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WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Claes-Göran Holmberg
fLaMMan claes-Göran holmberg Precursors swedish avant-garde groups were very late in founding their own magazines. in france and Germany, little magazines had been pub- lished continuously from the romantic era onwards. a magazine was an ideal platform for the consolidation of a new movement in its formative phase. it was a collective thrust at the heart of the enemy: the older generation, the academies, the traditionalists. By showing a united front (through programmatic declarations, manifestos, es- says etc.) you assured the public that you were to be reckoned with. almost every new artist group or current has tried to create a mag- azine to define and promote itself. the first swedish little magazine to embrace the symbolist and decadent movements of fin-de-siècle europe was Med pensel och penna (With paintbrush and pen, 1904-1905), published in Uppsala by the society of “Les quatres diables”, a group of young poets and students engaged in aestheticism and Baudelaire adulation. Mem- bers were the poet and student in slavic languages sigurd agrell (1881-1937), the student and later professor of art history harald Brising (1881-1918), the student of philosophy and later professor of psychology John Landquist (1881-1974), and the author sven Lidman (1882-1960); the poet sigfrid siwertz (1882-1970) also joined the group later. the magazine did not leave any great impact on swedish literature but it helped to spread the Jugend style of illu- stration, the contemporary love-hate relationship with the city and the celebration of the intoxicating powers of beauty and deca- dence. -
William Blake, Electric Thinking, Holism, and the New Art: Blake Helps the Toronto School Unlock the Seals to the Great Code; Or Reconnecting R
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net William Blake, Electric Thinking, Holism, and The New Art: Blake Helps the Toronto School Unlock the Seals to the Great Code; or Reconnecting R. Bruce Elder—Professor Emeritus Ryerson University—[email protected] In his last public lecture on Blake, presented in 1987 in London, England, Northrop Frye situated the poet’s formidable achievement in the context of Western mythology: To have turned a metaphorical cosmos eighteen centuries old upside down in a few poems, and provided the basis for a structure that practically every major thinker for the next century would build on, was one of the most colossal imaginative feats in the history of human culture. The only drawback, of course, was that no one knew Blake had done it: in fact Blake hardly realized he had done it either. For some fifty years, Frye devoted significant efforts to discerning the deep structure of Blake’s universe and the underlying forces that give rise to it. In Anatomy of Criticism, he generalized the approach he developed while studying Blake: he decided to investigate literature as an “order of words” with an assumed coherence and set out to crack the great code the gives rise to its recurrent patterns. The investigation of patterns in literature (or in art history) is what Frye believes the critical method to be: one identifies basic elements and notes patterns in their reoccurrence, reorganization, transformation, and interaction. Marshall McLuhan, Frye’s colleague in the Department of English at the University of Toronto, also believed that the study of media is a search of patterns. -
1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism. -
Center on Terrorism, Extremism, and Counterterrorism
Center on Terrorism, Extremism, and Counterterrorism www.middlebury.edu/institute/academics/centers-initiatives/ctec The Center on Terrorism, Extremism, and Counterterrorism (CTEC) conducts in- depth research on terrorism and other forms of extremism. Formerly known as the Monterey Terrorism Research and Education Program, CTEC collaborates with world-renowned faculty and their graduate students in the Middlebury Institute’s Nonproliferation and Terrorism Studies degree program. CTEC’s research informs private, government, and multilateral institutional understanding of and responses to terrorism threats. Middlebury Institute for International Studies at Monterey www.miis.edu The Middlebury Institute for International Studies at Monterey provides international professional education in areas of critical importance to a rapidly changing global community, including international policy and management, translation and interpretation, language teaching, sustainable development, and nonproliferation. We prepare students from all over the world to make a meaningful impact in their chosen fields through degree programs characterized by immersive and collaborative learning, and opportunities to acquire and apply practical professional skills. Our students are emerging leaders capable of bridging cultural, organizational, and language divides to produce sustainable, equitable solutions to a variety of global challenges. Center on Terrorism, Extremism, and Counterterrorism Middlebury Institute of International Studies 460 Pierce Street Monterey, CA 93940, USA Tel: +1 (831) 647-4634 The views, judgments, and conclusions in this report are the sole representations of the authors and do not necessarily represent either the official position or policy or bear the endorsement of CTEC or the Middlebury Institute of International Studies at Monterey. © The President and Trustees of Middlebury College, 2019 ASSESSING THE RISK OF ISLAMIST TERRORISTS USING HUMAN VECTORS TO DEPLOY CONTAGIOUS PATHOGENS Jeffrey M. -
Final Dissertation Submission
Negotiating Sound, Place, Ritual and Community: The Extended-Length Concert Percussion Music of John Luther Adams by James Michael Peter Drake A thesis suBmitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright By James Michael Peter Drake 2019 Negotiating Sound, Place, Ritual and Community: The Extended- Length Concert Percussion Music of John Luther Adams James Michael Peter Drake Doctor of Musical Arts Faculty of Music University of Toronto 2019 ABstract American composer John Luther Adams has been recognized as one of the most important and innovative composers of contemporary classical music. Adams is well-known for his musical connections to the natural environment, and for espousing the idea of “music as place”. These overarching themes, combined with composition techniques that take inspiration from natural phenomena and organic processes, have led to works that often have a formal structure at their core, but a combination of rhythms, harmonies and textures that is unlike any other mainstream composer working today. Through his associations with many notable contemporary percussionists, Adams has written compositions that have made a particularly strong impact in contemporary percussion music, especially through his affinity for writing for “non-pitched” instruments. He has also shown an affinity for compositions that are expansive in duration. Three compositions that share these characteristics are the main focus of this study: Strange and Sacred Noise, The Mathematics of Resonant Bodies and Ilimaq. I suggest that along with environment and place, ritual is a key component in Adams’ compositions, and that highlighting aspects of ritual may help lead to a greater feeling of ii community and/or Victor and Edith Turner’s concept of communitas between performers and audience. -
1 David Lang's the So
David Lang's The So-Called Laws of Nature: An Analysis with an Emphasis On Compositional Processes Item Type text; Electronic Dissertation Authors Shinbara, Scott Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 14:03:35 Link to Item http://hdl.handle.net/10150/301687 1 DAVID LANG’S THE SO-CALLED LAWS OF NATURE: AN ANALYSIS WITH AN EMPHASIS ON COMPOSITIONAL PROCESSES by Scott Shinbara __________________________ Copyright © Scott Shinbara 2013 A Document Submitted to the FacuLty of the SCHOOL OF MUSIC In PartiaL FuLfiLLment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Scott Shinbara, title David Lang’s The So-Called Laws of Nature: An Analysis with Emphasis on Compositional Processes and recommend that it be accepted as fulfilLing the document requirement for the Degree of Doctor of MusicaL Arts. _______________________________________________________________________ Date: June 25, 2013 Norman Weinberg _______________________________________________________________________ Date: June 25, 2013 Jerry Kirkbride _______________________________________________________________________ Date: June 25, 2013 Kelland Thomas FinaL approvaL and acceptance of this document is contingent upon the candidate’s submission of the finaL copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilLing the document requirement. -
A Wind Ensemble Transcription of Part 1 (The First Movement) of Harmonielehre by John Adams with Commentary Richard E
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-9-2014 A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary Richard E. Wyman University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Wyman, Richard E., "A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary" (2014). Doctoral Dissertations. 613. https://opencommons.uconn.edu/dissertations/613 A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary Richard Edward Wyman, DMA University of Connecticut, 2014 John Adams, perhaps the most prominent American composer of the last twenty-five years (and reported to be the most frequently performed living composer), has created important repertoire for almost every major musical medium except the Wind Ensemble or Band. Published transcriptions exist of two shorter orchestral works, Lollapalooza (1995, six minutes long), transcribed by John Spinazzola, and Short Ride in a Fast Machine (1986, four minutes long), transcribed by Lawrence Odom, and both of these have become important works in the repertoire. By presenting a transcription of the seventeen-minute long first movement of Adams’s large-scale symphonic work Harmonielehre (1984-1985), this project presents the possibility for wind ensemble performers and their audiences to experience John Adams’s music on a larger scale. Also included is contextual commentary of value to conductors, performers, and scholars of John Adams; this discusses the historical background and the analysis of music relating to Minimalism, post-minimalism, John Adams, and Harmonielehre. -
ACRL News Issue (B) of College & Research Libraries
New Publications George M. Eberhart American Music in the Twentieth Cen nese-American name styles and customs, and tury, by Kyle Gann (400 pages, December identifying a Chinese surname character. An 1997), surveys the art music composed in the appendix provides a list of common surnames United States from the tone poems of Charles and their Chinese characters. $32.50. Ives to the total ism of Mikel Rouse. Writ ten McFarland. ISBN 0-7864-0418-3. for the general reader with a basic knowledge If Chinese ethnic groups are your inter of music, the book covers ultramodernism in est, consult An Ethnohistoricαl Dictio the 1920s, populism in the 1930s, experimen- nary of China, by James S. Olson (434 talism, atonality, John Cage and the New York pages, March 1998). Every significant anthro School, post-Cage conceptualism, minimalism, pological and linguistic group is described new romanticism, electronic music, rock and here, not just the 55 minority “nationalities” jazz fusion, postminimalism, and totalism. Each officially recognized by the People’s Repub chapter offers a discussion of recommended lic. An extensive essay on China’s largest musical examples and concise composer bi ethnic group, the Han, covers their history ographies. An essential guide for those who from the Neolithic to the 1990s. $89.50. want to move beyond Mahler and Brahms. Greenwood. ISBN 0-313-28853-4. $39.00. Schirmer Books. ISBN 0-02-864655-X. Schirmer has also published a revised, con The International Director of Univer cise edition of Daniel Kingman’s American sity Histories, edited by Carol Summerfield Music: A Panorama (433 pages, March and Mary Elizabeth Devine (780 pages, April 1998), which covers folk and ethnic music, 1998), is actually a collection of historical es blues, country, rock, popular sacred music, says on 168 selected academic institutions pop from colonial times to the present, jazz, worldwide. -
Notre Dame Scholastic, Vol. 114, No. 07
' 7 scholastic course evaluation booklet/spring 1972 NOVEMBER 27, 1972 VEAGER MOTOR Co., Inc. BUICK-OPEL-VOLVO • SALES • SERVICE • PARTS • ACCESSORIES 'Where customers send their friends" 215-225 South Lafayette Blvd. South Bend, Ind. 288-2531 THE OBSERVER scholastic course evaluation booklet/spring 1973 ARTS & LETTERS 4 amerlcan studies 6 art SAINT MARY'S COLLEGE ^ 8 economics 53 art 10 english 54 economics-business 15 general program 55 education 18 government 56 english 23 history 58 history 28 language 59 humanistic studies 31 music 60 language 33 philosophy 61 mathematics 36 psychology 62 music " 38 sociology-anthropology 63 philosophy 41 theology 64 psychology BUSINESS 65 political science 44 66 science ENGINEERING 46 67 sociology 68 speech and drarria SCIENCE 69 ADDENDA 48 chemistry 70 ARTS & LETTERS ADVISORY COUNCIL 49 geology 72 EPILOGUE 50 mathematics 52 physics NOVEMBER 27, 1972 Publishers VOLUME 116, NO. 7 John Abowd and Gregory Stidham -•;! - The opinions expressed in the SCHOLASTIC Editors ; ^' ^ are those of the authors and editors of the SCHOLASTIC and do not necessarily represent the .' '._• opinions of the University of Notre Same, James Pauer,.Terri Phillips, Joseph Runde, Timothy y^;, .-its administration, faculty or the student body. Standring i„ '• Second-class postage paid at Notre Dame, Production Director , - ; . Ind. 46556. The magazine is represented for :_ , , . national advertising by National Educational Joseph Wilkowski ,-->,- Advertising Services, 360 Lexington Avenue, :.\ : 'New York, N.Y. 10017. Published fortnightly '•;„• , '.during the school year except during Art Director ';. vacation and examinationperiods, the ,'! " '• SCHOLASTIC is printed at 'Ave Maria Press, Michael Lonier •'x'fi/-"Notre Dame, Ind. 46556. -
ABSTRACT of MUSICAL ARTS PROJECT Andrew Michael Bliss
ABSTRACT OF MUSICAL ARTS PROJECT Andrew Michael Bliss The Graduate School University of Kentucky 2008 DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER ______________________________________________________________ ABSTRACT OF MUSICAL ARTS PROJECT ______________________________________________________________ A musical arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Andrew Michael Bliss Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2008 Copyright © Andrew Michael Bliss 2008 ABSTRACT OF MUSICAL ARTS PROJECT DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER The percussion compositions of David Lang hold a prominent place within the percussion solo repertoire. Lang’s constructivist approach to composition, as well as his resistance to tradition, has secured him a highly respected position among performers and composers alike. Percussion repertoire is yet to receive the in-depth scholarship that it currently warrants. Considering the relative youth of the genre, a Pulitzer Prize winning composer such as Lang’s interest in percussion writing should not be overlooked. Furthermore, the logistical nature of dealing with percussion notation, orchestration, and performance requires a specialist, making it difficult for most musicologists to offer the proper insight and observations. This monograph exposes the complex and multi-dimensional solo percussion works of David Lang, specifically The Anvil Chorus, Scraping Song, and Unchained Melody. The document provides insight into the composer’s intentions while offering strategies to confront the physical and psychological issues that arise when preparing these works for performance. It also deconstructs Lang’s compositional processes and reveals the similarities in his approach from piece to piece, thus clarifying his style. -
Locating the Public Sphere in the Middle East and North Africa
Scholarship on the Middle East and North Africa almost Seteney always engages with politics, yet the assumed absence of Shami public spaces and fora has led many to think that debate, consensus, and concerted social action are antithetical to the heritage of the region. Publics, Politics and Participation Publics, Politics and Participation and Politics Publics, demonstrates not only the critical importance of the public for the Middle East and North Africa, but how the term and notion of the public sphere can be used productively to advance understandings of collective life and, moreover, how conflict and resistance are generative forces in public discourse. At a time when commentaries in the West reduce the Middle East to rubble, violence, and intolerance, it is a healthy reminder that public debate and deliberation, however fragile, occupy an important place in that stigmatized political region, now as in the past. Seteney Shami and her colleagues have done a great service in disrupting one more layer of Orientalism. —Michael Burawoy, University of California, Berkeley How are publics linked to politics? The Middle Eastern context provides the rich texture of this book as it moves through time and space—from the surveillance of public conversations in the Ottoman Empire to the Teheran bazaar and the role of the market in public-making to the ways in which present-day national public spheres are expanded and disrupted by new forms of resistance, such as Arab poetry in Iraq and the Munzur cultural festival in an Eastern Kurdish province. The authors engage a conceptual Publics, Politics framework that is constantly questioned, revisited and enriched by both ordinary experiences and layers of historical heritage.