What actually was experimental music?

StudioES

https://www.tate.org.uk/rules-of-rauschenberg/

Krupa

This discussion is really starting to get interesting; as someone who floats between art and design on a daily, hourly, or even momentary basis in my ‘professional’ work. It’s a constant struggle to realise that sense of originality that clients seek that online comes from that tension of which you speak @Svetlovska, while remaining able to answer their questions and demands. It’s also a struggle to maintain your own sense of artistic identity during that process, and it’s often really difficult to emerge from periods of purely designing for clients back into feeling liberated enough to create work that actually explores your own space. Although there’s always constraints if you’re producing commissioned art, sometimes it can be even harder to fit the required compromises into the work with art ‘clients’ than it is with commercial ones...

Going back is a different challenge, somewhat easier in a sense, it just requires you to submit that freedom, happily or not

NeuM

@Svetlovska said:
@u0421793 : hey, works for me! (#crap #unskilled #true artiste)

Hey, that gives me an idea for a new business card.

“Founder, CEO, Producer of Crap”

Svetlovska

@NeuM :

NeuM

@Svetlovska said:
@NeuM :

😂

ervin

@jolico said:

@Svetlovska said:
@ervin : well, except that it has a precise indication of methodology, intent, category, which is useful if for nothing else as a signpost to a potential listener, indicating that it is unlikely to be a pop choon, or a classical oratorio or whatever. Of course it says nothing about the aesthetic quality or competence of the execution, or how it might be received by the listener, but is indicative of the intention of the creator. As to whether it is just plain crap - well, that is for the listener to decide, obviously.

Crap becomes “good music” after kids listen to it enough times.

👌 to both of you