Where to apply modernity?

Reading my Jeff Wall book I found this little paragraph about certain movie directors who were modern (and even avant-gardist) BUT in a tradictionnal form.

Fellini, Bergman, Rohmer, Bunuel, Eustache or Fassbinder, making movies with this idea :

Putting modernity pressure not on the form itself, but elsewhere, on elements of the classic form.

Each example is very clear, when opposed to Jean-Luc Godard, who killed, enstranged, deformed, distorded, dented the classical forms of movies : experiences on the sound, narration, superposition, edition.

“Rule Breaking Films” (you can YouTube this) are interesting ALSO to find out (and list and sort) where modernity has been applied.

Kaleidocopic (Persona), surreal/casual (8 1/2), jazzyist jumcuts (A bout de Souffle), no sets (Dogville), refusing artificial dramas (Patterson), watching the camera (Pierrot le Fou, Monica, Do the right Thing) : you’ll find your own examples with Google.

 

Anyway, what’s interesting me here is this tool :

Apply modernity, break some rules, push avant-garde elements. OK, but what if on some places only, letting the rest totatlly “normal”?

Where? Poetry? Photography? What’s your field? How will you choose your “element”?

 

Thanks for reading!

JP

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Tropes & Clichés and other blocks of storytelling

I write this because I believe that English uses the word “trope” in a different way than in French. It’s a rare word here, and I had to check in dictionaries to understand it.

I hear that in the world of telling stories, a trope is like a “little structure”, linked to other words : conventions, stereotypes, clichés, but also “twists and turns”.

  1. Big tropes, archetypes with capitals like : The Chosen One. The Artifact of Power. The Damsel in Distress. The Knight in Shining Armor.
  2. Typical narrative structures like : enemies to lovers, tough guy secretly sensitive, forbidden love,
  3. Situations or plot elements : “there’s only one bed”

 

It leads to many questions & paths :

  • Tropes by categories (ex : Fantasy Tropes : quest, dark lord, hero, good vs evil, blah blah)
  • Clichés are boring, aren’t tropes boring?
  • New tropes?
  • https://en.wikipedia.org/wiki/Clich%C3%A9 Clichés are irritating, right?
  • Platitudes. Stereotypes.
  • Tropes are good because familiarity.
  • When tropes are predictable to the point of boredom.
  • Are predictable tropes clichés?
  • Tropes as metaphors.

 

Well, it’s too big. Creativity and storytelling, finding the frontier between good tropes and boring ones, etc. I need a book. You have an idea?

Thanks for reading!

 

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Instagram : _bodylanguage_

 

 

“Taken for granted” questioning

In any discipline, “Taken for granted” questioning is a funny tool.

It’s a pretty serious game, too.

  1. To play it, watch your “territory” and list everything about it.
  2. Then check what’s taken for granted, even the obvious.
  3. Then question everything with “What if I destroy one element, or reverse it?”.

 

An example. Theater, a play.

Actors are on the scene, playing as if they were someone else, telling a learned-by-heart text written by someone, they rehearsed before to make the whole thing fluent, there’s a red curtain, the lights are off during the play, the audience is sitting in aligned chairs and they listen, there’s maybe an intermission, but the play is “played” in one piece…

 

Now for each element, say : NO. Or “let’s do the contrary” :

  • Put the audience on stage and actors in the room.
  • Mix them up.
  • Let the audience stand up.
  • Divide the play into 5 minutes parts.
  • Don’t switch off the lights.
  • Make actors talk to the public.
  • Ask the public things.
  • Change the text during the play.
  • Use two stages or more.
  • Show the rehearsals.

Well, etc. For each line, pull the string, see what comes to you. Personally, I love the “two stages” idea. Interactions…

 

Now do it with : marriage, base ball, religion, politics, blogging, teaching, poetry, sex, photography. Anything can be questioned, especially :

What’s taken for granted?

What if you destroy/invert a line? Why would you do that? Exploration, invention?

 

Thanks for reading!

 

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Instagram : mariakdolores

Tools from an Opera director

To direct an opera is certainly a mess! You have to deal with a “text and music” system, then with musicians, singers, light, settings, the past… all this with a vision, right?

I read an interview of Claus Guth who directed a La Bohème (Puccini) in Paris this winter. Here are his ways :

  1. Two years before the opera, he takes the book, reads it, takes some notes, and… put it back in the drawer for resting.
  2. He listens to the music in loop, for days. He’s happy to not understand the words (he’s German, Puccini Italian), and writes the ideas he gets : irrationally, emotionally, viscerally.
  3. Then he works : searches about the opera the composer the writer the historical backgrounds…
  4. After months of thinking about it, he gathers his team to talk around a table, to get ideas. A concept emerges…
  5. One year before the opera, they try things with scenery, settings.
  6. Then he retires, alone, for a few weeks.
  7. He begins to work with singers and confront them with what he wants to do. Some play along rapidly, some have to be guided… to be creative.
  8. According to him, the main thing is the music. If the text is good but he doesn’t like the music, he can’t do anything. But if the text is weak but the music good (which happens often in operas), he will work on it, on elevation…
  9. He likes to keep rehearsals secret, wanting the audience to be surprised at the premiere.

 

La Bohème is about poor artists in Paris in the 1830s. For me it’s the best opera ever! Therefore I’m never annoyed by directing transpositions in other styles, the fifties, or other countries, etc. It can be ugly, but it’s most of the time interesting. I really think that we can do anything with a masterpiece : you’ll never hurt it really. Playing with archetypes, putting’em into other universes, it’s often amazing!

https://en.wikipedia.org/wiki/La_boh%C3%A8me

I have to say that I already watch dozens of La Bohème happening in the streets of Paris and in frozen attic rooms (2nd picture). Guth decided to put it in space (!) (1st picture), in a lost spatial station, playing with a game of souvenirs, double characters, etc…

As they say in Libération, the French newspaper, it was “sidereally staggering” ( http://next.liberation.fr/theatre/2017/12/07/une-boheme-siderale-et-siderante_1615146 )

“we were flabbergasted (under the scream and catcalls) because we were suddenly seeing the bohemian lifestyle, from 1840 or 2017), on stage, all naked : artistically battybonkers, suicidal, not looking for approval, desesperate and sparkling like in a dream plunge to escape the misery of life”…

 

It’s true that the idea of Bohemian life (being a poor artist, with casualness and freedom (and parties and alcohol) it implies) is a problem : there’s a lie, a too big differences between your ideals and the reality…

 

 

I wrote this article to throw a few tools on my little table :

  • In Art, one pleasure is to compare readings, interpretations of a same piece.
  • It’s maybe creative to take a long time to work on something, with weeks or months of rest between work. Simmering.
  • Explore a masterpiece casually – without holding all the cards, just to see what it triggers in you. Then explore, read, and watch how what you fiund weaves with what you imagined.
  • Collaborations and conversations : sources of ideas.
  • Strength given by pauses alone. Watch things grow into you.
  • Find from where you can grow things (here : music) when a system in not entirely satisfying.
  • Keep things secret to have more impact.

 

These tools are somewhat obvious. Where will we apply them? Poetry? Photography? Couple? Teams? Companies? Literature?

 

Thanks for reading, and sorry for my English…

 

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Artists Unawareness & Prolificity

The single idea of “How we all create” and invent in art is fascinating. It’s a territory, where we can discuss about genius, work, inspiration, ideas, seeds, growing, building, speed, movements, failure, discoveries and bliss.

I could invent a whole blog about this – but it seems I like my “constantly random” thing. My French Toolbox is not a blog about this or that, but a state of mind…

I just read a Simenon interview (he’s a Belgian writer) who talks about “states” he crosses when he’s about to write a novel. He says that the story and the characters grows and simmers in himself for days, weeks, until he can’t restrain anymore and has to write.

Then he has to stay in that state for days, without interruption. He says that he has to be the more empty possible. Not thinking. As if he had to “receive” the story, without using his intelligence.

Simenon is considered as a master of crime novels. He wrote almost 200 books, and was said to be able to write 60-80 pages a day.

https://en.wikipedia.org/wiki/Georges_Simenon

Well, prolific artists (like Picasso or Victor Hugo) are maybe linked to this fast-non-thinking process, a trance. I have also often seen the other side : where “inspiration” is like a necessary wind which have to be used, criticized, canalized and judged during the whole process of creation. The critic inside the writing poet, says Baudelaire…

Also, we all confusedly know something else : there can be no start, in creativity, without a little burst, a little rush of EMOTION.

Thanks for reading!

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Herb List / Todd Hido

The 2 Products of a Blogger (and other artisans)

Hey, craftsperson! Hi!

You blog, right? (or you take pictures, you paint, you write poems, you invent things or concepts). Here’s a little patterntool from Paul Valéry for your pleasure :

  1. Your article (and your past ones) can be considered as a state, a work which can be taken over, modified.
  2. The product is your article, it stays, it’s independent : it makes sense for readers.
  3. But the work of modeling, building and rebuilding has its own value.
  4. The work you had to do reacted in you, changed you, and in a way invented another product, which is a more skillful and clever you.
  5. You learn from what you write.
  6. Feedback feeds the magician.
  7. Your article is never really finished. You could make it better all the time, couldn’t you?
  8. It could teach you something more, after all…
  9. In a way, you learned so much working on it, that you could erase it completely and do it again. Better.
  10. A craftsperson will be satisfied with his/her product when he/she learned enough from it.

 

Thanks for reading!

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I’m much more interested in the work than in the product of the work

P. Valéry

 

 

 

Eno & U2 : a freezing creative process

Brian Eno produced a few U2’s albums. I read one day in an interview that he had to restrain these guys’ creativity : they have too many ideas, all the time, and it’s exhausting!

Therefore, as the person in charge, he sometimes has to decide a STOP.

This is what he does, then :

As each musician is recorded on his own track, the freedom is total, which leads to infinite choices. At this time of the composition, Eno decides to pre-mix what he has, freezing the whole song in stereo. Instead of having for example 12 tracks you can move, mix and change all the time, he reduces all the pack in 2 tracks, left and right. From there, nobody can touch it anymore – then he trashes the source.

He transforms, this way, the big tree of possibilities into a “this is how it is now” song.

 

Of course you see it’s a tool : what are the consequences of this? Displacing creativity? (what do they do “from this”?). Is closing inventiveness from here allow people to invent elsewhere? Another thing? When do we need, in our work, to stop inventing and move forward? Why? When do we have too many ideas? What to do? What if you remove an element?

When do you need to have a thinker in charge?

You can also read : Fecundity of Limits

Thanks for reading !

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Juxtaposition & Continuity VS Instant Nuggets : an efficient Art Pattern

When I find a structure like this, an Art-Pattern, I’m as happy as a kid who found a colored beetle under a rock. Here it is :

ONE

In the bonuses of the war movie Dunkirk, C. Nolan explains that he want to puts tension and stress in the audience. Firstly, he does it the normal way, with the story and its continuity/proceedings (suspense, following action, etc). Secondly, he wants that every little part of the movie to be stressful “in itself”, in the way it’s done at the moment (with sound, music, cut, etc). Cut 5 seconds randomly in the movie and bite your nails!

Dunkirk as a MAYA & Strangeization sensorial experience

TWO

The day before, I was reading an article in the train (there’s some bliss to read in a train) written by Paul Valéry about Marcel Proust‘s masterpiece “In Search of Lost Time”. He says something I already noticed & told you about : if the novel is great from its “stories”, you can pick ANY PAGE in the thousands, you’ll find a great idea. In each page, there’s a seed…

Proust was a blogger…

THREE

I bought two photography books last week. Stephen Shore‘s Uncommon Places (in USA) and Raymond Depardon‘s Habiter en France (“To live in France”). At first I was not that impressed by Depardon’s work. Shore’s photos are so gorgeous you can melt your brain into them, like in front of a painting. With Depardon in France, you have a little parking place, a road, a church. It’s touching, but it is almost “just ordinary”. BUT…

Watching many of them, though, you begin to understand there are patterns (like juxtaposing modernity and “old France”) : the pleasure is not in each photography, but in what you find when you watch many of them…

“Why do you live in this place?” – Shore & Depardon

Stephen Shore, mesmeric #Photographer

PATTERN/TOOL

How could we call that? There are two tools presented here, and I admit I’ve been amazed to notice them in a single week, in three differents Arts (Movies, Literature, Photography).

What could we say about this in Architecture, Poetry, Teaching? What about weaving them? Are artists aware of that? What could it bring them to be aware? Where is the efficiency? Can the artist offer a clue on more discreet propositions? What do you prefer? What is the more satisfying? To focus on each little part (moment, second, page, verse), or to focus on the proceedings, the long development of a piece? What other questions does it trigger?

Thanks for reading!

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Instagram : beautifulbizarremagazine

Ze Post Poppins Blues & other “zooms in”

Mary Poppins & Teorema & My Uncle are three movies about a stranger who comes in a house, disturbs all systems, and at the end leaves the place in a mess of changes. It’s a little pattern in movies history, let’s call it the stranger/revealer. I googled the titles and spent a good time exploring this. Poppins is built on an invisible tree (she comes to “save the father”). The visitor in Teorema is a revealer/disturber – some say it’s God himself, or destiny. And Monsieur Hulot in My Uncle is just the happy French casualness and poetry messing with “modernity”, concrete and productivity.

You can enlarge it in clicking “Mysterious Visitor” in IMDB’s Plot Keywords, you’ll get plenty of, including horror movies.

But I’d prefer playing with the ZOOM today, restraining things to a more little aspect.

I wanted to write something about what happens AFTER Poppins and others. What could happen in movies, after the visit of a disturber. Struggles, changes, back to “normal”, chaos? It could be funny to imagine…

So my tool today becomes : biased Zoom in.

Choose a field, a structure, and choose to find or to study a little part of it, an unknown window, another entry, what happens before, or after. A strange zoom.

You can study resistance to change in hierarchies, but also “what if it was good?”, too. You can write about manipulators, but also about “what happens exactly when the narcissistic perv catches his prey”. You can spend months about mindfulness, but also and suddenly the contrary. How NOT to pay attention, and why.

So, well, the idea is to ZOOM IN on a field, with a deviant will, not in the center, with a bias of invention, generous wrongness, happy curiosity, to find something nobody had the idea to study before. Ideas. Seeds.

Have a good day!

helle7v

You can read also :

When to NOT pay attention is an Art for decision making

 

Artificial Powerlessness

Google image “Street Art” and you’ll find great, amazing things. I follow a few street photographers : some of them “have it”, they show us an electricity, a life moment, a mood and a light.

 

Now I look at this two pictures. The movement in my brain is simple.

  1. I notice the knack. “Spiderman’s string is the crack on the wall”. “The puddle photography is upside down”.
  2. “Ha ha ha, OK”
  3. So what?

 

It’s as if the “artist” wanted, without any shame, to show us how crafty he is, how smart he is. So, you get the flick, you smile, and… SO WHAT.

Everybody needs to be loved, so you smile to Mister Crafty Crafty. Good job. You did it. And Spiderman, yeah, my childhood, etc. Ingenuousness. Cool.

I find it embarrassing. And I’m sure this person “can do better”, right? And know better.

OK. OK for the flick. But I prefer to discover a painted wall, or a picture taken in the street, to stop, to raise an eyebrow, to begin another process : a question, a wonder, another question, a resonance, a doubt, a will to no more, a sparkle of smile, a curiosity for the author, and his other pieces of work, a WAOW…

Better than a wriggling out knacky flick on my nose.

 

So I put the third picture – a modern “I want to be loved!”, but with wrong expectations, right?

So, to the end, I put a R. Burri “street photography”. A beauty, and a wonder…

 

Thanks for reading!

 

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Proust : “Beautiful books are written in a kind of foreign language”

“Beautiful books are written in a kind of foreign language”.

 

Isn’t it true? What about other textfields? Articles? Theater plays? Dialogs in a movie? Blogs?

It’s about style, but not only. It’s about strangeization (adding little strange elements in the words flow to raise the reader’s eyebrows) but not only.

 

I blogged for eight years in French, and then now I write in English, precisely because it’s not my native language. I have to stay simple, to let go, I have to admit I’m not skilled enough to write as I would have liked to. I wrote an article about it : Writing in another language.

…until I realized it can be pleasant or funny for English readspeakers to read my warped little articles here :

  1. I make mistakes (I’m sorry for that!)
  2. I make mistakes on purpose
  3. I add French words in the phrases (so there), et voilà !
  4. I often hesitate between two words and then I aggregate them in a forfun way…

 

But I think Proust says more. I like this idea of inventing a slightly weird style in your own native language, when you write. This is a little string in the harp of writing creativity, I agree, but to me it’s an important string.

When I discover a new blog, I explore the ideas it presents, of course, but I really LOVE to find little leaning elements, the raising eyebrows kind…

written in a kind of foreign language

Yes sometimes it goes a bit far. I remember my shock when I began to read Faulkner, with his risky unpunctuated flows of conscience pages. Or Joyce, of course.

 

In France, the infinite, complex and delicious pages of Marcel Proust, the false spoken style of Céline, the gorgeous style of Colette or Jean Giono, the toxic pleasures of Marguerite Duras. I’m French. I read them in an awe, surprised and amazed by how they dare to write.

I do wonder how translators try to… transmit this in English!

 

Tools :

Is it a tool? Do you think about it when you write? How?

 

I could hands can see cooling fingers invisible swan-throat where less than Moses rod the glass touch tentative not to drumming lean cool throat drumming cooling the metal the glass full overfull cooling the glass the fingers flushing sleep leaving the taste of dampened sleep in the long silence of the throat I returned up the corridor, waking the lost feet in whispering battalions in the silence, into the gasoline, the watch telling its furious lie on the dark table.

Faulkner, The Sound and the Fury

 

(yes it’s about a guy in the night searching of the carafe of water in darkness)

 

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<< Virginia Woolf would sit down to thank a friend for sending her a slab of nougat from Saint-Tropez, but, put in mind of France by the package, she soon found herself talking only of the novel. “My great adventure is really Proust,” she wrote, “I am in a state of amazement; as if a miracle were being done before my eyes. How, at last, has someone solidified what has always escaped—and made it too into this beautiful and perfectly enduring substance? One has to put the book down and gasp. The pleasure becomes physical—like sun and wine and grapes and perfect serenity and intense vitality combined.” >>

 

 

#Deleuze about classification

“All classifications belong to this style; they are mobile, modifiable, retroactive, boundless, and their criteria vary from instance to instance. Some instances are full, others empty. A classification always involves bringing together things with different appearances and separating those that are very similar. That is the beginning of the formation of concepts.”

“Toutes les classifications sont de ce genre : elles sont mobiles, varient leurs critères suivant les cases, sont rétroactives et remaniables, illimitées. Certaines cases sont très peuplées, d’autres vides. Il s’agit toujours dans une classification de rapprocher des choses très différentes en apparence, et d’en séparer de très voisines. C’est la formation des concepts.”

Gilles Deleuze, Le Cerveau, c’est l’Ecran, in “Deux Régimes de Fous”.

 

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#minimalism #minimalist #minimalistic #minimalistics #minimal #insect #minimalobsession #photooftheday #minimalninja #instaminim #minimalisbd #simple #simplicity #keepitsimple #minimalplanet #love #instagood #minimalhunter #minimalista #minimalismo #beautiful #art #lessismore #simpleandpure #negativespace

 

 

Crime Novels are boring, Mr Whodidit, so what?

Crime Novels are boring, because there’s a murder or many murders (boring), a policeman or an investigator (boring), and at the end, we’re told who did it (boring).

There’s a trick I wrote about : read the end. Now you know Mr Whodidit, then read the book normally, and have fun with all the tricks the author uses to mislead you.

Well, writers have many levers to move, and they do it. Why? To debore the bored reader, right?

  • Show who did it at the beginning (Columbo)
  • Two investigators or more
  • More violence, or comedy
  • Change rhythm : get slow, or hysterical
  • Weird detective (Twin Peaks)
  • More scientific, political, etc (find a field)
  • Research in a foreign place or country
  • Trick (Silence of the Lambs : a killer helps to find a killer, haha)
  • More estheticism, more complexity (Blow Up)
  • Disappearance of an element (no body, no murder, no detective, no solution, etc)

Each attempts seems boring to me, but sometimes is works, Okeyyy. That’s the purpose (and the dial of this article) in poetry, advertising, photography, writing, etc :

How do you recover a bored audience?

Thanks for reading!

JP

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“Consider other doors, gallivanter!”

Sometimes you’re less interested by the works than by the theories, discussions, struggles, articles and letters by those who invented it or studied it.

Imagine you’re interested in cubism, or new wave music. You can study the paintings and listen to OMD’s albums, but you could also dislike all of it, and at the same time discovering plenty of good ideas and concepts in the articles, books, letters around these subjects.

Go to France, but visit other cities than Paris. Read a poet, but not his poetry. Focus on trains when you study WWII.

So what? Well, nothing more than :

“Consider other doors, gallivanter!”.

I’d go further : choose a field you really don’t want to like (pick one : Street Art, Turkish Music, history of the Loire Castles in France, early movies of Brian de Palma, African food, or Nicolas de Stael’s paintings), and you go girl!

You could be surprised. Or find harmonic links with what you like, concepts you could apply to your discipline, or other doors to even more interesting territories.

Thanks for reading!

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When a poet laughs of a painting (in relief!)

William Carlos Williams, recalling his first viewing of Marcel Duchamp’s Nude Descending a Staircase : “I burst out laughing from the relief it brought me! I felt as if an enormous weight had been lifted from my spirit for which I was infinitely grateful”.

Art advance can open paths for other arts. If you’re interested you’ll study the links between WC Williams and Duchamp. BUT you even don’t have to, to activate some ideas.

Duchamp’s abstraction is about decomposing the movement, of course, but there’s also a game with the title. If the title was “XY-56”, your mind wouldn’t have been engaged the same way, right? What would be the same in poetry? What can this bring to a poet? A game with a title? A decomposing symbol/word/frame process? A sense of freedom, and daring?

Tool :

Whenever you feel stuck or not, it could be interesting to explore “other fields”. Maybe if you’re a musician you should study avant-garde architecture, and if you blog, maybe you could read about strangeization? You’re a manager? Why wouldn’t you read anthropology, then?

Thanks for reading!

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Loops over Loops : What are Frippertronics? #Guitar #Fripp #ambient

Robert Fripp is an English guitarist, member of King Crimson. He worked with Brian Eno or David Bowie. Sometimes he has a really weird way to weave notes…

Wiki says : Frippertronics is an analog delay system consisting of two side-by-side tape recorders, configured so that the tape travels from the first machine to the other, allowing the sound recorded by the first machine to be played back later on the second, thus causing the delayed signal to repeat while new audio is mixed in with it. The amount of delay (a few seconds) is controlled by increasing or reducing the distance between the machines.

Voilà. It’s like a painter who would paint OVER his own work, continuously. The music speaks, then goes away, then goes back while the instrumentist plays over it, etc. Today it can be done digitally, of course!

Here’s an example at the beginning of a Peter Gabriel song :

Of course you can visualize the effect, like an eternal balancing loop. If you click towards the end of the song, you’ll hear this “cloud” of looping sounds…

David Sylvian uses it a lot, in the Splendid album Gone to Earth. The balancing decors of Healing place is made of Frippertronics :

 

Well, you’ll find more on YouTube!

My question is coming : why is it so rare today to hear this good “trick”? And if I enlarge this question it becomes a structure and a tool :

As a creative person, do you know (or would you like to search for it?) someone who invented a good rare way to invent in your discipline? In what area? Architecture? Poetry?

What tool would you pick up in order to use it your way?

What could a musician like Tim Exile do with a set of continuously vanishing loops?

What could be a darker way to Frippertronic? Listen to the guitars-weaving behind :

Thanks for reading!

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Préciosité – a French #Language mess

Who were Les Précieuses? A few ladies in some salons, in the 17th Century, under the reign of Louis XIV, king of France.

What is it all about? A very affected way of using words, with some quirky metaphors and periphrasis, banishment of “bad words”, a strong will to be original and precious. An overstatement of elegance and exquisiteness…

Of course it sounded pretentious (Molière satirized the Précieuses in his play Les Précieuses ridicules.), but it’s funny to watch it today. And it can be tool to work with.

Examples : 

  • A hand : “moving beauty”
  • Teeth : “mouth furniture”
  • Of course the eyes became “the mirrors of the soul”

There’s a French Dictionary of preciousity here : http://www.miscellanees.com/s/somaize.htm

Consequences :

Some idioms, in France, come from this period. We say “un billet doux” (“a sweet note”) for a love letter, and “perdre son sérieux” (“to lose one’s seriousness”) when you begin to laugh!

Dial :

What are the territories, today, which will maybe considered as “Précieuse” in the future?

Tool :

It can be a very little but useful tool in a brainstorming session. Stop everything. Gather what you already got, and make it Précieuse.

A common sense says that “less is beautiful”. So what if “more is beautiful… in another way”?

What can you MAKE précieuse? Words, of course. Design? Objects? Art? Poetry?

Thanks for reading!
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Instagram : ___bodylanguage___

Most Advanced, Yet Acceptable

Most Advanced, Yet Acceptable (MAYA) is a Raymond Loewy‘s principle about Design. I like this idea for many reasons.

It speaks about a limit, a frontier : your object, your “invention” tries to bring something new, but… if it’s too new, you lose the audience, you irritate people.

It’s a concept you can use on other territories. Web Design, of course. But also in many forms of Arts.

This “Tool” is a combination.

  • Lever (from simple to complex)
  • Dial (measuring where the audience is, from bored, to interested, to irritated or lost).

Who grasp this idea? Designers, Web Designers, Architects, and all artists who take care about the audience, of course.

Of course you have in mind the “pure artists” who are stubborn geniuses (or stubborn lonely “under rated”, haha). They have their own mind, their creativity. They create. Take it or leave it, guys! Their work falls, for a given audience, in these 4 categories :

  1. Boring simple zone “Whatever, it’s nothing new!”
  2. Comfort mainstream zone “Cool, I like it”
  3. Waow zone “This is new and great!”
  4. Failing zone “It’s weird, I don’t understand!”

Of course you have to consider the idea of being ahead of your time. Then it becomes Most Advanced, Unacceptable… but Acceptable one day! Well, maybe!

Tool/Lever/Dial Questions :

Where do you put your own lever, from creativity to take care of the audience? What can MAYA mean to a photographer? A poet? Could you apply that to your life? Where? Sex? Parenting? Where do you want to be ahead of your time? Where is the “risk” dial? Where can be the danger of “taking care too much” about the audience? Where’s the danger in Screen-Tests, in the movies? What about nuggets of Advanced/Unacceptable elements in a mainstream work? What is Avant-Garde? What if “You don’t know your audience that much”?

 

Sorry for my English. Thanks for reading!