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I think had a thread about how near-future post-apocalyptic fiction SF never describes the actual collapse period. That’s an extreme case of the nil hypothesis above that really early stages don’t have an artistic mode.
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In the current round, taking TV as an example, I’d offer The Boys as very late stage baroque of the old artistic order (extreme superhero satire) and Station Eleven as an example of the new (genuinely new plot elements, not tropes resting heavily on established stories).
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🤔 “rubble art”?
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Replying to @vgr
How are we categorizing e.g. Dada here? Very much a break with that baroque tradition, but also unavoidably an entwined reaction to it and to the breakdown of the order that produced it. Is that art for a new order, or just demolitions work on the old?
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The answer I’m leaning towards is whatever mode the frontier tall tale represents… the ephemeral parts of Mark Twain for eg, not his main body of work
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Cringe seems to span the chasm between decadent old and earnest new with a clumsiness that is aware of both at once 🤔
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