Word: household
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Stomp's conception is this: The world around us is filled with rhythm--rhythm that can be drawn out of anything; household objects, industrial junk, the lowbrow things you find in your pockets, the natural world itself. That means that the world is filled with music. "You can make music out of absolutely anything, whether it's...tapping on a Coke can or picking up pebbles on the beach," says the show's co-creator Steve McNicholas. "It's what you want to do with...
...same time, Stomp is very definitely creating a "ritual" of sorts for the very culture it came out of. As McNicholas says, if people insist on deriving any message from Stomp, it should be "Do it yourself." (Using junk, household and industrial objects, by its very nature, challenges the issue of waste and challenges the notion of culture as being highbrow or detached," he says. "I.e., you don't have to buy a cello or a drum kit to make music...
...film's cropping is so tight that it excludes any human involvement, and ordinary household objects become screen stars before our mesmerized eyes. A potato warrior, two kitchen knives tied to its back, plunges down a ramp and a lazy tire hops aboard a tiny wheeled cart, only to glide a little further before hitting its target. The elaborate set-up is at once a marvel of makeshift precision and comic redundancy (just imagine a wheel riding a cart!), and these moments of transcendent anthropomorphism simultaneously account for the film's humor and its morbid undercurrent. Eventually the series will...
...Barbara Kruger, Jeff Koons and Jenny Holzer. Unlike these artists who often use monumental signage or sculpture to launch their critiques, Fischli and Weiss' more timid and ambiguous probing never risks assuming the inflexible stance of the institutions it questions. How, for example, could a photograph of precariously balanced household implements titled "Reagan's Model for Armed Space Travel" ever be accused of the ideological hegemony it coyly attacks...
Austin Sloper, a prominent New York doctor, first enters after a day spent delivering someone's child. His solicitous care of other families stands in cruel ironic contrast to the distant, detached husk he becomes in his own household. His daughter, by contrast, exists in perpetually stunted emotional tumult. In her first line, she seeks approval from her aunt Lavinia (Eve Johnson), holding the skirt of her new dress, nervously asking, "Do you like the color...