第1周&2:Weird(rewrite)
Weird
Returning to the topic of the first week of research, I will be reorganising and reflecting on my research on weird.
At first, when I approached the topic of ‘weird’, I couldn’t immediately imagine an explanation for it, as I had a preconceived idea that weird represented eccentricity, but as I began to research it, my view of it gradually became clearer. Here let’s answer the problem scenario once again and try to unravel it.
‘”Weird Studies” is a scholarly field that doesn’t and can’t exist. It is the bulging file labelled “other/misc.” in our mental It is the bulging file labelled “other/misc.” in our mental filing cabinet, full of supernatural entities, magical synchronicities, and occult rites. perception and ordinary things become uncanny. (‘https://www.weirdstudies.com/about …’)
The above problematic scenario comes from the blog, but we can see that the blogger gives us a paradox in understanding ‘weird’: on the one hand, it is a field that does not exist and cannot be studied, while on the other hand we have to define it in terms of a fixed concept.
For my part, however, I do not entirely agree with the blogger’s view. I think that weirdness is an area that can be studied. There are various vehicles through which we can explore the field of weird. For example, in my assignment, I used music as a vehicle to infuse weird ideas into my miro board, finding different types of music about wired and coining a new term ‘monsmusic‘ to explain my weird music – a music that looks scary like a monster weird, but with boundless energy. Although I was at a loss before the process began, using the vehicle as a starting point was certainly a good way to look at weird. For example: Noys, B. & Murphy, T.S. In this article, the authors use the novel as a vehicle for a detailed analysis of the old and new weird. The article points out that The Old Weird dates back to between 1880 and 1940, while The New Weird is a term coined by M. John Harrison in 2003 (Davies 2010, 6), and then in Clive Barker’s 1980 novel, weirdness once again takes shape as a new, desolate concept of concept of a radically chaotic universe.
From this we can see that when we find a vehicle for weirdness, I think it is an area that exists and can be studied. So I think the blogger is speaking too absolutely…
Reflection:
When I was given the task, I didn’t know where to start with my task. I tried to talk to my classmates to find out what they thought about weird, and I was glad that my friend accepted my interview. It’s often a derogatory term. It’s often a derogatory term. weird people often endure the loniness and pain that ordinary people can not understand. But I think weird sometimes means to be unconventional, not compromising with the vulgar, Van Gogh is a typical example.
StudentB: Weird for me is something that makes me uncomfortable. And I don’t know and don’t understand one thing that comes to I don’t understand the trend on Tiktok and why people find it interesting.
From this, it seems that they all have similarities in their understanding of weirdness, but each has their own unique take on what is ultimately weird. This also means that everyone’s understanding of weird is not exactly the same. So I set out to find a vehicle to support what I thought of as ‘weird’.
I chose to use music as an entry point to explore my research into weirdness. Firstly, I created a world of weird music, dividing it into weird themes, weird melodies, weird lyrics and other aspects to present different manifestations of weird music. Finally I went further with an Alzheimer’s themed piece of music to explain. It is the eleventh recording by British electronic musician The Caretaker (real name Leyland Kirby). It is the eleventh recording by British electronic musician The Caretaker (real name Leyland Kirby) . This music is 6 hours long, which breaks my perception of the length of music and its subject matter changes my stereotype of what is current and new. Here we assume that 10 people with Alzheimer’s disease are in a room together and play this song to see how they react to different sections of the song. Some will sit in a corner, some will cry out loud, some will be silent, some will laugh out loud …… Their different reactions to the music made me think about the meaning of music. The different states that the participants showed were, in my opinion, perhaps their expression of their inner feelings.
As this was a group assignment, each of us in the Basho group completed our own ‘imaginary world’ of ‘weird’ and when we got together to discuss it, I was interested in what my fellow group members were studying in the field of ‘ghostology’. I was interested in the field of “hauntology” that my fellow group members were studying, so to explore “monsmusic” further, I read some more literature and to my surprise, I found a definition in Mark Fisher’s hauntology. He classifies this type of music, which is distinct from popular music, such as electronic music, as hauntology. This type of music sounds like ‘ghosts’, but what best defines this ‘ghostly’ fusion is its confrontation with cultural deadlocks (2012, p.16). It tells the story of how, over time, electronic music has changed the senses of the listener from being a symbol of ‘futurism’ in the beginning to becoming music that does not fit into the present form or even into a new future.
On the contrary, the music chosen for my group’s assignment brings a new feeling and I believe it will give the listener a new experience.
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