Sign up for our email newsletters! In Infinities, guest-edited by curator and art historian Nadia Kurd, artists and writers discuss the influence of Islamic visual cultures in Canadian contemporary art.
In a psychological context, confabulation refers to obvious falsehoods invented by individuals to fill gaps in their memory. From supporting artists who work with traditional media to those who base their practice in digital, crypto, VR art, or NFTs,. ART covers it all. We get addicted to things in ways that each have pros and cons.
In honor of its milestone anniversary, the Savannah, Georgia-based museum welcomes renowned international artists for a diverse program of exhibitions and events.
Assyriologist and associate professor Martin Worthington, who worked on translations for the Marvel movie, created the first film entirely in Babylonian in In her solo exhibition, the artist creates an installation that is many things but unified is not one of them.
Lucas Fagen's favorite artform is popular music, and that means popular music—bland corporate trash and faceless functional product in addition to critically respectable touchstones and obscure More by Lucas Fagen. Subscribe to our newsletter Get the latest news, reviews, and commentary delivered directly to your inbox.
Sign Up. Skip to content. Become a Member. Forgivable Lies, Three Painters Keep You Guessing In a psychological context, confabulation refers to obvious falsehoods invented by individuals to fill gaps in their memory. Ancient Babylonian Comes Alive in Hollywood Blockbuster Eternals Assyriologist and associate professor Martin Worthington, who worked on translations for the Marvel movie, created the first film entirely in Babylonian in See, I can indie name drop with the best of them.
Well, a little. But, well, so what? It's just a band. You don't like them, you don't like them. Who cares? After all, you're not supposed to like everything in any one musical category, and if you did that would be weird that there's no accounting for taste, etc and so on.
Hell, I never liked Jimi Hendrix. I never liked Rush. I never liked The Who. And I claim to be a former metalhead rocker. Blaspheme, is what it was. But not really. But this is not about being cool, or name-dropping, or caring what anyone thinks.
Nor it is about trying to like the "right" things because I care what people half my age think about bands who weren't even born when I was blasting "Sabbath Bloody Sabbath" in my first car. This is about keeping an eye on your barometer. About making sure certain parts, mindsets, beliefs aren't going stale. It's about receptivity, versus hostility. You gotta be vigilant. This is the thing: You gotta double check, as you age, as you move through, as you settle into certain habits and rhythms, that you're not blocking out fresh, invigorating information simply because it doesn't fit with what you're comfortable with, what you're used to, the way you think it's supposed to be.
I find it sort of mandatory, in other words, to defy the onset of the ugly conservative mindset, increasingly inflexible and limited, unable or unwilling to be pleasantly surprised, revitalized, renovated. This way pain lies. This way intolerance lies.
This way curmudgeonry and angst, mistrust and Fox News. I have no need to fit in with the skateboard crowd. I have plenty desire to avoid turning myopic and bitter. What is this, guys? This, on its own, could be taken as an isolated piss-take, a light jest, if a little misjudged; cheap, and immature but forgivable, like a stroppy teenager tarnishing other tastes slightly, to shore up conviction in their own.
Yet, from such a high pedestal of renown and acclaim, Butler risks being labelled a bitter curmudgeon, perhaps even a reactionary. Martin Rev and Alan Vega, the duo who made up Suicide, have often spoke of how punks hated them for their use of synthesizers and drum machines.
Instead they speak, spit, use equalizers and various other methods to adapt, twist and fragment the original work. However Michael E. Butler could be accused of repeating such a cycle and excluding the legitimacy of such forms.
Presumably Butler is aiming his comment primarily at artists who perform with laptops. Holly Herndon is one who springs to mind, an artist who has spoken extensively about the opportunities opened up by embracing laptop technology in production and in live contexts.
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