Vision of ARTPOP?

[Inferno 2,880]

3 hours ago, FameMonster01 said:

She definitely had VISIONS and ideas for the album, I bet she was going to originally have a visual album. A video for each track, maybe even put out an ARTPOP movie. But her management fuc*ed her over. I mean we could see in the short ARTPOP movie, she was BURSTING with ideas, the fallen angel, apocalypse.. All these ideas that her team put an end to. And what for? Money. It is very sad. If she had the right team, time to prepare the concepts it could have been one of the most cryptic and artistic albums ever made.

Had the ARTPOP Film not had to have been what it was and she were able to spread out her ideas for different tracks over a few visuals or whatever, I think they would have been a lot more successful creatively.

[bxr 1,016]

Neither here nor there, but since it wasn’t mentioned … for the sake of reference

Despite the all-encompassing everything of the rollout and erratic trajectory … the genesis vision always seemed definitively rooted in the conceptual abbreviation’s vantage.

 

Spoiler

 

And, just because, additional rumination notation through the potential of nonsense …

Even the all-caps details was like … emphasizing the concept expressed through abbreviation

But, my blind naïveté notwithstanding … the vision always felt completely in that focal lens. So, as far the Warholian reversal — the creative process, general framework and business model of The Factory ( a la “The Warhol Economy” ) became a blueprint for the very real and present cultural economy today — and to reverse that, beyond just the artistic process or the aesthetic of Pop Art vs ARTPOP, but rather the fundamental dynamic between artists, curators, producers, financiers / investors, the audience, etc. within the marketplace and cultural hierarchy itself, doesn’t feel like a mere mission …

And, segueing from that end of the spectrum, to the revolution / corporate coup, feels like an “and” more so than “or,” as corporations (in relation to creative industries) are effectually The Factory at scale in this day and age … so, again, I guess there’s that … and it’s quite a comprehensive and intricate endeavor given all of the elements at play within the deceptively simple mission of: Artistic Revolution Through The Potential Of Pop — it’s pop (which I guess is media, culture, entertainment), art, politics, economics, and business, at the very least — which, is again, a lot happening in the scope. Then, of course, the art history element, which … tbh 2013 was really feeling antilectual, so fwiw — to have the pretension of someone willing to inject their work with hyper-referential imagery, at least it was incentive for the audience to pick up a book … and, even if her articulation of the references wasn’t always the most “intelligent,” ARTPOP was an intellectually-considered work in itself.

So, idk I guess ARTPOP always felt like a movement, and ARTPOP, felt like it ended up being a kamikaze mission (like a product that was part of the larger process) … where — and again, abstract overthinking blind naïveté — the commercial product itself became the bane, burden, and financial catastrophe for the corporate entity — (and yet remains the creator’s still-beloved weird darling) from a cultural form vantage, it was kind of her Blackout … express the chaos of your immediate condition through a creative work that will be distributed as a commercial product … translate that experience to the marketplace (or something to that effect) — basically, it felt like if the goal was creative rebellion against autocratic corporations, siphoning their corporate budget to develop massive experiential events (a good number of which involved direct and immediate fan interaction / engagement — because ARTPOP is also, at its core, about maintaining that ironclad bond between the artist and their truest fans) still feels aligned with the vision … to be her own collateral damage, also seems aligned with at least seeing herself as an artist, as an independent contractor for a corporation, as someone who feels exploited by corporate handlers / the industry itself, and so revoting from the inside by dismantling the very product of herself (her image, persona, market viability) as a profitable music artist in the commercial marketplace.

Spoiler

And, yes, exogenous agonists of the chemical sort were obviously involved in the process … so, didn’t really know where to add  noting awareness of that collaborative entity as well …

So, idk, that fragmented tangent aside … sometimes losing the battle means winning the war; she’s still around, ARTPOP is still a living discourse (and collectible status on vinyl), so I guess the potential for revolution never really expires … plus Pop is always the battlefield in this corporate consumer capitalist coliseum culture … and that’s the space for revolutionary potential. And Venus as the face of the movement is just fundamental love over money symbolism … divine feminine of art to juxtapose from the material masculinity of industry … or that’s just what it felt like … goddess of love vs gods of war (industry is martial business) … or maybe ARTPOP is just about making love and art to enjoy at liberty (by using corporate means of production to create non-commercially distributed work)

( ~40:19 … but also, kind of just the whole keynote unfolding)

Anyways … this question always feels like a question in a thesis defense … as to properly explore and explain the extent of ARTPOP is effectually a dissertation …

But all of the aforementioned is rooted in the vision itself … so just, rewind remind on the primary POV

*Please don’t curb stomp this commentary too aggressively

 

 

 

[Dan the Gaga Stan 9]

I actually think the ARTPOP era had a lot more potential. Some of the performances were fantastic, and her music video for GUY was imo, one of her best. The visuals during ARTPOP were sleek, colourful.

For example the iTunes festival was one of my favourite ad hoc shows she’s done. Can remember now back in the day, hearing songs for the first time LIVE and those performances were amazing. 

Also the album release ARTrave show, I remember staying up to watch that and was slated! 

The album is actually very good, however in hindsight could have been better if the production was closer to what was in the live performances such as iTunes or art rave.

ARTPOP the song itself, I just love, love, love that song one of my fave Gaga songs, it’s so ethereal, physcadelic and hypnotising. But I prefer the live performances of it, especially iTunes swinefest, and also the Jimmy Falon where she starts on the piano, then gets up down the steps with her guitarist. 

Im going on here, but yeah, I don’t know how she felt herself about it, she was going through difficult times, but I think her management at the time may had something to do with it, and she wasn’t able to fulfill her full vision with the album version of songs being changed a lot.

that’s all my opinions, ARTPOP will always have a place in my heart though. 

[MrHappy 1,717]

On 9/2/2019 at 10:16 PM, Seeka said:

Her hip broke. Her manager betrayed her. She had to finance an entire music video herself. She wasn't allowed to single choices she wanted...

She was depressed and shattered. 

Be glad we got anything. 

I have to say I missed that manager issue, Whats happen with that manager ? 

[seashellplay 512]

why is this still alive wtf!!!! haroon please take this down