DOCSLIB.ORG

TONY CONRAD: VIDEO VIDEO –UNDDARÜBER HINAUS CONRAD TONY TABEA LURK PETER LANG Blick Auf Die Künstlervita Die Auf Blick E Musik Der Kunst Basel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TONY CONRAD: VIDEO VIDEO –UNDDARÜBER HINAUS CONRAD TONY TABEA LURK PETER LANG Blick Auf Die Künstlervita Die Auf Blick E Musik Der Kunst Basel TONY CONRAD VIDEO – UND DARÜBER HINAUS Der US-amerikanische Künstler Anthony (Tony) Conrad (*1940) ist seit über 50 Jahren eine feste Größe im Kunstbetrieb. Gefeiert als TABEA LURK Musiker, Filmemacher, Video- und Performance-Künstler gelingt sein Durchbruch 1966 mit dem Experimentalfi lm “The Flicker”. Neben den Filmarbeiten (inkl. “Yellow Movies”) fi nden die soge- nannten “String Performances” (Solovionline) große Anerkennung. Sie erinnern an das Theatre of Eternal Music (1962–1967) und wurden von namhaften Autoren aufgearbeitet. Die vorliegende Monografi e konzentriert sich daher auf die ca. 70 Videoarbeiten des Künstlers, die ab 1977 entstanden und noch nicht wissenschaftlich untersucht wurden. Auf die Erinnerung an Eckpunkte des künstlerischen Werdegangs (Videografi scher Blick auf die Künstlervita) folgt der Übergang vom materialis- tischen Experimentalfi lm zum videografi schen Bilddenken im Um- feld der Appropriation Art (Video als letzte Aufforderung). Die Refl exion der telematischen Kultur der 1980er Jahre hinterfragt das Wechselspiel zwischen (Video-)Kunst und Gesellschaft (Video TONY CONRAD: VIDEO als Fernsehkritik). Das letzte Kapitel (Video im Spannungsfeld der Musik) kehrt zum Beginn der künstlerischen Karriere Tony Conrads zurück. Die Kunstwissenschaftlerin Tabea Lurk hat nach ihrem Volontariat am ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe von 2006– LURK TABEA 2015 primär an der Hochschule der Künste Bern geforscht und gelehrt. Seit 2015 leitet sie die Mediathek der Hochschule für Gestaltung und Kunst Basel. ISBN 978-3-0343-2037-5 WWW.PETERLANG.COM PETER LANG TONY CONRAD VIDEO – UND DARÜBER HINAUS Der US-amerikanische Künstler Anthony (Tony) Conrad (*1940) ist seit über 50 Jahren eine feste Größe im Kunstbetrieb. Gefeiert als TABEA LURK Musiker, Filmemacher, Video- und Performance-Künstler gelingt sein Durchbruch 1966 mit dem Experimentalfi lm “The Flicker”. Neben den Filmarbeiten (inkl. “Yellow Movies”) fi nden die soge- nannten “String Performances” (Solovionline) große Anerkennung. Sie erinnern an das Theatre of Eternal Music (1962–1967) und wurden von namhaften Autoren aufgearbeitet. Die vorliegende Monografi e konzentriert sich daher auf die ca. 70 Videoarbeiten des Künstlers, die ab 1977 entstanden und noch nicht wissenschaftlich untersucht wurden. Auf die Erinnerung an Eckpunkte des künstlerischen Werdegangs (Videografi scher Blick auf die Künstlervita) folgt der Übergang vom materialis- tischen Experimentalfi lm zum videografi schen Bilddenken im Um- feld der Appropriation Art (Video als letzte Aufforderung). Die Refl exion der telematischen Kultur der 1980er Jahre hinterfragt das Wechselspiel zwischen (Video-)Kunst und Gesellschaft (Video TONY CONRAD: VIDEO als Fernsehkritik). Das letzte Kapitel (Video im Spannungsfeld der Musik) kehrt zum Beginn der künstlerischen Karriere Tony Conrads zurück. Die Kunstwissenschaftlerin Tabea Lurk hat nach ihrem Volontariat am ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe von 2006– LURK TABEA 2015 primär an der Hochschule der Künste Bern geforscht und gelehrt. Seit 2015 leitet sie die Mediathek der Hochschule für Gestaltung und Kunst Basel. WWW.PETERLANG.COM PETER LANG TONY CONRAD TONY CONRAD VIDEO – UND DARÜBER HINAUS TABEA LURK PETER LANG Bern · Berlin · Bruxelles · Frankfurt am Main · New York · Oxford · Wien Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über ‹http://dnb.d-nb.de› abrufbar. Sämtliche Bildmaterialien stammen von den angeführten Künstlerinnen und Künstlern und wurden von diesen für die vorliegende Publikation autorisiert. Publiziert mit Unterstützung des schweizerischen Nationalfonds zur Förderung der wissen- schaftlichen Forschung im Rahmen des Pilotprojekts OAPEN-CH. This book is an open access book and available on www.oapen.org and www.peterlang.com. It is distributed under the terms of the Creative Commons Attribution, Noncommercial, No Derivatives (CC-BY-NC-ND). License, which permits any non-commercial use, and distribution, provided no modifications are made and the original author(s) and source are credited. Bild Umschlag: Tony Conrad, Media Chart: Concord Ultimatum (ca. 1977). Text Innenseite: Tony Conrad, Video-Disco (6./7. August 1983). Satz: Renate Rolfs ISBN 978-3-0343-2037-5 br. ISBN 978-3-0351-0887-3 eBook Diese Publikation wurde begutachtet. © Peter Lang AG, Internationaler Verlag der Wissenschaften, Bern 2016 Hochfeldstrasse 32, CH-3012 Bern, Schweiz [email protected], www.peterlang.com Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Art is a public system to which we, as spectators or consumers, have random access. (Alloway 1984, Network, S. 8) Dank Die vorliegende Dissertation wurde im Sommer 2014 an der Staat- lichen Hochschule für Gestaltung Karlsruhe verteidigt. Mein primä- rer Dank gilt dem US-amerikanischen Künstler Anthony C. Conrad (*1940), der die Arbeit durch die Bereitstellung unzähliger Materialien und Auskünfte in besonderem Maße unterstützt hat. In fachlicher Hinsicht danke ich Prof. Dr. Wolfgang Ullrich für die zuverlässige Betreuung und Prof. Dr. Verena Kuni für ihre analy- tisch präzise Kritik. Sie haben mich in mehrfacher Hinsicht geprägt. Namentlich möchte ich ferner Gabriele Blome (†), Hans-Ulrich Carl, Dragan Espenschied, Ulrike Felsing, Ursula Frohne, Johannes Gfeller, Peter Haber (†), Andrea Hellbach, Tanja Kasischke, Gerhard J. Lisch- ka, Jonas Mekas, Ursula Panhans-Bühler, sam smiley, Anne Turyn, Floria Segieth-Wuelfert, Steina und Woody Vasulka, Gaby Wijers, Ste- fan Wuelfert und Isabel Zürcher danken. Auch allen hier nicht explizit genannten gilt mein herzlicher Dank! Die Arbeit trägt die Züge des digitalen Zeitalters und wäre ohne eine liberale Wissenspolitik (gem. Berliner Erklärung 2003) und spezi- fische Open Access-Projekte und Di gitalisierungsinitiativen so nicht mög lich gewesen. Namentlich fühle ich mich Archive.org, der Daniel Langlois Foundation (Digitalisierung von Radical Software), Euro- peana, INCCA, retro.seals.ch, Vasulka.org, dem Video History Pro- ject, UbuWeb, Wikimedia, diversen Google-Digitalisierungspro jek ten, Online-Bibliografien, Online-Lexika u.a. verbunden, welche Quellen im Internet öffentlich zugänglich machen und damit den Wissenskreis- lauf unterstützen. In diesem Zuge möchte ich in besonderem Maße dem Peter Lang Verlag und namentlich Frau Angelica Scholze herzlich danken, die sich nicht nur auf eine Open Access Publikation der Arbeit eingelassen haben, sondern auch die Förderung derselben durch den Schweizerischen Nationalfond (SNF) ermöglicht haben. Für die finan- zielle Unterstützung danke ich dem SNF. Mein letzter und zugleich innigster Dank gilt meinem Mann Jürgen Enge sowie unseren beiden Familien. Inhalt 1. Einleitung ..................................................................................13 1.1 Stand der Forschung ............................................................17 1.2 Gliederung ..........................................................................23 2. Videografischer Blick auf die Künstlervita ..................................27 2.1 Video avant la lettre............................................................. 32 2.1.1 Ten Years Alive on the Infinite Plain (1972) .............. 33 2.1.2 Yellow Movies (1972–1973) .......................................39 2.2 Video nach dem Film ..........................................................45 2.2.1 Movie Show (1977) ................................................... 47 2.2.2 Concord Ultimatum (1977) ......................................50 2.3 Buffalo is an Island..............................................................54 2.3.1 Tiding Over. Till Tomorrow (1977) .......................... 59 2.3.2 Gestures. Postcards. Images .......................................64 3. Video als letzte Aufforderung .....................................................67 3.1 Performanz des Versagens .................................................... 71 3.1.1 Beholden to Victory (1981–1983) ..............................73 3.1.1.1 Hail the Fallen (1981) ...................................79 3.1.1.2 Combat Status Go (1981) .............................80 3.1.2 Jail. Jail (1982) / WiP (2012) .....................................81 3.1.3 Point Blank (1982–1985) ...........................................88 3.1.3.1 Palace of Error (1982) ...................................92 3.1.4 Sunnyside High (1983) ..............................................95 3.2 Erweiterung der Wahrnehmung ..........................................97 3.2.1 Lookers (ab 1984) ......................................................98 3.2.2 Sip Twice, Sandry (1983) .........................................102 3.2.3 Height 100 (1983) ................................................... 105 3.2.4 Knowing with Television (1983) ..............................109 10 Inhalt 3.3 Erotisierung des Blicks ...................................................... 113 3.3.1 Eye Contact (1985) ...................................................116 3.3.2 Redressing Down (1988) ..........................................118 3.3.3 VIDI VICI (1988) ...................................................122 3.3.4 Egypt 2000 (1986) ..................................................124 4. Video als Fernsehkritik
Load more

Recommended publications
  • Accessible TV Viewers Expect Broadcasters to Provide More Than Just Pictures and Sound
    DOWNLOAD BEYOND THE HEADLINES Accessible TV Viewers expect broadcasters to provide more than just pictures and sound. BY PETER BLATCHFORD losed-caption subtitling The past cue the subtitle fi le with the matching and audio description are Historically, there was an occasional video fi le name on the transmission two increasingly popular requirement to add closed-caption system, and the two fi les would play service additions to mod- subtitles to selected programs, typical- out synchronically . A hardware inser- Cern TV channel output. Providing tion device would insert the subtitle ly high-profi le dramas and documen- access for people with hearing and taries. Consequently, subtitle manage- fi le in real time — typically onto line sight impairments is not the only ment developed as a manual process. A 335 using the World System Teletext driving factor. Programs subtitled videotape recording would be dubbed (WST). To ensure redundancy, there with multiple languages enable TV to produce a VHS copy, and this would would typically be two hot-swappable channels to increase their audience be delivered to the subtitle authoring inserters, possibly with an automated fi gures through wider distribution, department for fi le preparation . failover capability. For occasional which is especially useful in Eastern The completed subtitle fi le, contain- program subtitling, this system oper- ated successfully, although not entirely Channel program schedule without problems . Things have changed UK government legislation has Check existing incrementally raised the level of sub- Extract subtitle subtitle archive requirement titling required from terrestrial chan- nels. The BBC has committed itself to Collect required browse providing subtitles on all of its output Create subtitle job list media or create browse by 2008.
    [Show full text]
  • Rezensionen Von Buchtips.Net
    Rezensionen von Buchtips.net Unheilig: Als Musik meine Sprache wurde Buchinfos Verlag: riva Verlag (weitere Bücher von diesem Verlag zeigen ) Genre: Biografie ISBN-13: 978-3-86883-210-5 (bei Amazon.de bestellen ) Preis: 9,99 Euro (Stand: 29. September 2021) Nachdem Unheilig lange als Nischenband der Gothic-Szene gesehen wurde, gelang ihnen mit dem Album "Große Freiheit" und der Single "Geboren um zu leben" der Sprung an die Spitze der Charts. Fortan änderte sich das Leben des Bandleaders, der sich der Graf nennt. Es folgten ausverkaufte Tourneen, zahlreiche TV-Auftritte und viel Kritik an seiner Person, da ihn Fans der ersten Stunde Verrat und Konsum vorwarfen. Im Fahrwasser des Albums "Lichter der Stadt" erschien die Autobiografie des Grafen, die mit "Als Musik meine Sprache wurde" einen mehr als passenden Titel trägt. Ich selbst verfolge das musikalische Schaffen des Grafen seit dem Album "Puppenspiel", bin also auch noch vor dem großen Erfolg auf ihn aufmerksam geworden und wollte mich jetzt, wo er seinen Abschied verkündet hat, doch etwas näher mit ihm beschäftigen. In seiner Autobiografie erzählt der Graf von seiner Kindheit in einer westdeutschen Kleinstadt. Der Leser erlebt mit, wie aus dem stotternden Jungen einer der erfolgreichsten deutschen Musiker der letzten Jahre wurde. Abseits all dessen, was über den Grafen und seine Musik in den letzten Jahren geschrieben wurde, wirft seine Biografie einen äußerst interessanten Blick hinter die Kulissen der Band und vor allem hinter die Schale des Mannes, der mit seinen Texten versteht, die Menschen zu berühren, wie kaum ein anderer Musik in den letzten Jahren. Das war aber nicht immer so.
    [Show full text]
  • Programmheft Und Die Konzerteinführung Gehören Zu Den Ergebnissen Dieser Arbeit
    © Stockhausen-Archiv Ensemble Earquake Oboe..................................Margarita Souka Violoncello.........................Claudia Cecchinato Klarinette...........................Man-Chi Chan Fagott................................Berenike Mosler Violine.................................Anna Teigelack Tuba...................................Sandro Hartung Flöte...................................Samantha Arbogast Posaune.............................Daniil Gorokhov (a.G.) Viola...................................Tom Congdon Trompete...........................Jonas Heinzelmann Kontrabass.........................Marian Kushniryk Horn...................................Lukas Kuhn Schlagzeug........................Nadine Baert Klangregie.........................Selim M’rad Caspar Ernst Ernst-Lukas Kuhlmann Tutor...................................Orlando Boeck Musikalische Leitung.........Kathinka Pasveer Gesamtleitung...................Merve Kazokoğlu Was bedeutete „Neue Musik“ für Karlheinz Stockhausen? Ganz und gar optimistisch, neugierig und kosmopolitisch scheint Stockhausens Musik – und nicht mehr in den engen Grenzen europä- ischer Musikästhetik verstehbar. Zwar war Stockhausen selbst ein Teil der westdeutschen musikalischen Avantgarde nach 1945 und prägte daher zahlreiche Neuerungen der hiesigen damaligen Musikgeschich- te, – hier sind serielle Techniken ebenso wie die künstliche Tonerzeu- gung mit Studiotechnik erwähnenswert, – endgültig verpflichtet bliebt er jedoch keinem der dort erprobten Ansätze und verband die gewon- nenen Anregungen
    [Show full text]
  • ABBREVIATIONS EBU Technical Review
    ABBREVIATIONS EBU Technical Review AbbreviationsLast updated: January 2012 720i 720 lines, interlaced scan ACATS Advisory Committee on Advanced Television 720p/50 High-definition progressively-scanned TV format Systems (USA) of 1280 x 720 pixels at 50 frames per second ACELP (MPEG-4) A Code-Excited Linear Prediction 1080i/25 High-definition interlaced TV format of ACK ACKnowledgement 1920 x 1080 pixels at 25 frames per second, i.e. ACLR Adjacent Channel Leakage Ratio 50 fields (half frames) every second ACM Adaptive Coding and Modulation 1080p/25 High-definition progressively-scanned TV format ACS Adjacent Channel Selectivity of 1920 x 1080 pixels at 25 frames per second ACT Association of Commercial Television in 1080p/50 High-definition progressively-scanned TV format Europe of 1920 x 1080 pixels at 50 frames per second http://www.acte.be 1080p/60 High-definition progressively-scanned TV format ACTS Advanced Communications Technologies and of 1920 x 1080 pixels at 60 frames per second Services AD Analogue-to-Digital AD Anno Domini (after the birth of Jesus of Nazareth) 21CN BT’s 21st Century Network AD Approved Document 2k COFDM transmission mode with around 2000 AD Audio Description carriers ADC Analogue-to-Digital Converter 3DTV 3-Dimension Television ADIP ADress In Pre-groove 3G 3rd Generation mobile communications ADM (ATM) Add/Drop Multiplexer 4G 4th Generation mobile communications ADPCM Adaptive Differential Pulse Code Modulation 3GPP 3rd Generation Partnership Project ADR Automatic Dialogue Replacement 3GPP2 3rd Generation Partnership
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • ATVOD Working Group on Access Services (WGAS)
    1 ATVOD Working Group on Access Services (WGAS) Report prepared by Nick Tanton Introduction The perceived ease with which viewers can now get access services with linear TV in the UK 1 makes it hard for users/customers to understand why on-demand services generally lag behind in accessibility. The end-to-end chain (content acquisition, versioning, scheduling, delivery and presentation) for on-demand generally differs substantially from that of linear TV. Some processes are (or could be) the same or similar whilst others are not; some also may apply to one on-demand service provider but not to another. In particular the species (and sometimes generational variants) of end-user equipment are diverse and some may not have been designed a priori with accessibility in mind. For on-demand content there are no insuperable barriers to providing subtitles for Hard-of-Hearing people or Audio Description for Blind and Partially Sighted users. However there are various practical technical and commercial challenges which a regulator or service provider may need to recognise and to address if these access services are to be made available in a realisable and usable form to the end-user. For any particular service provider, the mix and impact of these challenges depends on the delivery platform(s) on which they have a presence, their role within a particular delivery chain and their business model. The content of this report represents a distillation of understanding from within the ATVOD Working Group on Access Services (WGAS) and input from individual companies who have participated in those discussions.
    [Show full text]
  • Tuning in Opposition
    TUNING IN OPPOSITION: THE THEATER OF ETERNAL MUSIC AND ALTERNATE TUNING SYSTEMS AS AVANT-GARDE PRACTICE IN THE 1960’S Charles Johnson Introduction: The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been in use as early as 5000 years ago and fell out of favor during the common practice era. A conscious departure from the commonly accepted 12-tone per octave, equal temperament system of Western music, contemporary music created with alternate tunings is often regarded as dissonant or “out-of-tune,” and can be read as an act of opposition. More than a simple rejection of the dominant tradition, the practice of designing scales and tuning systems using the myriad options offered by the harmonic series suggests that there are self-deterministic alternatives to the harmonic foundations of Western art music. And in the communally practiced and improvised performance context of the 1960’s, the use of alternate tunings offers a Johnson 2 utopian path out of the aesthetic dead end modernism had reached by mid-century. By extension, the notion that the avant-garde artist can create his or her own universe of tonality and harmony implies a similar autonomy in defining political and social relationships. In the early1960’s a New York experimental music performance group that came to be known as the Dream Syndicate or the Theater of Eternal Music (TEM) began experimenting with just intonation in their sustained drone performances.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Files Events/Artists
    Files events/artists ____________________________________________________________________________________________ tuesday 16 > sunday 21 april 3 pm > 9 pm Garage Pincio tuesday 16 april 6 pm opening Marcel Türkowsky/Elise Florenty (D/F) We, the frozen storm audio-visual installation production Xing/Live Arts Week with the collaboration of Bologna Sotterranea/Associazione Amici delle Vie d'Acqua e dei Sotterranei di Bologna We, the frozen storm is the title of the new and site-specific installation conceived for the evocative spaces of the tunnels of the Pincio shelter, under the Montagnola Park. The title is inspired by Bildbeschreibung (Explosion of memory/description of an image) by Heiner Muller. " What could be the travel from the self to the other? Imagine to face portraits of characters that carry multidentity-stories: from the old to the new world, from the factual to the fictional, from the undead past to the speculative future. A delirium embracing the cosmic world. This travel will be colorful, hypnotic, engaging, pushing the spectator into unconscious meandering and disorientation." For their first exhibition in Italy, Florenty and Türkowsky have composed a work made up of video projections, sounds, glows and shadows, marking an important first step in the research currently underway after the great project Through Somnambular Laws (2011) toward a new series of works. Elise Florenty & Marcel Türkowsky. Since the beginning of their collaboration in 2005 Elise Florenty - with a background in visual arts and film - and Marcel Türkowsky - with a background in philosophy, ethnomusicology and, later, visual art – have shared their passion for the power of language through songs, writing and instructions.
    [Show full text]
  • Holmes Electronic and Experimental Music
    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • To Whom It May Concern: Nam June Paik's Wobbulator and Playful Identity
    To whom it may concern: Nam June Paik©s wobbulator and playful identity Article (Published Version) Devereaux, Emile (2013) To whom it may concern: Nam June Paik's wobbulator and playful identity. Leonardo Electronic Almanac, 19 (5). pp. 22-35. ISSN 1071-4391 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/48741/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk catalog FARAnd by LAnfranco AcEtI And omAR KhoLEIF ISSN 1071-4391 ISBNWI 978-1-906897-21-5 CATALOGd VOL 19 NO 5 LEONARDOELECTRONICALMANACE 1 This issue of LEA is a co-publication of LEA is a publication of Leonardo/ISAST.
    [Show full text]