The Brazilian concrete poets of the 1950s paved the way for the Tropicilia movement of the late 1 960s because they "liberated our imagination for certain formal experiments that perhaps we wouldn't have otherwise risked, " according to singer/songwriter Caetano Veloso (Dunn 69). Risk-taking is one of the criteria that distinguishes the avant-garde from mainstream art. In sports, from foothall (aka "soccer"), to surfing and mountain climbing, to motor racing and air shows, performances are evaluated according to the risks taken by the team or individual athletes, while artists and performers appreciate boldness and daring in their sources of inspiration. In fashion, transcending the staid and conventional with breathtaking new creations earns a designer her standing as a leader in her field. In music and dance, performers earn admiration by braving the dangers of challenging partitas or choreographies, or by developing new forms, such as by making risk a core element of their artistic displays. , the degree t o which s h e i s willing t o infringe upon and alter existing aesthetic (as well a s social) norms (Farchy). Audiences and critics judge the relevance of artworks for their novelty and originality, which in turn can be measured in terms of the risks the artist is willing to take, i. "It's the very law of poetic expression," writes Gaston Bachelard, "to transcend our thinking." Reading Novalis, Shelley, Poe, Baudelaire, Rimbaud or Nietzsche creates the impression that the imagination is " one of the forms of human daring" (Bachelard 1 1 f). In Western modernity, risk is an aesthetic virtue.
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