DOCSLIB.ORG

Leonardo Reviews

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonardo Reviews Leonardo Reviews LEONARDO REVIEWS Aegina Academy by situating its theme pear behind huge piles of reels. Editor-in-Chief: Michael Punt within the wider framework of Gustav Deutsch’s films investigate the very Managing Editor: Bryony Dalefield Deutsch and Hanna Schimek’s work. mechanisms of cinema and perception, Light/Image/Illusion opened with commenting on the artistic expres- Associate Editors: Robert Pepperell an exhibition cycle and lectures by sions of the intrinsic qualities of the and Dene Grigar neuroscientist Richard L. Gregory and medium. This approach is most clearly A full selection of reviews is pre-cinema specialist Werner Nekes at exemplified in the series Film ist., which published monthly on the LR web site: the Goethe-Institut in Athens. In the can be interpreted as a deconstruction <leonardoreviews.mit.edu>. following symposium in Aegina, orga- of film in terms of language and move- ISSN: 1559-0429 nized by philosopher Fay Zika, interna- ment. As Tom Gunning has pointed tional specialists from the disciplines of out in his article “Film ist. A Primer art education, art history, philosophy, for a Visual World,” this project can be media and film studies, and natural and defined as the first film theory on film social sciences (especially psychology, [1]. It now becomes clear, however, that REVIEW ARTICLE neuroscience and computer science) Deutsch and Schimek have ambitions pointed out various related aspects that lie beyond the mere deconstruc- such as the psychological and physio- tion of movement and time or an analy- logical preconditions of perception sis of the interrelation between image HE EGINA CADEMY T A A , (see, for example, the work of Freeman, and language in the cinematographic A FORUM FOR ART AND Kubaczek, Pircher, Venieri and Vid- experience. SCIENCE: LIGHT/IMAGE/ nyánszky), veridical representation This becomes most apparent in ILLUSION and fictional construction as in virtual their work in Aegina, in particular in Organized by Gustav Deutsch and reality or other new media environ- Deutsch’s camera obscura in Perdika, Hanna Schimek, 14–22 May 2005, ments ( Jahrmann, Klett and Sarris) which is an integrated work of art Aegina, Greece. Forum web site: and an emphasis on art education and embedded in the landscape and culture <www.light-image.net>. perspectives on the history of technolo- in a gentle and modest way characteris- gies of optics and media art (Hyman, tic of Deutsch and Schimek’s film work, Reviewed by Martha Blassnigg. E-mail: Peternak, Punt, Santorinaios and which is also simultaneously personal <[email protected]>. Zielinski). With a strong emphasis on and private, and generous and public. philosophy, art education and neu- The camera obscura in Perdika is situ- The Aegina Academy, a cultural forum ropsychology, the symposium encour- ated at the southwest end of the island for art and science, was founded by the aged a stimulating discussion forum in and has already become a major attrac- Austrian artists Gustav Deutsch and a small but highly specialized commu- Hanna Schimek, with the aim to “con- nity with outreaches to the public via tribute to the promotion of independ- several art educational and exhibition projects, public lectures and guided Reviews Panel: Peter Anders, Fred Allan Anders- ent and critical dealings with media, son, Wilfred Arnold, Roy Ascott, Curtis Bahn, thus taking a step in the direction of tours. A fuller account of the sympo- Claire Barliant, René Beekman, Roy R. Behrens, democratising the media” (Schimek sium and events at the Aegina Academy Andreas Broeckmann, Annick Bureaud, Chris and Deutsch, press release). In the can be found at <www.light-image.net>. Cobb, Robert Coburn, Donna Cox, Sean Cubitt, The Aegina Academy emerged from Nina Czegledy, Shawn Decker, Margaret Dolinsky, background of their pioneering film Dennis Dollens, Luisa Paraguai Donati, Victo- work, Deutsch and Schimek opened up a generous gesture by an individual ria Duckett, Maia Engeli, Enzo Ferrara, Deborah their private laboratory on the beauti- artist and is a reflection of Deutsch’s Frizzell, Bulat M. Galeyev, George Gessert, Elisa ful island Aegina not only to the public, energy in his creative work with the Giaccardi, Thom Gillespie, Artur Golczewski, inhabitants and Greek artists and scien- film medium and his exploration of Allan Graubard, Dene Grigar, Diane Gromala, public interfaces. Originally trained as Rob Harle, Craig Harris, Josepha Haveman, tists, but also to invited scientists and Paul Hertz, Amy Ione, Stephen Jones, Richard artists of international standing, allow- an architect, Deutsch became an inde- Kade, Curtis E.A. Karnow, Nisar Keshvani, ing them to participate in a discussion pendent filmmaker in the late 1980s Julien Knebusch, Daniela Kutschat, Mike Legget, and exhibition forum, contained in a and is often mentioned in the context Roger F. Malina, Jacques Mandelbrojt, Robert A. of the contemporary Austrian avant- Mitchell, Rick Mitchell, Mike Mosher, Axel cultural project called the Aegina Acad- Mulder, Kevin Murray, Frieder Nake, Maureen emy. First realized in 2003 with the garde. His work, however, eludes any A. Nappi, Angela Ndalianis, Simone Osthoff, topic Light/Image/Reality, the Aegina clear categorization and stands out Jack Ox, Robert Pepperell, Kjel yngve Petersen, Academy followed up its debut with a through its originality and particu- Cliff Pickover, Patricia Pisters, Michael Punt, theme focused on the interrelation larity, consisting as it does entirely of Harry Rand, Sonya Rapoport, Edward Shanken, early film footage. This material is Aparna Sharma, Shirley Shor, George K. Short- among light, image and illusion, com- ess, Joel Slayton, Christa Sommerer, Yvonne prising a symposium, public lectures, thoroughly researched by Deutsch and Spielmann, David Surman, Pia Tikka, David art-education projects and workshops, Schimek, and they have become famil- Topper, Rene van Peer, Stefaan van Ryssen, exhibitions and film screenings. This iar faces in film archives around the Ian Verstegen, Stephen Wilson, Arthur Woods, Soh Yeong. review gives a brief overview of the world, where they mostly seem to disap- ©2006 ISAST LEONARDO, Vol. 39, No. 3, pp. 257–276, 2006 257 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon.2006.39.3.262 by guest on 26 September 2021 tion. It is the world’s first camera cinema specialist may have tended to recent work: their picture collection obscura with a 360˚ panorama, sited at investigate the origins of these images Atlas, an image library containing more an optimal freestanding location sur- in order to situate them in the context than 2,000 images. Pursuing an idea rounded by sea, islands and inland of a narrative or of film history in gen- of art historian Aby Warburg (1866– mountains. It is really a camera obscura eral, Kino-Illusion inhibited any such 1929), who towards the end of his life rotunda, a cylindrical wooden building formalization. The displayed images expressed his core ideas on art history constructed by Deutsch and the archi- asked for contemplation rather than in his famous picture atlas Mnemosyne, tect Franz Berzl and realized in collabo- contextualization and held the viewer’s panels with an assemblage of diverse ration with Gavrillos Michalis (see attention. This strategy was comparable images from different media (maps, Color Plate H). When the visitor enters with the moment during the projection photographs of paintings, drawings, from the startling bright light of the process when the images are halted in etc.), Deutsch and Schimek produce island into the dark, it takes time for the gate for a fragment of a second, image collages centering on the subject the eyes to adjust before, almost magi- while the shutter of the Maltese cross of light and image. Atlas, named after cally, there appear inverted images on interrupts the light beam and as a the two symposia “Light/Image/Real- the 12 surrounding translucent screens. consequence enforces the illusion of ity” and “Light/Image/Illusion,” has After approximately 15 to 20 minutes, continuous movement in our visual been presented during the Aegina the eyes become fully adapted and are perception. Kino-Illusion’s evocation festival in 2003 and 2005, and also at able to perceive small details such as of contemplation suggested that it is in the contemporary art museum Lentos the waves or even birds. Because the 12 our minds that these images move, start in Linz in 2004 and was also exhibited holes in the round wooden construc- to move or cease to move; they initiate in the Kunsthalle in Vienna. Either on tion overlap in the throw of their pro- not only virtual visual movement but light boards lit from below (in Linz), jection, a small section of each screen is also a freezing of the stream of thought screened as image show from a DVD repeated and creates a complex visual interrelating the associations between (Aegina 2005) or as light-box– experience wherein an object, for single frames. More than movement, projected images on the façade of the example, can appear three times on Kino-Illusion characterized the various Kunsthalle in Vienna in June 2005, the three successive screens. This artwork time qualities involved in the cinema flow of pictures plays with our percep- in public space is maintained by a experience by slowing down the time tion of sequential images, creating guard from the village of Perdika and of the difference between the image illusions by false references and associa- has apparently gained great popularity sequences to a point zero: The frag- tions. Warburg’s crucial insights are amongst the inhabitants of the island, ments created a sense of timelessness. reflected in the interrelation between who call it Panagitsa (“small chapel”). Because they were not entities in them- the images, in which he saw archetypi- It is particularly appreciated by young selves, such as still photography usually cal meanings in the movement beyond lovers replaying some of the kiss-in-the- presents, these images were open to all the visible shapes and an invigoration tunnel films that were so popular in sides for associative framing, something of the Dionysian principle in art.
Load more

Recommended publications
  • Veranstaltungsprogramm August 2008
    Veranstaltungsprogramm b – flat A P R I L 2010 b-flat Acoustic Music & Jazzclub, Rosenthaler Str. 13, 10119 Berlin-Mitte Do. 01.04.2010 ORIGAMI Quartet Modern Jazz 21.00 Uhr Keisuke Matsuno (g, comp.), Gregor Frei (sax, b-cl), Alex Binder (b), Matthew Jacobson (dr) Origami is the traditional Japanese art of paper-folding, based on square sheets of paper. The four international members of ORIGAMI Quartet, formed in Autumn 2008 in Lucerne, Switzerland, each represents one side of one of these sheets. The group have all studied at the world-renowned jazz department at Lucerne University, sharing teachers who are among the leading lights of contemporary jazz, such as trombonist Nils Wogram and guitarist Frank Möbus. The band members’ varied geographic and cultural backgrounds is mirrored in their vast array of influences, which range from Jimi Hendrix to contemporary classical composer Morton Feldman, and from Rage against the Machine to south Indian classical music. ORIGAMI Quartet aim to fold all these expansive influences together into something that sounds fresh and new, not bound to any specific genres or categories. Musicians: Keisuke Matsuno (guitar, electronics, compositions) was born in Berlin, Germany in 1985. He studied at the ‘Franz Liszt’ Hochschule für Musik in Weimar from 2005 – 2007 before moving to Switzerland to study at Lucerne University from 2007 – 2009. He has studied privately with Frank Möbus, Wolfgang Muthspiel, Nils Wogram, Rainer Tempel, Kurt Rosenwinkel and Jonathan Kreisberg among others, as well as attending masterclasses with Jim Black, Ed Neumeister, Jamey Haddad etc. Keisuke has performed with Nils Wogram, Michael Gibbs, Dave Liebman, Carsten Daerr and Kammerorchester der Berlin Philharmoniker in concerts in Germany, Switzerland, USA and Japan.
    [Show full text]
  • Plunderphonics – Plagiarismus in Der Musik
    Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2].
    [Show full text]
  • Introduction to Computer Music Week 7 Sampling Synthesis and Filters Version 1, 28 Sep 2018
    Introduction to Computer Music Week 7 Sampling Synthesis and Filters Version 1, 28 Sep 2018 Roger B. Dannenberg Topics Discussed: Sampling Synthesis, Filters 1 Sampling Synthesis Although direct synthesis of sound is an important area of computer music, it can be equally interesting (or even more so!) to take existing sounds (recorded or synthesized) and transform, mutate, deconstruct—in general, mess around with them. There are as many basic sound transformation techniques as there are synthesis techniques, and in this chapter we’ll describe a few important ones. For the sake of convenience, we will separate them into time-domain and frequency-domain techniques. 1.1 Tape Music / Cut and Paste The most obvious way to transform a sound is to chop it up, edit it, turn it around, and collage it. These kinds of procedures, which have been used in electronic music since the early days of tape recorders, are done in the time domain. There are a number of sophisticated software tools for manipulating sounds in this way, called digital sound editors. These editors allow for the most minute, sample-by-sample changes of a sound. These techniques are used in almost all fields of audio, from avant-garde music to Hollywood soundtracks, from radio station advertising spots to rap. 1.2 Time-Domain Restructuring Composers have experimented a lot with unusual time-domain restructuring of sound. By chopping up waveforms into very small segments and radically reordering them, some noisy and unusual effects can be created. As in collage visual art, the ironic and interesting juxtaposition of very familiar materials can be used to create new works that are perhaps greater than the sum of their constituent parts.
    [Show full text]
  • Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
    Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides.
    [Show full text]
  • Crowdsourcing, Citizen Science Or Volunteered Geographic Information? the Current State of Crowdsourced Geographic Information
    International Journal of Geo-Information Article Crowdsourcing, Citizen Science or Volunteered Geographic Information? The Current State of Crowdsourced Geographic Information Linda See 1,*, Peter Mooney 2, Giles Foody 3, Lucy Bastin 4, Alexis Comber 5, Jacinto Estima 6, Steffen Fritz 1, Norman Kerle 7, Bin Jiang 8, Mari Laakso 9, Hai-Ying Liu 10, Grega Milˇcinski 11, Matej Nikšiˇc 12, Marco Painho 6, Andrea P˝odör 13, Ana-Maria Olteanu-Raimond 14 and Martin Rutzinger 15 1 International Institute for Applied Systems Analysis (IIASA), Schlossplatz 1, Laxenburg A2361, Austria; [email protected] 2 Department of Computer Science, Maynooth University, Maynooth W23 F2H6, Ireland; [email protected] 3 School of Geography, University of Nottingham, Nottingham NG7 2RD, UK; [email protected] 4 School of Engineering and Applied Science, Aston University, Birmingham B4 7ET, UK; [email protected] 5 School of Geography, University of Leeds, Leeds LS2 9JT, UK; [email protected] 6 NOVA IMS, Universidade Nova de Lisboa (UNL), 1070-312 Lisboa, Portugal; [email protected] (J.E.); [email protected] (M.P.) 7 Department of Earth Systems Analysis, ITC/University of Twente, Enschede 7500 AE, The Netherlands; [email protected] 8 Faculty of Engineering and Sustainable Development, Division of GIScience, University of Gävle, Gävle 80176, Sweden; [email protected] 9 Finnish Geospatial Research Institute, Kirkkonummi 02430, Finland; mari.laakso@nls.fi 10 Norwegian Institute for Air Research (NILU), Kjeller 2027, Norway; [email protected]
    [Show full text]
  • Deutsche Nationalbibliografie 2016 T 04
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2016 T 04 Stand: 20. April 2016 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2016 ISSN 1613-8945 urn:nbn:de:101-201512111762 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • BOONE-DISSERTATION.Pdf
    Copyright by Christine Emily Boone 2011 The Dissertation Committee for Christine Emily Boone Certifies that this is the approved version of the following dissertation: Mashups: History, Legality, and Aesthetics Committee: James Buhler, Supervisor Byron Almén Eric Drott Andrew Dell‘Antonio John Weinstock Mashups: History, Legality, and Aesthetics by Christine Emily Boone, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I want to first acknowledge those people who had a direct influence on the creation of this document. My brother, Philip, introduced me mashups a few years ago, and spawned my interest in the subject. Dr. Eric Drott taught a seminar on analyzing popular music where I was first able to research and write about mashups. And of course, my advisor, Dr. Jim Buhler has given me immeasurable help and guidance as I worked to complete both my degree and my dissertation. Thank you all so much for your help with this project. Although I am the only author of this dissertation, it truly could not have been completed without the help of many more people. First I would like to thank all of my professors, colleagues, and students at the University of Texas for making my time here so productive. I feel incredibly prepared to enter the field as an educator and a scholar thanks to all of you. I also want to thank all of my friends here in Austin and in other cities.
    [Show full text]
  • Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
    Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11.
    [Show full text]
  • Animals in the Third Reich: Pets, Scapegoats, and the Holocaust'
    H-Nilas Copeland on Sax, 'Animals in the Third Reich: Pets, Scapegoats, and the Holocaust' Review published on Sunday, April 1, 2001 Boria Sax. Animals in the Third Reich: Pets, Scapegoats, and the Holocaust. Foreword by Klaus P. Fischer. New York and London: Continuum, 2000. 175 pp. $24.95 (cloth), ISBN 978-0-8264-1289-8. Reviewed by Marion W. Copeland (Tufts Center for Animals and Public Policy)Published on H- Nilas (April, 2001) History Can Repeat Itself History Can Repeat Itself Historians have been even more reluctant to look at Nazi animal protection legislation than at Nazi science. It was first examined in Sax and Arluke, "Understanding Nazi Animal Protection and the Holocaust," in 1992 in Anthrozoos, the journal of the International Society of Anthrozoology (ISAZ). ISAZ is a scholarly organization dedicated, as NILAS is, to the study of the human/animal bond. The essay met with controversy and accusation, the most disturbing of which accused the authors of trivializing what is rightly seen as the center of Nazi activity--the Holocaust and the attempted extermination of Europe's Jews and other non-Aryans under the guise of racial purity and racial and ethnic cleansing--by their focus on nonhuman animals. As Sax concludes inAnimals in the Third Reich: "That the Nazis might be capable of humane legislation was such a disconcerting idea that even the detached, academic style of our paper could not make it acceptable to many people. The topic of animals, like the Holocaust itself, evokes passions of great intensity and confusion." (p. 164) Actually, in the essay as well as in this study, Sax makes two major claims.
    [Show full text]
  • A Sonic Fiction of Boring Dystopia—Macon Holt—Phd Thesis
    A Sonic Fiction of Boring Dystopia. Macon Ashford Bannon Holt. CENTRE FOR CULTURAL STUDIES, GOLDSMITHS, UNIVERSITY OF LONDON. Submitted for the Degree of Doctor of Philosophy, in Cultural Studies. 2017 !1 Declaration. I declare the following thesis to be my own work. Where the works of others have been used they are cited and referenced in the bibliography. Any assistance from others has been listed in the acknowledgements. Candidate Name: Macon Holt, Student Number: 33254455. Date: 01/08/17 Candidate Signature: !2 Acknowledgements. This thesis has caused me to not make a great deal of sense for a great deal of time and getting through that would not have been possible without the help of many other people and institutions. I would like to thank my supervisors Dr. Mark Fisher and Dr. Anamik Saha, for their guidance and expertise and reminding me that what I had to hand-in had to be vaguely “Ph.D. shaped”. That said, their encouragement of me to explore the odd terrain that this thesis churned up was vital for me in completing it. I would also like to thank the Centre for Cultural Studies for providing a space in which what is “Ph.D. shaped” can be challenged and explored. In particular, I would like to thank the convener of the Ph.D. program, Dr. Luciana Parisi, whose course, “Critical Theory of Interactive Media”, has changed the way that I think about pretty much everything. To this day I’m not sure I have caught up to where it sent my thoughts. I would like to thank Ark Books of Copenhagen for giving me a welcoming place of camaraderie when writing alone in my own cave became an insurmountable task.
    [Show full text]
  • Consciousness and the End of Materialism: Seeking Identity and Harmony in a Dark Era
    International Journal of Theology, Philosophy and Science No. 2, Year 2/2018 CONSCIOUSNESS AND THE END OF MATERIALISM: SEEKING IDENTITY AND HARMONY IN A DARK ERA Ph.D. Spyridon I. KAKOS National Technical University of Athens (NTUA), Athens, GREECE Email: [email protected] ABSTRACT “I am me”, but what does this mean? For centuries humans identified themselves as conscious beings with free will, beings that are important in the cosmos they live in. However, modern science has been trying to reduce us into unimportant pawns in a cold universe and diminish our sense of consciousness into a mere illusion generated by lifeless matter. Our identity in the cosmos is nothing more than a deception and all the scientific evidence seem to support this idea. Or is it not? The goal of this paper is to discard current underlying dogmatism (axioms taken for granted as "self-evident") of modern mind research and to show that consciousness seems to be the ultimate frontier that will cause a major change in the way exact sciences think. If we want to re-discover our identity as luminous beings in the cosmos, we must first try to pinpoint our prejudices and discard them. Materialism is an obsolete philosophical dogma and modern scientists should try to also use other premises as the foundation of their theories to approach the mysteries of the self. Exact sciences need to examine the world with a more open mind, accepting potentially different interpretations of existing experimental data in the fields of brain research, which are currently not considered simply on the basis of a strong anti-spiritual dogmatism.
    [Show full text]
  • Constraints and Freedom: a Conversation with Georg Katzer
    Martin Supper Constraints and Freedom: Berlin University of the Arts UNI.K | Studio for Sonic Art and Sound Research A Conversation with Fasanenstraße 1B, 10595 Berlin, Germany [email protected] Georg Katzer Abstract: This interview sheds light both on a composer and on a hitherto overlooked field, the evolution of electroacoustic music in the former German Democratic Republic (GDR, commonly called East Germany). This latter focus is vital insofar as little of it, if anything at all, is included in established histories of electroacoustic music. These typically take Cologne, Paris, or New York, together with the associated institutions and composers, as starting points, with nary a word for the GDR or elsewhere. The composer Georg Katzer was a key personality in this era. In this conversation he discusses the genesis of electroacoustic music in the GDR, the influences of studios from other countries, the development of the electronic musical instrument known as the Subharchord, establishing a studio (under conditions which, despite adversity, also gave rise to results of a distinctive charm), formal affiliations with international organizations, and much more. Georg Katzer (see Figure 1) was born in 1935 in operas, two ballets, and electroacoustic works, Habelschwerdt, Silesia (then part of Germany, Katzer is involved with multimedia projects and now belonging to Poland). He studied composition improvised music. He has toured Europe playing with Rudolf Wagner-Regeny and Ruth Zechlin, with Johannes Bauer, Wolfgang Fuchs, Paul Lytten, as well as piano, at the Deutsche Hochschule fur¨ Radu Malfatti, Phil Wachsman, Phil Minton, and Musik in East Berlin (now the Hochschule fur¨ Tony Oxley among others.
    [Show full text]