Nbr 85 1966 Apr 6 to 19 [Rodney Burton]
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Moses and Frances Asch Collection, 1926-1986
Moses and Frances Asch Collection, 1926-1986 Cecilia Peterson, Greg Adams, Jeff Place, Stephanie Smith, Meghan Mullins, Clara Hines, Bianca Couture 2014 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement note............................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1942-1987 (bulk 1947-1987)........................................ 5 Series 2: Folkways Production, 1946-1987 (bulk 1950-1983).............................. 152 Series 3: Business Records, 1940-1987.............................................................. 477 Series 4: Woody Guthrie -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Beat3 Copie3
1943 1945 1947 1951 1953 1955 1957 1959 1960 1960 1960 1961 1962 1965 1966 1967 1969 1944 1948 1952 1956 1958 septembre printemps été automne hiver-printemps technique d’organisation et de classement : le « beat hotel » gysin trouve dans les portes de la perception devant le désordre des pages de textes éparpillées 9, rue gît-le-cœur, paris d’aldoux huxley l’énoncé « i am that i am » laissées par burroughs dans sa chambre, gysin achète des casiers de rangement métalliques à accrocher chambre 25 mise en place par burroughs d’un système d’index au-dessus de son bureau pour éviter que tout ne se perde. de classement, après avoir acheté des armoires à chiers, en 1966, lorsque ian sommerville emménage dans l’appartement de pour que « grâce aux cut-ups, les textes travaillent tout seuls » burroughs à londres, il trouve 5 dossiers explicitement titrés, et 17 autres inuence du cut-up sur des magazines : fruit cup, rhinozeros, brion gysin étiquetés « divers » insect trust gazette, bulletin from zero, avec claude pélieu, philips invente le magnétophone à cassette une lame stanley découpe mary beach, je nuttall, harold norse, jürgen ploog, un passe-partout pour un dessin carl weissner, udo breger, jörg fauser, etc. minutes to go dans une pile de magazines life time invention du cut-up de brion gysin, brion gysin william burroughs, gregory corso lecture de minutes to go par george mac beth, et sinclair beiles, poète et producteur du « 3e programme » de la bbc. forte opposition de the dada painters and poets publié par two cities invite gysin à lire un de ses textes à la radio gregory corso et sinclair édité par robert motherwell à 1000 exemplaires. -
Beat Generation November 2016
Saturday 26.11.2016 – Sunday 30.04.2017 C Press Release Beat Generation November 2016 ZKM_Lichthof 8+9 Beat Generation Exhibition __ Duration of exhibition Sat, Nov. 26, 2016 - The exhibition will open on Friday, November 25, 2016 at 7 p.m.. The Sun, Apr. 30, 2017 press conference will be held on Thursday, November 24, 2016 at 11 a.m.. Venue __ ZKM_Atrium 8+9 The ZKM | Karlsruhe will be the second stage of the Beat Generation exhibition after the Centre Pompidou in Paris. In the Press contact Dominika Szope last few years, the ZKM has dedicated a number of major Head of Press & Public Relations Tel.: +49(0)721 / 8100 – 1220 exhibitions to the leading figures of the Beat Generation, such as William S. Burroughs and Allen Ginsberg. In this new Regina Hock Press & Public Relations exhibition, an overview of the literary and artistic movement, Tel.: +49 (0)721 / 8100 – 1821 which was created at the end of the 1940s, will now be E-mail: [email protected] provided for the first time. If “beatniks” were viewed back then www.zkm.de/presse as subversive rebels, they are now perceived as actors in one of ZKM | Center for Art and Media Karlsruhe th the most important cultural directions of the 20 century. Lorenzstraße 19 76135 Karlsruhe The Beat Generation was a literary and artistic movement that arose at the end of the Forties in the USA after the Second World War and in the early days of the Cold War. It scandalized the puritanical America of the ZKM sponsors McCarthy era, heralding the cultural and sexual revolution of the Sixties and the lifestyle of the younger generation. -
Playing Images Like a Musical Instrument
------ - --- UNIVERSITÉ DU QUÉBEC À MONTRÉAL IMPROVISATORY LIVE VISUALS: PLAYING IMAGES LIKE A MUSICAL INSTRUMENT THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES BY KATHERINE LIBEROVSKAYA SEPTEMBER 2014 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses) droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire , [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » -------~~------ ~ - UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES VISUELS LIVE IMPROVISÉS: JOUER DES IMAGES COMME D'UN INSTRUMENT DE MUSIQUE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR KATHERINE LIBEROVSKAYA SEPTEMBRE 2014 ACKNOWLEDGEMENTS This doctoral thesis wou Id ne ver have been possible without the priceless direct and indirect help of a number of people. -
The American Film Institute and Philanthropic Support For
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ...................................................... -
Iridescent Spirituality: Early Experiments in Expanded Cinema Mojeanne Sarah Behzadi a Thesis in the Department of Art Histor
! Iridescent Spirituality: Early Experiments in Expanded Cinema Mojeanne Sarah Behzadi A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada September 2017 © Mojeanne Sarah Behzadi ! CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Mojeanne Sarah Behzadi Entitled: Iridescent Spirituality: Early Experiments in Expanded Cinema And submitted in partial fulfilment of the requirements for the degree of Master of Arts (Art History) Complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ______________________________________________ Chair ______________________________________________ Examiner Dr. Elaine Cheasley Paterson ______________________________________________ Examiner Dr. Nicola Pezolet ______________________________________________ Supervisor Dr. Johanne Sloan "##$%&'(!)*!!! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! _____________________________________! ! ! ! ! ! ! ! ! ! ! +$,!-$./0.12!341'2450!! ! 6$2(420'!7$%8$29!+.$':0%$!! ! ______________ 2017 _____________________________________! ! ! ! +$,!;')'::2!<2*5%$!+4:5%/ +'21!%=!>2:450*!%=!>.1'!"$0/ ! ...! Abstract Iridescent Spirituality: Early Experiments in Expanded Cinema Mojeanne Sarah Behzadi This thesis sets out to examine three works of expanded cinema from the 1950s that preceded the psychedelic light -
Improvisatory Live Visuals : Playing Images Like a Musical Instrument
------ - --- UNIVERSITÉ DU QUÉBEC À MONTRÉAL IMPROVISATORY LIVE VISUALS: PLAYING IMAGES LIKE A MUSICAL INSTRUMENT THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES BY KATHERINE LIBEROVSKAYA SEPTEMBER 2014 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses) droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire , [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » -------~~------ ~ - UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES VISUELS LIVE IMPROVISÉS: JOUER DES IMAGES COMME D'UN INSTRUMENT DE MUSIQUE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR KATHERINE LIBEROVSKAYA SEPTEMBRE 2014 ACKNOWLEDGEMENTS This doctoral thesis wou Id ne ver have been possible without the priceless direct and indirect help of a number of people. -
Beats and Friends: a Check-List of Audio-Visual Material in the British Library
BEATS AND FRIENDS: A CHECK-LIST OF AUDIO-VISUAL MATERIAL IN THE BRITISH LIBRARY http://www.bl.uk/reshelp/findhelprestype/sound/literature/literaturesound.html CONTENTS INTRODUCTION ................................................................................................... 3 WILLIAM S. BURROUGHS ..................................................................................... 5 ALLEN GINSBERG ................................................................................................ 16 JACK KEROUAC................................................................................................... 26 THE EAST COAST SCENE..................................................................................... 29 John Ashbery................................................................................................ 29 Amiri Baraka................................................................................................. 30 Ted Berrigan................................................................................................. 32 Kenward Elmslie ........................................................................................... 33 The Fugs....................................................................................................... 33 John Giorno.................................................................................................. 35 Ted Joans ..................................................................................................... 35 Leroi Jones................................................................................................... -
Media Moralities, Comedic Inversions, and the First Amendment Anna Lisa
"Pigs Ate My Roses": Media moralities, comedic inversions, and the First Amendment Anna Lisa Candido Department of Art History and Communication Studies McGill University Montreal, Quebec March 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Communication Studies. © Anna Candido, 2018 ABSTRACT This dissertation examines the politics of morality that structured the moral development of mass and niche media forms in America between the 1930s and late 1970s. In order to understand how media became entangled in moral struggles, this work begins by tracing the rise of moral regulation in film and broadcasting in the 1930s and 40s, and the ways that live performance, narrowcast recording, and listener-sponsored radio enabled forms of expression around gender, sexuality, race, crime, and vice that had been unconstitutionally prohibited in mass media. To do this, this dissertation examines a number of critical moments at which community and religious groups charged performers or media players with the loosely-defined concepts of “obscenity” or “indecency” as a way of establishing moral boundaries in mediated culture. By charging Mae West, Lenny Bruce, George Carlin, and listener-sponsored radio stations with obscenity or indecency, groups like the Legion of Decency and Morality in Media (in concert with other state and industry players) exerted significant control over forms of expression that may have otherwise circulated freely under the protection of the First Amendment. Although these groups succeeded in producing discursive and representational limits in film and broadcasting between the 1930s and 1970s, the semi-hiddenness of live performance spaces, niche recordings, and listener-sponsored radio partially or temporarily sheltered controversial performers and allowed like-minded people to convene over unorthodox expressions that more adequately reflected the depth and complexity of their affective states, experiences, or social positions. -
The Letters of John Wieners
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 "For the Voices": The Letters of John Wieners Michael Seth Stewart Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/292 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “FOR THE VOICES”: THE LETTERS OF JOHN WIENERS by MICHAEL SETH STEWART A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 i © 2014 MICHAEL SETH STEWART All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ammiel Alcalay___________ ________________ _______________________ Date Chair of the Examining Committee Mario di Gangi___________ ________________ _______________________ Date Executive Officer Ammiel Alcalay____ Joan Richardson___ David Greetham___ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT “FOR THE VOICES”: THE LETTERS OF JOHN WIENERS by MICHAEL SETH STEWART Adviser: Ammiel Alcalay American poet John Wieners is thoroughly disenfranchised from the modern poetic establishments because he is, to those institutions, practically illegible. He was a queer self- styled poète maudit in the fifties; a protégé of political-historical poet Charles Olson who wrote audaciously personal verse; a lyric poet who eschewed the egoism of the confessional mode in order to pursue the Olsonian project of Projective (outward-looking) poetics; a Boston poet who was institutionalized at state hospitals. -
An Introduction to the American Underground Film"
UNDERGROUND FILM GROUND FILMS AND THEIR MAKERS W PAPERBACK ORIGINAL $2.25 IN CANADA $2.70 Q fc « W « w K CO W D ^ An Introduction to the American Underground Film o< V j^^^^^ -r^*^, -^^ -'t.^^'^^" Sheldon Renan was born in Pordand, Oregon, in 1941. He became addicted to the film medium during his four years at Yale University, where he was a member of the Scholar of the House Program. After graduation in 1963, he spent much of his time scurrying from one movie theatre to another, and did not emerge from the darkness until 1966, when he married, wrote this book, and settled near San Francisco. An Introduction to by Sheldon Renan A Button m Paperback New York E. P. BUTTON & CO., INC. This paperback edition of "An Introduction to the American Underground Film" First published 1967 by E. P. Button & Co., Inc. All rights reserved. Printed in the U.S.A. Copyright (c) 1967 by Sheldon Renan No part of this book may be reproduced in any form, whatsoever with- out permission in writing from the publishers, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine or newspaper or broadcasts. Published simultaneously in Canada by Clarke, Irwin and Company Limited, Toronto and Vancouver. Foreword It is with very special pleasure that I respond to Sheldon Kenan's invitation to write the foreword to his book. We met while we were screening films for THE INDEPENDENT FILM, the exhibition which introduced me as the new di- rector of The Museum of Modern Art's Department of Film, and it was then that I first saw the avidity, energy, and dedication he brought to looking at films.