The gamecock. (Columbia, S.C.) 1908-2006, August 29, 1979, Page Page 13, Image 13
Locking horns
Aesthetica finds herself at wits
ends with the proliferation of the
media blitz; the flashing lights, the
star-studded glamor of the sleek
and posh, the wild stage antics, the
catchy names. Enough is enough!
One wonders what ever happened
to the worth and merit of any given
gesture generating its own excitement,
its own following. In
times passed this was the criteria if
something was good it sustained,
and if it wasn't it fell to the
wayside.
Oddly enough, this no longer
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slick promotion keep some of the
worst expressions well above the
water, and for seemingly infinite
periods of time. Who in their right
mind could have thought that a
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television snow iiKe tnanies
Angels could return season after
season with the same hack
dialogue coming from the same
empty characters, simply because
breasts tend ,to bounce across the
lower | portion of the screen? Does
this alone make it worthy?
And what of a rock band like
Kiss, who have sustained a
(musical?) career for years on the
same four chords and a frantic
stage show? Do we really think this
good? Is it truly a reflection of our
musical preferences?
Aesthetica sees the problem not
as a reduction in our quality of
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external hype to manipulate our
judgement. In effect, we judge the
promotion more than the product
itself.
This of course, has rather
frightening ramifications in a
general sense, but it is especially
frightening in relation to the visual
arts.
Aesthetica sees the scenario
something like this; after a few
hours before the tube, it becomes
clear what makes this network the
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most likeable - bouncing boobs and
butts, intensely exaggerated
violence, brilliant flashing
graphics, truly a tantalizing treat
for all. Later at the movies, the
same formula, although a tad
more risque, and with the standard
insert of the newest special effects.
Now on to the art museum, hum,
kinda interesting, but bland, no
fireworks, I have no time for this, I
gotta get going. All of five minutes
wasted.
So the problem is clear. Hype is
instantly seductive, and art isn't,
requiring something that may be
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We seem to be moving to an
acceptance of the misconception
that what is instantly communicative
is the perfection of art,
De u in any iorm.
This is certainly not the case. In
fact, just the opposite is true. All
art strives for clarity, but all art
does not function on our most basic
levels of interpretation. Inventive
expression often creates its own
sense of clarity, its own structural
language.
It is the piercing of this language
Dy cne viewer mai manes an so
rewarding to those of us who enjoy
it. There is much to be said of the
value of one's self-realization of
the intent of a work of art over
simply a blunt message. The
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former carries with it the
evaluative contemplation of the
viewer. It is a two-way street in the
activating of our minds, whereas
the latter is simply the base
transfer of information,
something, at least in this context,
that need only be computed and
lodged into our brain.
All of the razzle-dazzle that
surrounds our daily living is not
truly a threat to art, art has and
always will sustain. The danger
seems to be the still further
saturation of our willingness to
evaluate and penetrate the
mysteries around us. Art remains
a glorious reminder that the
persuit of knowledge and un
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derstanding is an active, not
passive, state.
NEW COURSE
A new course entitled ARTE 359:
Interdisciplinary Relationships in
the Arts, is being offered this fall.
The course will involve attending a
number of spccial events, class
projects and visits by local artists
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class will meet on Tue./Thurs., 23:15,
and there is still time to enroll
if your schedule is still in a state of
flux.
FINAL NOTES
Swept-up in the typing keys was
the Berkowitz review, which will be
at the top of next Wednesday's
column.
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Contracts
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