The marrow of the aesthetics of imperfection is that it is an aesthetics for performance. Riddled with risk, a lot can go wrong in the performative moment. Music is primarily a performing art. I say ‘primarily’ because our mode of accessing music is drastically different from a hundred years ago. Some say recording technology has presented… Continue reading #3 The marrow is performance
“There is no categorical distinction between improvisation and performance [of compositions]; rather, there is a continuum of practices" - Nicholas Cook. Composition and improvisation exist on a fluid line. Their performative aspects stand in a continuously overlapping sequence, making them interdependent. On the one end stands composition, its epitome being pre-realised, pre-structured electronic music. On… Continue reading The continuum
It is not generally known that in the past, musical improvisation and composition were one and the same thing. Today they are, in one sense, fiercely opposing concepts. In the 19thcentury, improvisation quietly started to disappear from its position in the performance aesthetic. People stopped tolerating deviations from the musical score such as extemporization of… Continue reading #2 No imperfections here.
Musicians, academics, dancers, gardeners and architects gathered together last year in Newcastle to throw a party for 'aesthetic imperfection' in celebration of spontaneity, process and mistakes. In accordance to the theme, attendees came clothed in the coloured tatters and rags of disclosures about their art. Claire, visual artist, confessed she does not really make art,… Continue reading Revisiting the Aesthetics of Imperfection.
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