Music, Lettrism, Avant-Gardes
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Acquisizioni Fino Al 30 Giugno 2006
AUTORE/CURATORE TITOLO ANNO PRIMA PAROLA DEL TITOLO A A comme …60 fiches de pédagogie concrète 1979 A A voce alta 2002 AA.VV. Dimensioni attuali della professionalità docente 1998 AA.VV. Donne e uomini nelle guerre mondiali 1991 AA.VV. faccia scura della Luna (La) 1997 AA.VV. insegnamento delle scienze nella scuola... (L') 1981 AA.VV. legge antimafia tre anni dopo (La) 1986 AA.VV. Lessico oggi 2003 AA.VV. libro nero del comunismo (Il) 2000 AA.VV. Per conoscere la mafia 1994 AA.VV. Per una nuova cultura dell'azione educativa 1995 AA.VV. Renato Vuillermin… 1981 AA.VV. soggetti dell'autonomia (I) 1999 AA.VV. Storia di Torino - vol. 1 1997 AA.VV. Storia di Torino - vol. 2 1997 AA.VV. Storia di Torino - vol. 3 1997 AA.VV. Storia di Torino - vol. 4 1997 AA.VV. Storia di Torino - vol. 5 1997 AA.VV. Storia di Torino - vol. 6 2000 AA.VV. Storia di Torino - vol. 7 2001 AA.VV. Storia di Torino - vol. 8 1998 AA.VV. Storia di Torino - vol. 9 1999 AA.VV. Volontariato e mezzogiorno-vol. 1 1986 AA.VV. Volontariato e mezzogiorno-vol. 2 1986 AAI Politica locale dei servizi 1975 Aarts, Flor English Syntactic Structures 1982 Abastado, Claude Messages des médias 1980 Abbate, Michele alternativa meridionale (L') 1968 Abburrà, Luciano modello per l'analisi e la previsione dei flussi…(Un) 2002 Abete, Luigi Professionalità zero? 1979 Abitare Abitare la biblioteca 1984 Abraham, G. sogno del secolo (Il) 2000 Abruzzese, A. Sostiene Berlinguer 1997 Acanfora, L. Come logora insegnare 2002 Accademia di San Marciano guerra della lega di Augusta fino alla battaglia…(La) 1993 Accame, Silvio Perché la storia 1981 Accordo Accordo di revisione del Concordato Lateranense 1984 Accornero, Aris paradossi della disoccupazione (I) 1986 Acerboni, Lidia Italiano-Progetto ARCA 1995 Achenbach, C. -
Independent Experimental Film (Animation and Live-Action) Remains the Great Hardly-Addressed Problem of Film Preservation
RESTORING EXPERIMENTAL FILMS by William Moritz (From Anthology Film Archives' "Film Preservation Honors" program, 1997) Independent experimental film (animation and live-action) remains the great hardly-addressed problem of film preservation. While million-dollar budgets digitally remaster commercial features, and telethon campaigns raise additional funds from public donations to restore "classic" features, and most of the film museums and archives spend their meager budgets on salvaging nitrates of early live-action and cartoon films, thousands of experimental films languish in desperate condition. To be honest, experimental film is little known to the general public, so a telethon might not engender the nostalgia gifts that pour in to the American Movie Classics channel. But at their best, experimental films constitute Art of the highest order, and, like the paintings and sculptures and prints and frescos of previous centuries, merit preservation, since they will be treasured continuingly and increasingly by scholars, connoisseurs, and thankful popular audiences of future generations - for the Botticellis and Rembrandts and Vermeers and Turners and Monets and Van Goghs of our era will be found among the experimental filmmakers. Experimental films pose many special problems that account for some of this neglect. Independent production often means that the "owner" of legal rights to the film may be in question, so the time and money spent on a restoration may be lost when a putative owner surfaces to claim the restored product. Because the style of an experimental film may be eccentric in the extreme, it can be hard to determine its original state: is this print complete? Have colors changed? was there a sound accompaniment? what was the speed or configuration of projection? etc. -
Youth Uprising the Lettrist Alternative to Post-War Trauma
Please, return this text to box no. 403 available at museoreinasofia.es Youth Uprising The Lettrist Alternative to Post-War Trauma Lettrism was the first art movement after the Second World War to reintroduce the radicalism of the first avant-garde trends, particularly Dada and Surrealism, and became a communicating vessel for the Neo-avant- garde trends that followed. Lettrism is conceived as a total creative movement, a movement that doesn’t forsake any medium or field of action: poetry, music, film, visual arts or drama. Isou managed to place Lettrism ‘at the vanguard of the avant-garde,’ in contrast with the decline of Dada and Surrealism. During this period Lettrism acquired the true dimension of a group, although the first differences appeared almost at once, producing a split that some years later and in concurrence with other cells of rebe- llious creativity would give rise to the Si- tuationist International. By order of mem- bership, the individuals who joined the first Lettrism is one of the few avant-garde isms that still have a secret history. With the ex- Lettrist group included Gabriel Pomerand, ception of France, its native and almost exclusive soil (radiant Paris, to be more precise), François Dufrêne, Gil Joseph Wolman, the movement was only known superficially, remotely and partially. Ironically, Lettrism Jean-Louis Brau, Serge Berna, Marc’O, is often referred to as an episode prior to Situationism, given the mutual disdain and the Maurice Lemaître, Guy-Ernest Debord, ruthless insults the groups levelled at each other. Furthermore, it is a very complex move- Yolande du Luart and Poucette. -
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place. -
William Carlos Williams' Indian Son(G)
The News from That Strange, Far Away Land: William Carlos Williams’ Indian Son(g) Graziano Krätli YALE UNIVERSITY 1. In his later years, William Carlos Williams entertained a long epistolary relationship with the Indian poet Srinivas Rayaprol (1925-98), one of a handful who contributed to the modernization of Indian poetry in English in the first few decades after the independence from British rule. The two met only once or twice, but their correspondence, started in the fall of 1949, when Rayaprol was a graduate student at Stanford University, continued long after his return to India, ending only a few years before Williams’ passing. Although Williams had many correspondents in his life, most of them more important and better known literary figures than Rayaprol, the young Indian from the southeastern state of Andhra Pradesh was one of the very few non-Americans and the only one from a postcolonial country with a long and glorious literary tradition of its own. More important, perhaps, their correspondence occurred in a decade – the 1950s – in which a younger generation of Indian poets writing in English was assimilating the lessons of Anglo-American Modernism while increasingly turning their attention away from Britain to America. Rayaprol, doubly advantaged by virtue of “being there” (i.e., in the Bay Area at the beginning of the San Francisco Renaissance) and by his mentoring relationship with Williams, was one of the very first to imbibe the new poetic idiom from its sources, and also one of the most persistent in trying to keep those sources alive and meaningful, to him if not to his fellow poets in India. -
Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
Letterism 1947-2014 Vol. 1
The Future is Unwritten: Letterism 1947-2014 Vol. 1 Catalog 17 Division Leap 6635 N. Baltimore Ave. Ste. 111 Portland, OR 97203 www.divisionleap.com [email protected] 503 206 7291 “Radically anticipating Herbert Marcuse, Paul Goodman, and their Letterism is a movement whose influence is as widespread as it is unacknowledged. From punk to concrete poetry to experimental film, from the development of youth culture to the student uprisings of 1968 and epigones in the 1960s new left, Isou the formation of the Situationist International, most postwar avant-garde movements owe a debt to it’s rev- produced an analysis of youth as olutionary theories, yet it remains largely overlooked in studies of the period (some notable exceptions are listed in the bibliography that follows the text). an inevitably revolutionary social sector - revolutionary on its own This catalog contains over one hundred items devoted to Letterism and Inismo. To the best of our knowl- edge it is the first devoted to either of these movements in the US. It contains a number of publications terms, which meant that the terms which have little or no institutional representation on these shores, and represents a valuable opportunity for of revolution had to be seen in a future research. new way.” A number of the items in this catalog were collected by the anarchist scholar Pietro Ferrua, who was closely associated with members of both Letterism and Inismo and who has written a great deal about both move- ments. Ferrua organized the first international conference on Letterism here in Portland in 1979 [see #62]. -
Found Footage Experience. Pratictices of Cinematic Re-Use and Forms of Contemporary Film
Found Footage Experience. Pratictices of cinematic re-use and forms of contemporary film edited by Rossella Catanese (University of Udine) and Giacomo Ravesi (Roma Tre University) In contemporary visual culture, the polysemy of cinematographic language finds its emblematic manifestation in the various paradigms of image re-use, which contextualises and relocates their functions in new interpretative formulas. The practice of found footage consists of the cinematographic, videographic and artistic practice of appropriation, re-elaboration and re- assembly of pre-existing images retrieved from heterogeneous media archives: from photography to stock footage and from home-movies to TV documentation and the web. One of the attractions of postmodern culture as a form of recycling, re-use and combination of different materials recovered from a past interpreted as a vast reservoir of imagery, found footage keeps its interest alive even in the epistemological trajectories of the so-called “new realism,” where a “society of recording” emerges (Ferraris 2011) in which everything must leave a trace and be archived. Moreover, deconstructionist thought has shown how inheritance should be understood not as a datum but always as a task, since archiving also responds to the need for regulation: preserving documents means imposing an order and establishing control through safeguarding and cataloguing devices. At the same time, audiovisual consumption practices have today become complex and composite forms of reception which rewrite the spectatorial experience and the uses and habits of accessibility, availability and relationship with films and audiovisual materials. The history of cinema is configured as a “visual deposit” (Bertozzi 2012) at the origin of the development of new formal writings and metaphorical processes. -
The Art of Hans Arp After 1945
Stiftung Arp e. V. Papers The Art of Hans Arp after 1945 Volume 2 Edited by Jana Teuscher and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 2 The Art of Arp after 1945 Edited by Jana Teuscher and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Foreword Jana Teuscher and Loretta Würtenberger 16 The Art of Hans Arp after 1945 An Introduction Maike Steinkamp 25 At the Threshold of a New Sculpture On the Development of Arp’s Sculptural Principles in the Threshold Sculptures Jan Giebel 41 On Forest Wheels and Forest Giants A Series of Sculptures by Hans Arp 1961 – 1964 Simona Martinoli 60 People are like Flies Hans Arp, Camille Bryen, and Abhumanism Isabelle Ewig 80 “Cher Maître” Lygia Clark and Hans Arp’s Concept of Concrete Art Heloisa Espada 88 Organic Form, Hapticity and Space as a Primary Being The Polish Neo-Avant-Garde and Hans Arp Marta Smolińska 108 Arp’s Mysticism Rudolf Suter 125 Arp’s “Moods” from Dada to Experimental Poetry The Late Poetry in Dialogue with the New Avant-Gardes Agathe Mareuge 139 Families of Mind — Families of Forms Hans Arp, Alvar Aalto, and a Case of Artistic Influence Eeva-Liisa Pelkonen 157 Movement — Space Arp & Architecture Dick van Gameren 174 Contributors 178 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp’s late work after 1945 can only be understood in the context of the horrific three decades that preceded it. The First World War, the catastro- phe of the century, and the Second World War that followed shortly thereaf- ter, were finally over. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
A Visionary Book: Charles Nodier's L'h Istoire Du Roi De Boheme Et De Ses Sept Chateaux
A Visionary Book: Charles Nodier's L'H istoire du Roi de Boheme et de ses sept chateaux Anne-Marie Christin ABSTRACT: Charles Nodier's Histoire du Roi de Boheme is original in several respects: it is the first French Romantic illustrated book; it introduces into writing a completely new typographic expressivity; and it represents an aside in the oeuvre of an author torn between "bibliomania" and the love of fantastic tales. The purpose of this article is to analyze the various functions of the image and the typography within L'Histoire du Roi de de Boheme, and to show that these visual representations of the written word, which give the effect of both spectacle and plastic utterance, mark the beginning of a quest that will find its completion many years later. It will also be seen that the author who is thus dispossessed of his control over narration is the very same who is fascinated by the "dispossession" of dreams; and that for him, a compelling necessity links this book to the oneiric inspiration peculiar to his tales. In January of 1830, when L'Histoire du Roi de Boheme et de ses sept chateaux was beginning to appear in bookstores, Charles Nodier wrote: "This is a work which does not strike a responsive chord in any mind, and which is not of this era."1 In point of fact, the book was a commercial fail ure, and it even bankrupted its publisher, Delangle, who fell victim to the considerable expense of its production. "To the loony bin with the King of Bohemia!" was the refrain with which, in a satire by Sci pion Marin two years later, several well-known literary figures attempted to drown out the litany of Nodier's onomatopoeias and quotations assaulting their ears.2 Champfleury, analyzing the principal illustrated books of the Romantic era- of which Nodier's was the first- confirms the book's misunderstood nature: "By its printing, by the accents of its vignettes, the Roi de de Boheme continues to be a most singular note in the world of the Romantic book"; but, he adds, "Nodier wished to be read ... -
The Development of Dylan Thomas' Use of Private Symbolism in Poetry A.Nne" Marie Delap Master of Arts
THE DEVELOPMENT OF DYLAN THOMAS' USE OF PRIVATE SYMBOLISM IN POETRY By A.NNE" MARIE DELAP \\ Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1964 ~ubmitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May, 1967 0DAHOMI STATE IJIIVERsifi'li' 1-~BR,AYRV dlNlQN THE DEVELOPMENT OF DYLAN THOMAS O USE OF PRIVATE SYMBOLISM IN POETRY Thesis Approved: n n 11,~d Dean of the Graduate College 658670 f.i PREFACE In spite of numerous explications that have been written about Dylan Thomas' poems, there has been little attention given the growth and change in his symbolism. This study does not pretend to be comprehensive, but will atte~pt, within the areas designated by the titles of chapters 2, 3, and 4, to trace this development. The terms early 129ems and later poems will apply to the poetry finished before and after 1939, which was the year of the publication of The Map tl Love. A number of Thomas• mature poems existed in manu- script form before 1939, but were rewritten and often drastically altered before appearing in their final form. .,After the funera1° ' i is one of these: Thomas conceived the idea for the poem in 1933, but its final form, which appeared in The Map .Q! ~' represents a complete change from the early notebook version. Poem titles which appear in this study have been capitalized according to standard prac- tice, except when derived from the first line of a poem; in thes,e cases only the first word is capitalized.