När Är Det Humor (Part 4)

När Är Det Humor (Part 4)


Introduktion

Jag ska i denna essä analysera Andy Kaufman och visa på att även om hans tidiga verk möjligen kan klassificeras som (experimentell) humor hans senare del (progressivt utkristallerade karriär) ger honom status som konstnär (förmest).


(Expressionistisk) humor

Som start vill jag visa på att ett av Kaufman's tidiga verk - the 'Mighty Mouse-bit' (mimik till grammofon spelandes introlåten till den animerade serien 'Mighty Mouse') - kan tolkas som ett slags (experimentell) expressionistisk humor. Detta är dock tvetydigt då all (den mesta) humor kan sägas vara expressionistisk med skillnaden här att the 'Mighty Mouse-bit' är till formen humor men är lika mycket ett uttryck för Kaufman's osäkerhet och kan på så sätt kunna definieras som konst.


Konceptuell humor

Ett annat tidigt verk är karaktären 'Foreign Man' som i likhet med t.ex 'Gregg Turkington's' 'Neil Hamburger'-karaktär är en spelad (awful) stå-uppkomiker som möjligen kan definieras som konceptuell humor (humor med avsaknad av emotionen skratt men med en känsla av förnöjsamhet (som här ska ses i samklang med Kaufman's progression mot konstnär).


Expressionistisk konst

Kaufman's (progressiva) utveckling mot konstnär blir mer tydlig med exemplet 'The Great Gatsby-bit' - recitering av romanen The Great Gatsby från början till slut; här med syfte att väcka en känsla hos publiken. Då denna känsla dock etableras tidigt i 'The Great Gatsby-bit' och är relativt lättdefinierad kan detta ses som ett expressionistiskt (med vagt tolkningsutrymme) konstverk.


Performancekonst

Som exempel på performancekonst från nämnde Andy Kaufman (och med mer vitt tolkningsutrymme (array of emotions)) vill jag använda mig av Kaufman's karaktär Tony Clifton; som är en tidig version av den humor som numera identifieras med t.ex Andrew Dice Clay. Här ges något mellanting mellan humor och konst med mer balans mot konst då Tony Clifton sällan levererar skämt (jokes; gags).


Abstrakt expressionistisk konst

Som sista exempel ges the 'Sleeping-bit' som är ännu tydligare definierat som konst; och möjligen kan gå under definitionen abstrakt expressionistiskt konst (öppen för tolkning (brett) av betraktaren). Verket består av Kaufman på scen som rullar fram en kudde och täcke och instruerar publiken att lägga sig och sova.

// Niclas V & Niclas VI

Anna Odell - Okänd, Kvinna 2009-349701 i ett modernistiskt perspektiv

Okänd, Kvinna 2009-349701 [Konstvärlden]



Anna Odell
Okänd, Kvinna 2009-349701
5860120101=L
psycho-social, 2009


Verket blir här symbol för det (o)utsagda. Det kan här diskuteras om Odell möjligen var psykotisk natten för verket och använde sin psykos till att göra hennes fantasier till verklighet. Här blir subjektet överordnat objektet och när Odell's drömmar blir verklighet är hon således inte längre ett psykiatrisubjekt utan ett konstsubjekt.

// Niclas VI

Anna Odell - Okänd, Kvinna 2009-349701 i ett postmodernt perspektiv

Okänd, Kvinna 2009-349701 [Konstvärlden]



Anna Odell
Okänd, Kvinna 2009-349701
5860120101=L
psycho-social, 2009


Verket beskriver psykiatrins respektive konstens gränser. Odell kan ses som av konstnärsdrömmar och där är hennes verk fast förankrat i psykiatrivärlden (sjuk kvinna som drömmer om att bli konstnär). Samtidigt kan Odell göra fantasier till verklighet vilket visas genom verket där hon skrider från psykiatrivärlden till konstvärlden. Som hon gör det så är hon inte längre ett psykiatrisubjekt men ändå som om hon vore schizofren (fantasy=reality).

// Niclas VI

Santa Claus i ett kollektivt konceptperspektiv

Jultomten på Elvis

And then come the day (2950); practically every Elvis-believer (Elvisimpersonator) turns Santas since no one believes in Elvis anymore. And then came a day; when some Elvis-believers who still struck to the core saw to duplicate the Elvis-believers of the world (cloning) and Elvis-believers clones of the now-world so turns Santa Clauses.

And so came a day when Santa Claus finds little job in the now-world of many Santas and so came the day when he visits a Working Pool Agency. And so came the day when Santa Claus finds a contractor enables him to be Elvis and vice-versa (work interchange).

And soon comes a day when some Santa-impersonators turns Elvis-impersonators again (growing tired of 'Jingle Bells' (and the small outlet of Christmas songs)). And soon comes the day when many Santas turns abide.

Elvis was once again victorious.

Santa Claus was once again victorious.

And so the Christmas was once again saved.

// Henrik Aronsson (Other Persona)

Oleg Kulik - The Mad Dog Performance [Konstvärlden]

The Mad Dog Performance



Oleg Kulik
The Mad Dog Performance
5860120101=L
performance, 2001


The Mad Dog Performance i ett postmodernt perspektiv

As raw as empowering.


The Mad Dog Performance i ett modernistiskt perspektiv

As raw as valuable.


The Mad Dog Performance i ett expressionistiskt perspektiv

As raw as tactile.


The Mad Dog Performance i ett romantiskt perspektiv

As raw as enlightening.


The Mad Dog Performance i ett outsider art-perspektiv

As raw as futile.


The Mad Dog Performance i ett neoklassicistiskt perspektiv

As raw as delightening.


The Mad Dog Performance i ett klassicistiskt perspektiv

As raw as empowering.

// Arreality Reconfigurating SevenCraft (Fantasy Creature) & Henrik Aronsson (Fantasy Creature)

Plan 5 from Outer Space

The story starts off with alien invaders trying to subdue Earth by instirring zombie alien timetravellers. The trick went not so good. That attempt was afterwards dubbed as 'Plane 5 from Outer Space'. The story follows with an attempt known as 'Plan 50 from Outer Space' which involved zombie alien midget timetravellers trying to subdue Earth. The trick went not so good as Earth counterattacked with three step jumper Jhonatan Edwards and Christian Olsson jumping to the frontline and erradicating the alien mastermind (leader). Next attempt came with 'Plan 901 from Outer Space' which involved zombie alien misfit midget timetraveller. The trick went not so good as Earth answered with a mass of banana skids annihilating most of the attackers. The alien invaders then set their sight on the Moon starting with 'Plan 5 from Outer Space. The trick went not so good. The next attempt involved the alien invaders timetravelling to 1969 to subdue and mishap the Moon-landing. In the attempt of 'Plan 50 from Outer Space' the alien invaders went not so good as Jhonatan Edwards and Christian Olsson were part of the Moon-landing crew ('One small step for the athletics-world and three giant leaps for mankind'). The attempt known as 'Plan 901 from Outer Space' then followed. This time the alien misfit midget timetravellers were successful as the banana skids counteracted the Moon-landing ('One small step for man and one giant mistep for mankind.)

// Henrik Aronsson (Fantasy Creature)

Santa Claus i ett emigrationsreseperspektiv

Jultomten i New York

Going into new decades (2270 to be exact) Santa Claus still lingers with a money problem. Going into decades the new people of the world show a new-coming demand as more people grow nicer. Going into decades Santa Claus founds a problem in the work ethics - feeling tired after two-some days of hard work in the Christmas-giftbearing.

The solution to all this soon wait around the corner with the Christmas-giftbearing being sold out to form a franschise-type of action (splitting the World's gift-bearing in timely timed blocks). On top of all this; the Santa gift-bearing franschise is being fed with a headquarter in New York. At some time going into the new decades this headquarter sees to gather all Santas of the world for a rendezvous.

Going into the Santa-meeting the concept of the meeting centers through New York City's mayor clarifying (lobbying (for)) the need for Santas in New York highlighting the latest Christmas' flaw in the gift-bearing activity (as per New York). It is soon decided that the world's combined Santas will have to reposition to New York (and carry that location in their gift-bearing) (successful lobbying).

Going into the new decades (as per 2276) New Yersey merches with New York to create the world's first real metropolis. This new area is then covered by the Santa Claus' Christmas gift-bearing.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)

Santa Claus i ett neoklassicistiskt konstperspektiv

Santa Claus i ett neoklassicistiskt konstperspektiv

Coming into 2250 Santa Claus still is out of funds and still buys grocery store supplies as Christmas gifts. If it wasn't bad before things are even worse now - leading Santa Claus to divide his Christmas-giftbearing all year around to save up money.

But after 'Mother Scans' timely fundraising diploma from her to Santa Claus things started to look a little more on the bright side - Santa Claus now bringing 'Mother Scans' meatballs to all the worlds children.

Moses, thue - as one of the worlds leaders (and perhaps instigated to be entitled to a better Christmas present) - couldn't accept 'Mother Scans' meatballs as he just wanted meatballs from his long gone mother - but after it was proven Moses mother started the first ICA store (trade venture w/ meatballs) he would soon accept ICA meatballs as Christmas gift.

Rod Ferrell, thue - as one of the world's leaders (and perhaps instigated to be entitled to a better Christmas present) - didn't like 'Mother Scans' meatballs so he got Christmas meatballs instead. (As one of the Christmas gift-recipients around Christmas time).

Wagner, thue - as one of the world's leaders (and perhaps instigated to be entitled to a better Christmas present) - didn't like meatballs at all.

This presented a huge problem for Santa Claus before he found a way in turning ICA-stores to art galleries with an acknowledged art piece (found site-specific installation). Wagner could now be given art meatballs which had the aquired technicals for Wagner.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)

Some most fantasy friends

Some friends had been released by Scarlet Witch only to see them go through a personality disorder when handled in be- tween the 'Juxtapositional Marker'. The 'Juxtapositional Marker' transformered these fantasy friends into Santa Clauses living aside a tree hill. These were then sub- jected to a personality unorder and transfomed to a poker professional within the 'Juxtapositional Marker'. The juxtapositional poker player-friends fought well with the juxtapositional Santa Clauses. Then there arrived fantasy friends with a personality inorder. These were transformed into poker playing Santa Clauses within the 'Juxtapositional Marker'. The juxtapositional poker playing Santa Clauses fought well with a group of checkers playing Easter Bunnies. Santa Claus then set about to playing a marathon poker session but his clone - the personality ordered "dying" Santa Claus sets over him and declared the Christmas to be over.

// Arreality Reestablished To (Morning) (Fantasy Creature) & Arreality Rephased To (Evening) (Fantasy Creature)

Henrik Aronsson - Great Dane

Great Dane [Konstvärlden]



Henrik Aronsson
Great Dane
012604510901=N
site-specific conceptual performance, 2019


Great Dane i ett postmodernt perspektiv

Här får hunden röra sig fritt i en konsthall.


Great Dane i ett modernistiskt perspektiv

Här får hund med husse röra sig fritt i en konsthall.


Great Dane i ett pop art-perspektiv

Här blir hunden masskonsumerad (hundbeskaffning).


Great Dane i ett romantiskt perspektiv

Här blir hund på promenad konst.


Great Dane i ett neoklassicistiskt perspektiv

Här blir promenad med hund konst.



Great Dane [Kennelvärlden]



Henrik Aronsson
Great Dane
012604510901=N
great dane, 2019


Great Dane i ett postmodernt perspektiv

Här bir blir hunden utställd och bedömd.


Great Dane i ett modernistiskt perspektiv

Här blir hunden ett societsattribut.


Great Dane i ett pop art-perspektiv

Här blir hunden massavlad med otaliga valpar.


Great Dane i ett romantiskt perspektiv

Här blir hunden en promenad.


Great Dane i ett neoklassicistiskt perspektiv

Här blir hunden ett sällskap.

// Arreality ReJuiced Today (Much) (Fantasy Creature) & Arreality Reconfigurating Fluxus-day (Fantasy Creature)

On Fantasy Friends And Alignment

On Fantasy Friends And Alignment


Intro

The basis on fantasy creatures alignment lies in the fact that all friends (creatures) can only be aligned as 'Near' or 'Far Away'. Variations on these coordinates can be adressed within the borderlines that is further explained down below. The confound basic can thue be expressed as 'Near'-friends as meta-narrative and 'Far'-friends as metameta-narrative. This will then overwrite a former definement of metameta-narrative or meta-narrative.


Borderlines (Deductibility)

These clarifications is then wider set with 'Near'-friends being constituted as with deductibility or without deductibility and 'Far'-friends without deductibility (the only exception to this rule is the 'Meta'-friend (all-knowing female entity (and friend)).


Borderlines (further explained) (conclusionary/inconclusionary)

The conclusionary borderline defines whether a fantasy friend (creature) brings solidation or not. Values of conclusionary (more/less) and a value of inconclusionary applies; please do see that albeit which value is set this acts as the confinement of the fantasy friend.


Borderlines (further explained) (less capacity timed/more capacity timed)

This borderline sets the capacity time of the friend when in engagement with its owner. Values of low to more does apply with a protracted capacity time as value of most or lowest. Please note that a fantasy friend can be derived conclusionary (more) even if it acts with a lesser capacity time.


Brief Psychotic State

Fantasy friends can also be in a brief psychotic state; handled within that borderline the values of deductible metameta-narrative transfers with an arbitrary value(s) of capacity time.

// Henrik Aronsson (Other Persona)