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A Century of Scholarship 1881 – 2004
A Century of Scholarship 1881 – 2004 Distinguished Scholars Reception Program (Date – TBD) Preface A HUNDRED YEARS OF SCHOLARSHIP AND RESEARCH AT MARQUETTE UNIVERSITY DISTINGUISHED SCHOLARS’ RECEPTION (DATE – TBD) At today’s reception we celebrate the outstanding accomplishments, excluding scholarship and creativity of Marquette remarkable records in many non-scholarly faculty, staff and alumni throughout the pursuits. It is noted that the careers of last century, and we eagerly anticipate the some alumni have been recognized more coming century. From what you read in fully over the years through various this booklet, who can imagine the scope Alumni Association awards. and importance of the work Marquette people will do during the coming hundred Given limitations, it is likely that some years? deserving individuals have been omitted and others have incomplete or incorrect In addition, this gathering honors the citations in the program listing. Apologies recipient of the Lawrence G. Haggerty are extended to anyone whose work has Faculty Award for Research Excellence, not been properly recognized; just as as well as recognizing the prestigious prize scholarship is a work always in progress, and the man for whom it is named. so is the compilation of a list like the one Presented for the first time in the year that follows. To improve the 2000, the award has come to be regarded completeness and correctness of the as a distinguishing mark of faculty listing, you are invited to submit to the excellence in research and scholarship. Graduate School the names of individuals and titles of works and honors that have This program lists much of the published been omitted or wrongly cited so that scholarship, grant awards, and major additions and changes can be made to the honors and distinctions among database. -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Michele Leigh Paper : Animated Music
GA2012 – XV Generative Art Conference Michele Leigh Paper : Animated Music: Early Experiments with Generative Art Abstract: This paper will explore the historical underpinnings of early abstract animation, more particularly attempts at visual representations of music. In order to set the stage for a discussion of the animated musical form, I will briefly draw connections to futurist experiments in art, which strove to represent both movement and music (Wassily Kandinsky for instance), as a means of illustrating a more explicit desire in animation to extend the boundaries of the art in terms of materials and/or techniques By highlighting the work of experimental animators like Hans Richter, Oskar Fishinger, and Mary Ellen Bute, this paper will map the historical connection between musical and animation as an early form of generative art. I will unpack the ways in which these filmmakers were creating open texts that challenged the viewer to participate in the creation of meaning and thus functioned as proto-generative art. Topic: Animation Finally, I will discuss the networked visual-music performances of Vibeke Sorenson as an artist who bridges the experimental animation Authors: tradition, started by Richter and Bute, and contemporary generative art Michele Leigh, practices. Department of Cinema & Photography This paper will lay the foundation for our understanding of the Southern Illinois history/histories of generative arts practice. University Carbondale www.siu.edu You can send this abstract with 2 files (.doc and .pdf file) to [email protected] or send them directly to the Chair of GA conferences [email protected] References: [1] Paul Wells, “Understanding Animation,” Routledge, New York, 1998. -
Georg Wilhelm Pabst : Blessure De La Guerre, Cicatrices De La Pellicule
SYMPOSIUM CULTURE @ KULTUR Research paper • DOI: 10.2478/sck-2021-0001 • Symposium • 3(1) • 2021 • 1–6 Georg Wilhelm Pabst : blessure de la guerre, cicatrices de la pellicule Louise Dumas Abstract Von allen Filmemachern, die Deutschlands filmischen Ruhm in der Zwischenkriegszeit ausmachten, ist G. W. Pabst derjenige, der am wenig- sten Anerkennung erhielt – oder am längsten dafür gebraucht hat. Er ist aber auch derjenige, der schon Ende der 1920er Jahre den Ersten Weltkrieg zu einem filmischen Ereignis machte, das in vier seiner Filme mehr oder weniger direkt thematisiert wird:Die Liebe der Jeanne Ney, Westfront 1918, Kameradschaft und Mademoiselle Docteur. Der Krieg wird als eine traumatische Erfahrung dargestellt, die Einzelpersonen, Seelen und Völker verwundet hat. Dabei bilden auch diese vier Filme ein Manifest der Filmkunst, die grundsätzlich eine Dialektik vom Trennen und Verbinden ist. In diesem Sinne hat das Kino durch seine medienästhetischen Mittel die Kraft, die Wunden des Krieges zu verarbeiten und zu heilen. De tous les réalisateurs qui ont fait la gloire cinématographique de l’Allemagne dans l’entre-deux-guerres, G. W. Pabst est celui qui a été le moins reconnu, ou qui a mis le plus de temps à l’être, mais il est aussi celui qui, dès la fin des années 1920, a fait de la Première Guerre mondiale un événement cinématographique que reflètent, plus ou moins directement, quatre de ses films L’Amour: de Jeanne Ney, Quatre de l’infanterie, La Tragédie de la mine et Mademoiselle Docteur. La guerre y apparaît comme une expérience traumatique qui blesse les individus, les âmes et les peuples. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
02Bodyetd.Pdf (193.2Kb)
Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years. -
The Expanded Image: on the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann
The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann Sandra Naumann, The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century, in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 504-533. 505 Exposition Until well into the nineteenth century, the experience of audiovisual arts was bound to a unity of space and time (and action, too, in a certain sense). The technical media of photography, gramophone recording, silent film, talking film, and video made it possible to reproduce sounds and images, but they also separated them only to slowly reunite them again. These media evolved from devices used purely for storage and reproduction into performative instru- ments for creating new forms of audiovisual experience in real time, a process reinforced through numerous efforts to synthesize or expand the arts by incor- porating or transferring concepts and techniques from different art forms. Thus, musical theories and techniques were adopted to explain developments in the visual arts, and vice versa. Against this general background, this essay aims to identify strategies which the visual arts borrowed from music while changing and expanding compul- sively during the twentieth century. The focus will not be on image/sound com- binations, although sound does often play a part in the works that will be dis- cussed in the following. Instead, this text will deal with the musicalization of the image in a broader sense. These endeavors first culminated in the 1910s and 1920s, then again in the 1960s and 1970s, and for the third time from the 1990s until today. -
Is the Bauhaus Relevant Today?”: Design Theory and Pedagogy at the Hochschule Für Gestaltung, Ulm (1953-1968)
“Is the Bauhaus Relevant Today?”: Design Theory and Pedagogy at the Hochschule für Gestaltung, Ulm (1953-1968) Matthew Holt [email protected] University of Technology Sydney (Insearch) KEYWORDS: Hochschule für Gestaltung Ulm—Ulm Model—Environmental design Abstract The post-war German design school, The Hochschule für Gestaltung, Ulm (1953-1968), has long lain in the shadow of its more famous predecessor. Indeed, the school was initially conceived—at least by its first Rector, Max Bill— as a new Bauhaus rising from the ashes of the war, a home to bring back the scattered Bauhäuslers. Walter Gropius opened the purpose-built campus and Bill modelled the first year of its curriculum on the famous Bauhaus Vorkurs, or foundation year. But many members of Ulm led by its second Rector, the Argentine Tomás Maldonado, challenged this revival and questioned the scope and purpose of any presumed institutional inheritance. This paper examines this challenge that in turn produced an equally influential program of design education, the “Ulm Model” (Ulmer Modell). To explicate the Ulm Model, this paper explores three aspects of Ulm’s reinvention of the Bauhaus legacy: 1) The critique of Bauhaus pedagogy; 2) The School’s concept of environmental design (Umweltgestaltung) and environmental knowledge or science (Umweltwissenschaft); and, 3) The critique of the conservative canonisation of the Bauhaus in favour of what Maldonado called the “other” Bauhaus. Like its precursor, the HfG Ulm closed prematurely and under controversy, and its members underwent -
Explo R Ation S in a R C Hitecture
E TABLE OF CONTENTS ExploRatIONS XPLO In ARCHITECTURE 4 ColopHON +4 RESEARCH ENVIRONMENTS* 6 ACKNOWLEDGMENTS 8 INTRODUCTION Reto Geiser C A METHODOLOGY 12 PERFORMATIVE MODERNITIES: REM KOOLHAAS’S DIDACTICS B NETWORKS DELIRIOUS NEW YORK AS INDUCTIVE RESEARCH C DIDACTICS 122 NOTES ON THE ANALYSIS OF FORM: Deane Simpson R D TECHNOLOGY 14 STOP MAKING SENSE Angelus Eisinger CHRISTOPHER ALEXANDER AND THE LANGUAGE OF PATTERNS Andri Gerber 26 ALTERNATIVE EDUCATIONAL PROGRAMS IN AT ARCHITECTURE: THE INSTITUTE FOR 124 UNDERSTANDING BY DESIGN: THE SYNTHETIC ARCHITECTURE AND URBAN STUDIES Kim Förster APPROACH TO INTELLIGENCE Daniel Bisig, Rolf Pfeifer 134 THE CITY AS ARCHITECTURE: ALDO ROSSI’S I DIDACTIC LEGACY Filip Geerts +4 RESEARCH ENVIRONMENTS* ON STUDIO CASE STUDIES 136 EXPLORING UNCOMMON TERRITORIES: A A SYNTHETIC APPROACH TO TEACHING 54 LAPA Laboratoire de la production d’architecture [EPFL] PLATZHALTER METHODOLOGY ARCHITECTURE Dieter Dietz PLATZHALTER 141 ALICE 98 MAS UD Master of Advanced Studies in Urban Design [ETHZ] S 34 A DISCOURS ON METHOD (FOR THE PROPER Atelier de la conception de l’espace EPFL 141 ALICE Atelier de la conception de l’espace [EPFL] CONDUCT OF REASON AND THE SEARCH FOR 158 STRUCTURE AND CONTENT FOR THE HUMAN 182 DFAB Architecture and Digital Fabrication [ETHZ] EFFIcacIty IN DESIGN) Sanford Kwinter ENVIRONMENT: HOCHSCHULE FÜR GESTALTUNG I 48 THE INVENTION OF THE URBAN RESEARCH STUDIO: ULM, 1953–1968 Tilo Richter A N ROBERT VENTURI, DENISE SCOTT BROWN, AND STEVEN IZENOUR’S LEARNING FROM LAS VEGAS, 1972 Martino Stierli -
Martha Schwendener Art and Language in Vilém Flusser's Brazil: Concrete Art and Poetry
FLUSSER STUDIES 30 Martha Schwendener Art and Language in Vilém Flusser’s Brazil: Concrete Art and Poetry In his correspondence with friends and colleagues, Vilém Flusser often complained that he felt exiled to the periphery of culture and intellectual life after migrating from Europe to Brazil in 1940. Paradox- ically, however, he was arriving at a center of innovation that would shape his thinking. Concrete art and poetry flourished in Brazil in the fifties, and Flusser, who had decided that his primary focus would be language, was introduced to these new vernaculars. In particular, the formal layout of Concrete art and poetry, with their rigorous approaches to space, color, and typography, would impact Flusser. “The Gestalt,” he wrote, and “the visual character of writing” in “Concretist experiments are rupturing discursive thought and endowing it with a second dimension of ‘ideas’ which discursive thought cannot supply.”1 These methods served as proto-interfaces or screens, predicting the digital revolution, and offering what poet and theorist Haroldo de Campos called a “new dialogical relationship” with “im- perial” languages, since Concrete art was an international language and Concrete poetry took very little vocabulary to interpret and understand.2 This paper looks at Flusser’s personal engagement with these phenomena and how they informed his concept of “superficial” reading, non-linear “post-historical” thinking, and the idea that philosophy itself would eventually be practiced in images rather than written words. Art in Brazil Brazil was becoming a vital center for visual art in the forties. The Modern Art Week (Semana de Arte Moderna) in São Paolo in February 1922, with a flurry of exhibitions, lectures, poetry readings, and concerts is often seen as a seminal moment for the advent of modern art in Brazil, analogous to the Armory Show in 1913, which introduced European modernism to New York. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Catálogo Ficunam 2017
CONTENIDO PRESENTACIÓN 7 JURADO 23 PREMIOS 31 IMAGEN FICUNAM 7 33 INAUGURACIÓN 37 COMPETENCIA INTERNACIONAL 41 AHORA MÉXICO 67 ACIERTOS. ENCUENTRO INTERNACIONAL DE ESCUELAS DE CINE 89 MANIFIESTO CONTEMPORÁNEO 113 EL PORVENIR 137 RETROSPECTIVA YURI ANCARANI 157 RETROSPECTIVA LUIZ ROSEMBERG FILHO 175 RETROSPECTIVA ANGELA SCHANELEC 203 PROGRAMA ESPECIAL IGNACIO AGÜERO 231 ARCHIVO FILMOTECA UNAM 245 CLÁSICOS RESTAURADOS 263 FUNCIONES ESPECIALES 269 CLAUSURA 281 ACTIVIDADES ACADÉMICAS: CÁTEDRA INGMAR BERGMAN EN CINE Y TEATRO CLASES MAGISTRALES FORO DE LA CRÍTICA PERMANENTE TALLER 285-309 CONCURSO ALFONSO REYES FÓSFORO 311 CONTACTOS 314 ÍNDICE POR PELÍCULAS 322 ÍNDICE POR REALIZADORES 326 AGRADECIMIENTOS 328 DIRECTORIO 330 TablE Of CONTENTs Introductory REMARkS 7 JURY 23 Awards 31 Image FICUNAM 7 33 OPENING 37 International FILM COMPETITION 41 Mexico, RIGHT NOw! 67 Feats. International FILM SCHOOLS MEETING 89 Contemporary Manifesto 113 THE Forthcoming 137 Retrospective YURI ANCARANI 157 Retrospective LUIZ Rosemberg FILHO 175 Retrospective ANGELA SCHANELEC 203 Ignacio AGÜERO - SPECIAL PROGRAM 231 ARCHIVE - UNAM FILM ARCHIVES (FILMOTECA) 245 RESTORED CLASSICS 263 SPECIAL Features 269 Closing 281 ACADEMIC ACTIVITIES: INGMAR BERGMAN CHAIR ON FILM & Theater Master Classes PERMANENT CRITIqUE FORUM WorkSHOP 285-309 ALFONSO REYES FÓSFORO CONTEST 311 CONTACTS 314 FILM INDEX 322 Directors INDEX 326 ackNOwledgments 328 INDEX 330 PREsENTaCIÓN INTRODUCTORY REMARkS fICUNaM 2017 120 years ago, Mexico City experienced its first cinematograph screening. This landmark event made us witness of the birth of a new medium of artistic expression. Since then, cinema’s significance and popularity have grown to such degree that today the communications and the culture of contemporary life would be impossible to understand without it.