{"id":4894,"date":"2024-03-15T12:26:24","date_gmt":"2024-03-15T16:26:24","guid":{"rendered":"https:\/\/web.colby.edu\/thelantern\/?p=4894"},"modified":"2024-03-15T12:44:29","modified_gmt":"2024-03-15T16:44:29","slug":"playscape-playlist","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/","title":{"rendered":"Playscape PLAYlist"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Inspired by the works in the exhibition <\/span><a href=\"https:\/\/museum-exhibitions.colby.edu\/exhibition\/playscape-contemporary-art-from-the-colby-museums-collection\/\"><i><span style=\"font-weight: 400;\">Playscape: Contemporary Art from the Colby Museum\u2019s Collection<\/span><\/i><\/a><span style=\"font-weight: 400;\">, Museum staff Andrew Witte brings together examples of auditory kitsch from the past 100 years.<\/span><\/p>\n<div style=\"width: 648px;\" class=\"wp-video\"><!--[if lt IE 9]><script>document.createElement('video');<\/script><![endif]-->\n<video class=\"wp-video-shortcode\" id=\"video-4894-1\" width=\"648\" height=\"486\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Edit-A2-f2b-keep-Deadbeats_2.mp4?_=1\" \/><a href=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Edit-A2-f2b-keep-Deadbeats_2.mp4\">https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Edit-A2-f2b-keep-Deadbeats_2.mp4<\/a><\/video><\/div>\n<p><span style=\"font-weight: 400;\"><br \/>\nSadie Benning, <em>Flat Is Beautiful<\/em>, 1998. Video, 48:58. Museum purchase from the Jett\u00e9 Acquisitions Fund, 2007.003. Excerpted clip, 17:57\u201318:25.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Kitsch is all around us. Novelist Milan Kundera claimed it as \u201can integral part of the human condition.\u201d\u00b9<\/span><span style=\"font-weight: 400;\"> Kitsch is art for the everyday and the everywhere, often circulated via cheap images and products that find widespread appeal\u2014clip art, pink flamingos, or the landscapes of Thomas Kinkade, for example. The word is commonly used negatively; the Oxford English Dictionary defines it as \u201cart, objects, design, or entertainment having popular appeal but considered to be vulgar, of low quality, or lacking artistic merit.\u201d\u00b2<\/span><\/p>\n<figure id=\"attachment_4906\" aria-describedby=\"caption-attachment-4906\" style=\"width: 335px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4906\" data-permalink=\"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/thomas-kinkade_rosebud-cottage\/\" data-orig-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage.jpg\" data-orig-size=\"750,500\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Thomas Kinkade_Rosebud Cottage\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Kinkade, Thomas, Rosebud Cottage. 2011. https:\/\/www.wikiart.org\/en\/thomas-kinkade\/rosebud-cottage-2011&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage-300x200.jpg\" data-large-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage.jpg\" class=\"wp-image-4906\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage-300x200.jpg\" alt=\"\" width=\"335\" height=\"223\" srcset=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage-300x200.jpg 300w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage-236x157.jpg 236w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/Thomas-Kinkade_Rosebud-Cottage.jpg 750w\" sizes=\"(max-width: 335px) 100vw, 335px\" \/><figcaption id=\"caption-attachment-4906\" class=\"wp-caption-text\">Thomas Kinkade, <i>Rosebud Cottage<\/i>. 2011.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">In writing about the concept as a specific aesthetic category, however, Tomas Kulka proposes three conditions that may define something as kitsch:<\/span><\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The object or theme depicted in the artwork is effortlessly identifiable by the viewer; it has a certain universality.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The subject is charged with sentimentality, an appeal to simple base emotions (for example, pleasure or grief).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The artwork does not substantially enrich our perspective or knowledge of the depicted objects or themes.\u00b3<\/span><\/li>\n<\/ol>\n<div class=\"mceTemp\">&nbsp;<\/div>\n<p><span style=\"font-weight: 400;\">This definition gives form to the concept of kitsch beyond a subjective opinion on \u2018good\u2019 or \u2018bad\u2019 taste. Kitsch becomes more than a derogatory term; it exists instead as a common condition. Predicated on associations and memory, kitsch oftentime comes hand in hand with nostalgia. In my eyes, nearly all of the works in <\/span><i><span style=\"font-weight: 400;\">Playscape<\/span><\/i><span style=\"font-weight: 400;\"> fit into this defined aesthetic category, and recognizing them as such allows for a new appreciation for the kitsch we see outside the gallery, too.<\/span><\/p>\n<figure id=\"attachment_4907\" aria-describedby=\"caption-attachment-4907\" style=\"width: 420px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4907\" data-permalink=\"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/2021-250_001_cd\/\" data-orig-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd.jpg\" data-orig-size=\"1554,1812\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;9&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark IV&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1614601002&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;50&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.25&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"2021.250_001_cd\" data-image-description=\"&lt;p&gt;Ann Craven&lt;br \/&gt;\nBear (Climbing Tree and Mountain Sides), 2021&lt;br \/&gt;\nOil on canvas 84 x 72 in. (213 x 183 cm)&lt;br \/&gt;\nGift of the Artist, 2021.250&lt;\/p&gt;\n\" data-image-caption=\"\" data-medium-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-257x300.jpg\" data-large-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-878x1024.jpg\" class=\"wp-image-4907\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-257x300.jpg\" alt=\"\" width=\"420\" height=\"490\" srcset=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-257x300.jpg 257w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-878x1024.jpg 878w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-768x896.jpg 768w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-1317x1536.jpg 1317w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd-202x236.jpg 202w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd.jpg 1554w\" sizes=\"(max-width: 420px) 100vw, 420px\" \/><figcaption id=\"caption-attachment-4907\" class=\"wp-caption-text\">Ann Craven, <i>Bear (Climbing Tree and Mountain Sides)<\/i>, 2021. Oil on canvas, 84 x 72 in. (213 x 183 cm). Gift of the Artist, 2021.250.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">Using this framework, let&#8217;s take a look at Ann Craven\u2019s painting<\/span><i><span style=\"font-weight: 400;\"> Bear (Climbing Tree and Mountain Sides)<\/span><\/i><span style=\"font-weight: 400;\">. As a viewer, I instantly recognize the elements of a bear and a tree.The bear is cute and friendly-looking, with large blue eyes that give it cartoonish proportions reminiscent of a teddy bear or a Disney-fied animal. The recognition of these elements elicits a small, pleasant delight, though it does not significantly shift my perception of bears or nature. A personal conclusion: it&#8217;s pretty kitschy. Works such as Ralph Fasanella\u2019s flat and caricatured depiction of a baseball stadium in <\/span><i><span style=\"font-weight: 400;\">Night Game-Practice Time<\/span><\/i><span style=\"font-weight: 400;\"> and the friendly faces of Bernard Langlais&#8217;s wooden animal sculptures also recall similar childlike associations.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u200b\u200bKitsch can also extend into the auditory realm, as I illustrate through this PLAYlist. Think of elevator Muzak (\u201c<\/span><span style=\"color: #000000;\"><b>Still Life<\/b><\/span><span style=\"font-weight: 400;\">\u201d by Infinity Frequencies), an advertising jingle, or even the bright synth of a Phil Collins song (\u201c<\/span><span style=\"color: #000000;\"><b>Two Hearts<\/b><\/span><span style=\"font-weight: 400;\">\u201d). Such tracks highlight simplicity and sentimentality, and they often piggyback off of music we might consider \u2018timeless\u2019 or \u2018classic.\u2019<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The playlist also includes the four songs included in Sadie Benning\u2019s film <\/span><a href=\"https:\/\/archive.org\/details\/BenningVideoworks\/Volume+3\/Flat+Is+Beautiful.mkv\"><i><span style=\"font-weight: 400;\">Flat Is Beautiful<\/span><\/i><\/a><span style=\"font-weight: 400;\">, all of which reflect the film\u2019s coming-of-age theme: \u201cCrazy on You\u201d by Heart, \u201cOh Daddy\u201d by Fleetwood Mac, \u201cBillie Jean\u201d by Michael Jackson, and \u201cBig Brother\u201d by David Bowie. These pieces of borrowed media we rewatch through the characters\u2019 eyes underscore moments where the main characters, Taylor and Quiggy, navigate their identities through consumption and escapism.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Tracks included in this soundscape suggest the concept of kitsch, whether they soar in sentimentality, evoke a sense of nostalgia or chagrin that we have attached to trends of the past, or riff off of the mainstay tropes of popular music.&nbsp;<\/span><\/p>\n<p><iframe title=\"Spotify Embed: Playscape PLAYlist\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/1ehRJT3LENVO4z896yM2Y8?si=f380c48cc8c741f8&#038;utm_source=oembed\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><b>A Few Liner Notes<\/b><\/span><\/p>\n<figure id=\"attachment_4901\" aria-describedby=\"caption-attachment-4901\" style=\"width: 329px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4901\" data-permalink=\"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/2012-007_001_cd-2\/\" data-orig-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-scaled.jpg\" data-orig-size=\"2049,2560\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;IQ180&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1339197583&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;35&quot;,&quot;shutter_speed&quot;:&quot;0.016666673547467&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"2012.007_001_cd\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Joyce Pensato&lt;br \/&gt;\nDaisy, 2007&lt;br \/&gt;\nEnamel and metallic paint on linen&lt;br \/&gt;\n90 x 72 in. (228.6 x 182.9 cm)&lt;br \/&gt;\nGift of the Alex Katz Foundation, 2012.007&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-240x300.jpg\" data-large-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-820x1024.jpg\" class=\"wp-image-4901\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-240x300.jpg\" alt=\"\" width=\"329\" height=\"411\" srcset=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-240x300.jpg 240w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-820x1024.jpg 820w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-768x959.jpg 768w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-1230x1536.jpg 1230w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-1639x2048.jpg 1639w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2012.007_001_cd-189x236.jpg 189w\" sizes=\"(max-width: 329px) 100vw, 329px\" \/><figcaption id=\"caption-attachment-4901\" class=\"wp-caption-text\">Joyce Pensato, <i>Daisy<\/i>, 2007. Enamel and metallic paint on linen, 90 x 72 in. (228.6 x 182.9 cm). Gift of the Alex Katz Foundation, 2012.007.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">American painter Joyce Pensato often drew on motifs from popular media, creating shadowy, distorted portraits of iconic animated characters (such as Mickey Mouse, Homer Simpson, and <\/span><i><span style=\"font-weight: 400;\">Playscape<\/span><\/i><span style=\"font-weight: 400;\">\u2019s own <\/span><i><span style=\"font-weight: 400;\">Daisy<\/span><\/i><span style=\"font-weight: 400;\">). In a similar vein, tracks in this playlist sample and appropriate children\u2019s media in unconventional and playful ways. RGB, a project from electronic musician Pranesh Kamalakanthan, composed the album<\/span><i><span style=\"font-weight: 400;\"> Inferior Goods<\/span><\/i><span style=\"font-weight: 400;\"> using only sounds pulled from dollar store CD and DVD bins. The featured track \u201c<\/span><span style=\"color: #000000;\"><b>Nightlight<\/b><\/span><span style=\"font-weight: 400;\">\u201d opens with dialogue and sound effects from an episode of<\/span><i><span style=\"font-weight: 400;\"> The Simpsons<\/span><\/i><span style=\"font-weight: 400;\">. \u201c<\/span><span style=\"color: #000000;\"><b>Heaven is a Place on Earth<\/b><\/span><span style=\"font-weight: 400;\">\u201d is a familiar cover with a twist. Alvin, Theodore, and Simon\u2019s rendition is brought to 16 speed, revealing the sludge-like distortion behind <\/span><a href=\"https:\/\/vimeo.com\/341425717\"><span style=\"font-weight: 400;\">the Chipmunk\u2019s original composition<\/span><\/a><span style=\"font-weight: 400;\">. Shelly Duvall\u2019s campy performance of <\/span><i><span style=\"font-weight: 400;\">Popeye<\/span><\/i><span style=\"font-weight: 400;\">\u2019s Olive Oyl shines in \u201c<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=qAFgj8mqPk0\"><b>He Needs Me<\/b><\/a><span style=\"font-weight: 400;\">,\u201d where her off-pitch, off-key, off-everything voice charmingly dots a swirling orchestral arrangement. \u201c<\/span><span style=\"color: #000000;\"><b>Once I Step Behind The Curtain, I Never Come Out The Same<\/b><\/span><span style=\"font-weight: 400;\">\u201d is an ominous phrase sampled from <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=7jBCVmBHJA0\"><span style=\"font-weight: 400;\">a Polly Pocket commercial<\/span><\/a><span style=\"font-weight: 400;\"> that repeats into devolved madness in a track from audio\/visual noise project Ecology: Homestones.<\/span><\/p>\n<figure id=\"attachment_4902\" aria-describedby=\"caption-attachment-4902\" style=\"width: 300px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4902\" data-permalink=\"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/045-2008_001_fm\/\" data-orig-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-scaled.jpg\" data-orig-size=\"2560,2128\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;20&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D200&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1196335359&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;50&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.5&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"045.2008_001_fm\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;John Coffer&lt;br \/&gt;\nHelp Wanted, 2007&lt;br \/&gt;\nTintype&lt;br \/&gt;\n20 x 24 in. (50.8 x 61 cm)&lt;br \/&gt;\nThe Lunder Collection, 045.2008&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-300x249.jpg\" data-large-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-1024x851.jpg\" class=\"wp-image-4902 size-medium\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-300x249.jpg\" alt=\"\" width=\"300\" height=\"249\" srcset=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-300x249.jpg 300w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-1024x851.jpg 1024w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-768x638.jpg 768w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-1536x1277.jpg 1536w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-2048x1702.jpg 2048w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/045.2008_001_fm-236x196.jpg 236w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><figcaption id=\"caption-attachment-4902\" class=\"wp-caption-text\">John Coffer, <i>Help Wanted<\/i>, 2007. Tintype, 20 x 24 in. (50.8 x 61 cm). The Lunder Collection, 045.2008.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">Country music has a historical inclination toward metaphor and wordplay. Romance is a game in the songs of Patsy Cline (\u201c<\/span><span style=\"color: #000000;\"><b>Turn the Cards Slowly<\/b><\/span><span style=\"font-weight: 400;\">\u201d) and Adolph Hofner (\u201c<\/span><span style=\"color: #000000;\"><b>We Played A Game<\/b><\/span><span style=\"font-weight: 400;\">\u201d). \u201cYou won, I lost, we\u2019re through,\u201d croons Hofner from a dance hall somewhere in South Texas in the 1930s, through a static haze reminiscent of John Coffer\u2019s tintypes and historic lifestyle\u2014a bridge that connects us to a not-so-distant past. Coffer lives in a log cabin he built himself and surrounds himself with antique technologies; one can imagine Midred Bailey\u2019s \u201c<\/span><span style=\"color: #000000;\"><b>It\u2019s So Peaceful In The Country<\/b><\/span><span style=\"font-weight: 400;\">\u201d playing off a phonograph record. Vintage twang meets nineties alternative in the Asheville-based band Wednesday, whose song \u201c<\/span><span style=\"color: #000000;\"><b>Bull Believer<\/b><\/span><span style=\"font-weight: 400;\">\u201d finds a connection between bull fighting and putting up with your partner\u2019s bullshit. Bernard Langlais\u2019s wall sculpture<\/span><i><span style=\"font-weight: 400;\"> A Lot of Bull<\/span><\/i><span style=\"font-weight: 400;\"> draws on a similar pun.<\/span><\/p>\n<figure id=\"attachment_4904\" aria-describedby=\"caption-attachment-4904\" style=\"width: 1854px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4904\" data-permalink=\"https:\/\/web.colby.edu\/thelantern\/2024\/03\/15\/playscape-playlist\/ripsinthemirror-2\/\" data-orig-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1.jpg\" data-orig-size=\"1854,900\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"ripsinthemirror\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;\u200b\u200bDavid Salle&lt;br \/&gt;\nRips in the Mirror, 1998&lt;br \/&gt;\nOil and acrylic on canvas&lt;br \/&gt;\n72 x 144 1\/2 in. (182.9 x 367.03 cm)&lt;br \/&gt;\nGift of the Alex Katz Foundation, 2010.025&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-300x146.jpg\" data-large-file=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-1024x497.jpg\" class=\"wp-image-4904 size-full\" src=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1.jpg\" alt=\"\" width=\"1854\" height=\"900\" srcset=\"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1.jpg 1854w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-300x146.jpg 300w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-1024x497.jpg 1024w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-768x373.jpg 768w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-1536x746.jpg 1536w, https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/ripsinthemirror-1-236x115.jpg 236w\" sizes=\"(max-width: 1854px) 100vw, 1854px\" \/><figcaption id=\"caption-attachment-4904\" class=\"wp-caption-text\">\u200b\u200bDavid Salle, <i>Rips in the Mirror<\/i>, 1998. Oil and acrylic on canvas, 72 x 144 1\/2 in. (182.9 x 367.03 cm). Gift of the Alex Katz Foundation, 2010.025.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">I find a sonic resonance between David Salle\u2019s painting <\/span><i><span style=\"font-weight: 400;\">Rips in the Mirror<\/span><\/i><span style=\"font-weight: 400;\"> and the often avant-garde nature of electronic music\u2014layered tones and synthetic instruments that when combined create a balanced, or even playfully discordant, melody. Included here are a few tracks from early pioneers, including industrial music\u2019s godmother Throbbing Gristle (\u201c<\/span><span style=\"color: #000000;\"><b>Walkabout<\/b><\/span><span style=\"font-weight: 400;\">\u201d). Electronica became mainstream in the synth pop hits of the 1980s, with melodramatic classics such as Soft Cell\u2019s \u201c<\/span><span style=\"color: #000000;\"><b>Tainted Love<\/b><\/span><span style=\"font-weight: 400;\">\u201d or Taylor Dayne\u2019s \u201c<\/span><span style=\"color: #000000;\"><b>Tell It to My Heart<\/b><\/span>.<span style=\"font-weight: 400;\">\u201d Experimentation in electronic music continues today with the popularization of sub-genres such as hyper-pop, which exaggerates and abstracts the conventions of pop music. Auto-tune, samples, and overlapping melodies battle each other in maximalist compositions like Machine Girl\u2019s \u201c<\/span><span style=\"color: #000000;\"><b>Missy Punk<\/b><\/span><span style=\"font-weight: 400;\">,\u201d which takes from the likes of \u201c<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=FPoKiGQzbSQ\"><span style=\"font-weight: 400;\">Get Ur Freak On<\/span><\/a><span style=\"font-weight: 400;\">\u201d by Missy Elliot and \u201c<\/span><a href=\"https:\/\/www.youtube.com\/watch?v=1_uNMy20qAI\"><span style=\"font-weight: 400;\">Get Up Offa That Thing<\/span><\/a><span style=\"font-weight: 400;\">\u201d by James Brown.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The rest of the playlist is yours to explore. I recommend listening in the presented order, but I don\u2019t think shuffling it would hurt too much. Enjoy!<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">\u2014Andrew Witte, Mirken Family Postbaccalaureate Fellow in Museum Practice<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Notes<\/p>\n<p>1. Milan Kundera, <em>The Unbearable Lightness of Being<\/em>, (New York: Harper &amp; Row, 1984), 256.<br \/>\n2. \u201cKitsch.\u201d <em>Oxford English Dictionary<\/em>. <a href=\"https:\/\/www.oed.com\/dictionary\/kitsch_n?tl=true\">https:\/\/www.oed.com\/dictionary\/kitsch_n?tl=true<\/a>.<br \/>\n3. Tomas Kulka, <em>Kitsch and Art<\/em>, (University Park: The Pennsylvania State University Press, 1996), 37-38.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Inspired by the works in the exhibition Playscape: Contemporary Art from the Colby Museum\u2019s Collection, Museum staff Andrew Witte brings together examples of auditory kitsch from the past 100 years.<\/p>\n","protected":false},"author":18889,"featured_media":4907,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[351291,526145,526146],"tags":[99394],"jetpack_featured_media_url":"https:\/\/web.colby.edu\/thelantern\/files\/2024\/03\/2021.250_001_cd.jpg","jetpack_shortlink":"https:\/\/wp.me\/p3U3TZ-1gW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/posts\/4894"}],"collection":[{"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/users\/18889"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/comments?post=4894"}],"version-history":[{"count":46,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/posts\/4894\/revisions"}],"predecessor-version":[{"id":4948,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/posts\/4894\/revisions\/4948"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/media\/4907"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/media?parent=4894"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/categories?post=4894"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/thelantern\/wp-json\/wp\/v2\/tags?post=4894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}