{"id":155328,"date":"2021-10-14T16:44:06","date_gmt":"2021-10-14T20:44:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=155328"},"modified":"2022-03-21T11:48:51","modified_gmt":"2022-03-21T15:48:51","slug":"the-reviews-review-nocturne-vibes","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/14\/the-reviews-review-nocturne-vibes\/","title":{"rendered":"Nocturne Vibes"},"content":{"rendered":"
\"\"<\/a>

Added to \u201cGen X Soft Club\u201d Are.na channel by Evan Collins.<\/p><\/div>\n

I love this time of year. It takes a little while to adjust to the shorter days, but soon I settle into and relish the long dark hours. Some evenings I turn out the lamps, except for the dim reddish one, lie on the sofa, and listen to terrifying music. I love to feel my heart pound, my stomach drop, my blood move backward. I remember as a child encasing my head in my dad\u2019s enormous leather headphones and listening to his Hawkwind, Kate Bush, Pink Floyd, and Captain Beefheart records in the dark. The padded headphones were a helmet and the spooky eccentric sounds they emitted conjured a nocturnal universe that I soared and tumbled through alone, so alone. Over the years my repertoire of spine-chilling night music has grown and includes Scott Walker, Krzysztof Penderecki, Pan Daijing, Pauline Oliveros, Swans, and A\u00efsha Devi. A few years ago I splashed out on a ticket for Only the Sound Remains<\/i> at the Op\u00e9ra Garnier in Paris. Inspired by Noh theater and based on translated texts by Ezra Pound and Ernest Fenollosa, this musical work by Finnish composer Kaija Saariaho was unlike any performance I\u2019ve ever seen. So still, so minimal, so slow, and the auditorium was dark, so dark; cell by cell I was slowly blotted out. It was intensely unnerving yet weirdly consoling at the same time. Last night, after gnawing on some leftover sticky chicken and poking at eye-wateringly astringent red cabbage, I lay down and communed with the spectral sounds of Lichtbogen<\/a> and Petals<\/a> (performed here by the unsurpassable Imke Frank) and within moments I was overcome with the same feelings of terror, exhilaration, curiosity, and willful independence that swarmed around me as a small child. Bliss. \u2014Claire-Louise Bennett <\/strong>(Read Claire-Louise Bennett in conversation with Lauren Elkin<\/em> here<\/a>.)<\/p>\n

<\/p>\n

The Consumer Aesthetics Research Institute<\/span><\/a> was introduced to me a couple years ago, when I first learned the <\/span>word<\/span><\/a> for those muted, rainbow-toned Millennial blobs that stumble through subway ads for app-based services and resonate in the weird bubbles encapsulating the human forms on the cover of the new Sally Rooney novel. Dedicated to \u201cdeveloping a visual lexicon of consumer ephemera from the 1970s to now,\u201d their site archives and sorts images\u2014music video stills, home interiors, magazine illustrations, product photos\u2014into a dizzying number of distinct \u201caesthetic categories,\u201d which you can filter chronologically, by \u201cfirst known example,\u201d or by \u201cend of popularity.\u201d<\/span><\/p>\n

There\u2019s the easily recognizable contemporary internet aesthetics: <\/span>Pinterest Mom<\/span><\/a>, <\/span>Internet Awesomesauce<\/span><\/a> (nyancat), and <\/span>HyperBling<\/span><\/a>\u2014a pinker revival of the more golden 2000s-era <\/span>McBling<\/span><\/a>, which, CARI<\/small> fastidiously notes, is \u201clargely misattributed as \u2018y2k\u2019 on platforms like Instagram.\u201d And then there are slightly older categories in minor keys I didn\u2019t know I knew: <\/span>Indiecraft<\/span><\/a> (buttons, puppets); <\/span>Paperback Chic<\/span><\/a> (aka Chobanicore); <\/span>Gen X Soft Club <\/span><\/a>(think Kate Moss or consumer electronics shot au naturel); or <\/span>Soft Colonialist Wanderlust<\/span><\/a>, which covers the phonographs and hot air balloons that have traipsed off Neutral Milk Hotel album covers and onto, say, the wallpaper of the redesigned MGM Casino in Springfield, Massachusetts.\u00a0<\/span><\/p>\n

The project is not only a rich visual archive, but a categories game, a gleeful exercise in terminological pedantry that reminds us of the shocking fun of language (not to mention consumerism). There is the rare flash of recognition that accompanies matching a term to a thing, the ability to capture and communicate what was previously just <\/span>it<\/span><\/i>, and the desire to Spread the Word (if only I were able to filter caf\u00e9s on Yelp by #<\/span>GlobalVillageCoffeehouse<\/span><\/a>). Ever since I saw my first American Apparel ad, I knew I\u2019d be a lifelong adherent to the Cobra Snake flash photography vibe that CARI<\/small> calls \u201c<\/span>Indie Sleaze<\/span><\/a>.\u201d Tonight, consider incorporating <\/span>https:\/\/cari.institute\/aesthetics\/<\/span><\/a> into a personality-type party game. <\/span>\u2014Olivia Kan-Sperling<\/strong><\/p>\n

Empty Wardrobes<\/i><\/a>, the first work of the twentieth-century Portuguese writer Maria Judite de Carvalho to appear in English\u2014in a translation by the legendary Margaret Jull Costa and featuring an introduction by Kate Zambreno\u2014is a book about how men betray women, and how women betray each other. After Dora learns a distressing secret concerning her dead husband, whom she has publicly mourned for the last ten years, her life falls apart. What follows is a work that does not hesitate to expose the cruelties and power grabs that lie beneath marriage, and how quickly society discards aging women. \u201cWhen single women reach a certain age, they\u2019re so . . . frightening,\u201d says Lisa, Dora\u2019s teenage daughter, at one point. \u201cThey wither away, don\u2019t they?\u201d Foolish Lisa! She forgets that she will one day age, too. \u2014Rhian Sasseen <\/strong>(Read Kate Zambreno\u2019s introduction to <\/em>Empty Wardrobes here<\/a>.)<\/p>\n

\"\"<\/a>

Menus of the \u201cGlobal Village Coffeehouse\u201d aesthetic added to Are.na by Evan Collins.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

We review consumer aesthetics, night music, and distressing secrets.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[16960,67827],"class_list":["post-155328","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-aesthetics","tag-featured"],"acf":[],"yoast_head":"\nNocturne Vibes by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 14, 2021 \u2013 We review consumer aesthetics, night music, and distressing secrets.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/14\/the-reviews-review-nocturne-vibes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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