. Keeping the viewer in suspense is part of a subversive humour.
Does it matter? Does it matter if Manzoni's tins do not contain merda d'artista? It's actually a more serious question than you might think because it concerns what kind of authenticity is necessary in art and what is contingent.
觉得ditto很完美的不要看
歌曲方面很完美造成强烈情感冲击的应该是套，视觉方面很好的有很多。
幻想朋友/幸存者 这个故事本身已经比较cliche了，其实试图在mv里讲故事本身就很容易落俗，好故事太难，但是好审美容易很多。我对ditto应该也是一种苛责了，本身已经是很好的作品，但是确实在重要意象的选择上可能并不是【都很好】的那种完美级别。
觉得ditto很完美的不要看
ditto给我的情感冲击没有当时看attention的时候那样强烈（和我自己的审美偏好也有很大的关系）。
一部mv的情感冲击来源可能一方面是歌曲，一方面是别出心裁的象征图像，抒情故事在情节上的冲击性感觉非常稀有（好的抒情片很多时候也是靠视觉/音乐审美造成200%的效果）。
感觉ditto作为mv的完成度很高，但是也就是完成度很高，感觉并没有呈现很特别的图像（就我自己而言）；歌曲是依附于mv所以有了更高的效果，曲子本身应该是85分（就我自己而言）
Historians of the nineteenth-century United States have shown that the parade is a peculiarly American invention, designed to display within the contracted space of the city street the plurality of citizenry moving together on an equal footing.
— Elaine Scarry, On Beauty and Being Just, p.106.
原来august也有威严的意思，好……
At the end of the eighteenth century, writers such as Kant and Burke subdivided the aesthetic realm (which had previously been inclusively called beauty) into two realms, the sublime and the beautiful. Kant’s early work, the Observations on the Feeling of the Beautiful and Sublime, gives so straightforward a list that it can be recited, nearly verbatim, as a shorthand, even though it does not convey the many complications of Kant’s own later writing on the subject, nor of the important writings following it. In the newly subdivided aesthetic realm, the sublime is male and the beautiful is female. The sublime is English, Spanish, and German; the beautiful is French and Italian. The sublime resides in mountains, Milton’s Hell, and tall oaks in a sacred grove; the beautiful resides in flowers and Elysian meadows. The sublime is night, the beautiful day. “The sublime moves” (one becomes “earnest . . . rigid . . . astonished”). “Beauty charms.” The sublime is dusk, “disdain for the world . . . eternity”; the beautiful is lively gaiety and cheer. The sublime is great; the beautiful “can also be small.” The sublime is simple; the beautiful is multiple. The sublime is principled, noble, righteous; the beautiful is compassionate and good-hearted.
— Elaine Scarry, On Beauty and Being Just, pp.83-4.
每一次行动都会是有意义的
Joined Jun 2022
