THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Friday, October 18, 1996 TAG: 9610180048
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
TYPE: Opinion
SOURCE: GRACE HSIU
LENGTH: 63 lines
SOMEWHERE IN NORFOLK exists one exceptional philosopher named Sam.
I happened to pick up a piece of wrinkled newsprint that had a crayon rendering of a stick figure whacking an unintelligible beast. The caption read: ``If I could do anything in the whole wide world, I would exploit art and make a lot of money.''
The letter was signed by a boy named Sam, age 7.
That is probably one of the most profound statements I have ever encountered. And from a 7-year-old no less.
As Sam will tell you, five out of every six people are born suckers. The sixth person is the con artist. And that incredibly intelligent being should be applauded for always making an obscene amount of money. Stand up, Bill Gates.
You would think, that after a generation of abusing art, someone would have the decency to think up something that involved more talent. And I define ``abusing art'' as being a canvas painted all black named ``Oscillation of the Daisies,'' selling at a sum of approximately the number of years it takes all the plastic foam cups at The Price Club to decompose.
But you know, it's art. It was the artist's intention for it to represent floating flowers. And how would the artisto-extraordinaire explain the black? Well, it's the underside of an eyelid imagining wayward daisies.
And I have two words for you: Yeah, right.
John Cage, one of the more acclaimed post-modern composers, has created a variety of ``thought-provoking'' pieces. All of which are highly creative, yet terribly enduring.
``4' 33'' '' is exactly that: four minutes and 33 seconds of silence. The music, explains Mr. Composer, comes from the audience. Basically, for four minutes and 33 seconds, you can hear murmurs of ``What the heck. . . ?'' and ``PLAY SOME REAL ROCK 'N' ROLL!'' and the sound of M&Ms raining on the floor of the music hall. All while staring at a French horn player sitting mutely on stage.
As you might have guessed, there is no melody in post-contemporary modern music. There is no theory in post-contemporary modern music. And some of you might say, there is no music in post-contemporary modern music.
The only thing worse than these oh-so-intellectually-stimulating artworks are the people who evaluate the essence of this art. They will either shiver with gross exaggeration or claim to hear the soul of folk singer Bob Dylan when they ``experience'' the presentation. Well, congratulations and you win the porcelain hairnet. So, included in this presentation, you might be able to hear the spirit of a quasi-flower child and shake subconsciously.
I could say any pre-conceived, highly intellectual statement on how ``abusing art is bad.'' And you could reply ``Well, thank you, Dr. Insight! Abusing anything is detrimental! What a new concept.''
Steven Kung, 19, a second-year student at the University of Virginia, argued, ``I think that people who don't accept (things like) post-contemporary music are closed-minded individuals.''
But I think we've gone a bit too far to the point where a lot of ``artists'' are picking the pockets of the masses.
Subjectivity is so disillusioning. MEMO: Grace Hsiu is a junior at Cox High School. Her column appears
bimonthly. If you'd like to comment on her column, call INFOLINE at
640-5555 and enter category 6778 or write to her at 4565 Virginia Beach
Blvd., Virginia Beach, Va. 23462 by CNB