The precise nature of the physiological attraction of television has yet to be specified, and may never be, but a huge amount of statistical and anecdotal evidence obviously has confirmed the truism that it has potent addictive properties. However, television posed the unusual phenomenon of an addictiveness to something that failed to deliver the most basic reward of a habit-forming substance: that is, it provides not even a temporary heightened sense of well-being or pleasure, or a gratifying if brief fall into insensate numbness. Moments after turning on a television, there is no detectable rush or charge of sensation of any kind. Rather, there is a slow shift into a vacancy from which one finds it difficult to disengage. This is a decisive trait of the era of technological addictiveness: that one can return again and again to a neutral void that has little affective intensity of any kind. In the widely noted study by Kubey and Csikszentmihalyi, the majority of their subjects reported that extended TV viewing made them feel worse than when they did not watch, yet they felt compelled to continue their behavior. The longer they watched, the worse they felt. The hundreds of studies on depression and internet use show similar kinds of results.
Join us on Saturday, September 20, 2014 at Richlane for a rebel grrrl dance party with famous feminist-themed drinks!
Celebrate and support the production of new feminist discourse and the work of contemporary women artists. We will be passing the hat, however, please note: donations are encouraged, not mandatory. We value presence over presents.
Proceeds will go toward the upcoming discussion series, All My Little Words, and group exhibition, Miss World, at PARMER in October 2014.
If you’re in NYC.
the secret music of my hands grasping the bottle
and the satisfying cracking as i twist the seal
and then hold it up to the light
the liquid somewhere between gasoline and magic
the first taste of liquor is like a trumpet blown directly
down my throat
if gravity is real, EVERYTHING on the surface of earth is
trying to get to the center but gets interrupted somewhere
along the way
the second feels like swallowing an entire fur coat
like how millionaires do
i take a third and i can wonder
if an octopus, ANY octopus, has ever been drunk
AND imagine eating an entire cello at the same time
there’s no laws against it and anyway I’m an outlaw
but a casual outlaw
i’m an outlaw, except i don’t make a big deal about it
you can probably already tell by the cut of my jeans
and here is an open invitation to imagine an octopus
wearing a pair of jeans
feel free to redeem at any time
it’s a great time to be alive
even if almost all evidence points
to the contrary
MOST POPULAR NEW FORM OF “RESISTING ARREST”:
GENTLY BEGGING FOR YOUR LIFE
Earnest: I think you’re the smartest person defending some of this work—the people advocating for it are generally not doing so in a way that seems nuanced or aesthetically aware—or more accurately the only people advocating for it are doing so with large sums of mute money. How do you see it related to the work you’ve done on mid-20th Century painting?
Bacon: I came to it all from a historical angle. I was someone who had thought he was going to be a contemporary art historian, but then didn’t really like most contemporary art so I moved into the past and dealt with minimalism. Around 2011 I became interested in Kassay and wanted to know more about his work. I was also confused because the abstraction from the midcentury had a lot of critical and academic success but not much mainstream appeal , and here we are talking about the reverse where critics and academics are not interested, but it is popular. Everyday people love to look at these paintings, which is odd considering they would deface Barnett Newmans and Ad Reinhardts in the ’60s. The work touches on a lot of these issues. It deals with image culture, the screen, abstraction in general. What does abstraction mean in a world where images have the same real-world value as objects? Barbara Rose wrote of op art in 1965 that it was the first brand of modernist folk-art, that it spoke to certain ideals around medium specificity and perceptual purity but was packaged in a way that was very appealing to a general audience.