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| dr. jennifer melfi, dialogue, woody harrelson, denis leary, nona gaye, libya, omani, stacey, party, boobies, tony danza, larry david, camelot, gabe jeffrey, berber, chuck low, industrial, squishy, robert smith, lebanon, iraqi, | And after enough time, unfogged it just all looks beautiful. Once the Window of Ugliness closes, you'd need unfogged to be a specialist, someone who deliberately surrounds themselves with a style in order to be able to still see the ugliness. Which unfogged is why you can have historians wandering around saying what types of 18th century Scandinavian architecture they find beautiful and what types of 18th century Scandinavian architecture they find ugly. But to everybody else all 18th century Scandinavian architecture is beautiful. And I think we should remember that when we talk about art. And all shitty artists - especially shitty digital artists - should take great solace in this because 200 years from now even the shittiest digital art is going to look as good as - what's his fucking name - Matthew Barney. L: (Laughs hysterically) K: No one will be able to tell it apart. |
Best Mature Paysites
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| It was at its peak in the late 70's or early 80's. That's when Jonathan Richman sang: "the 50's apartment house looks bleak in the 1970's sun." And the broader point that I would take from it is berber that the whole idea of beauty or quality in culture, in art, is absolutely contingent upon berber context. berber When you're immersed in a style, surrounded by it at all times, you eventually start differentiating between good examples of it and bad examples of it. You become hyper-sensitive and hyper-critical of subtle elements in the style, and after enough time and exposure almost every example of it starts to look ugly to your rarified tastes. But after it stops being ubiquitous and enough time passes, people gets removed enough from it to stop being sick of it, they get a little perspective on it, and start seeing the samenesses in it, not the little differences. |
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