Bibliographie Sculpture Grecque
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Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
Musique Algorithmique
[Version adaptée pour un cours commun ATIAM/CURSUS d’un article à paraître dans N. Donin and L. Feneyrou (dir.), Théorie de la composition musicale au XXe siècle, Symétrie, 2012] Musique algorithmique Moreno Andreatta . La plupart des études sur la musique algorithmique soulignent, à juste titre, le caractère systématique et combinatoire de certaines démarches compositionnelles qui ont accompagné l’évolution de la musique occidentale. De l’isorythmie du Moyen Âge aux musikalische Würfelspiele ou « jeux musicaux » attribués à Johann Philipp Kirnberger, Wolfgang Amadeus Mozart, Josef Haydn ou Carl Philipp Emmanuel Bach, l’utilisation de méthodes combinatoires et algorithmiques n’a pas dû attendre l’« implémentation » informatique pour voir le jour1. Fig 0.1 : « Jeux musicaux » (générés par http://sunsite.univie.ac.at/Mozart/dice/) 1 En attendant un article sur la musique algorithmique dans le Grove Music Online, nous renvoyons le lecteur à l’étude de Karlheinz ESSL, « Algorithmic Composition » (The Cambridge Companion to Electronic Music (Nick COLLINS et Julio D’ESCRIVAN, éds.), Cambridge : Cambridge University Press, 2007, p. 107-125) pour une analyse plus large des procédés algorithmiques. On pourrait penser, et c’est l’hypothèse le plus souvent proposée, que c’est l’artifice de l’écriture qui rend possible l’exploration de la combinatoire. Cela est sans doute vrai dans plusieurs répertoires, des polyphonies complexes de Philippe de Vitry ou Guillaume de Machaut aux œuvres sérielles intégrales de la seconde moitié du XXe siècle. Cependant, comme l’ont bien montré certains travaux d’ethnomusicologie et d’ethnomathématique (voir Marc CHEMILLIER, Les Mathématiques naturelles, Paris : Odile Jacob, 2007), l’utilisation d’algorithmes est également présente dans les musiques de tradition orale – une problématique que nous n’aborderons cependant pas ici, car elle dépasse le cadre de cette étude. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
Hefte 1-85 (1988-2010)
Positionen Inhaltsverzeichnis Hefte 1-85 (1988-2010) Ablinger, Peter, Für und wider das Kunstwerk: Annäherung, 23/1995, 36-39 –, Konventionalität der Musik, 34/1998, 5 –, Differenz und Differenzierung, 41/1999, 6-7 –, Motette, 44/2000, 16-17 –, Opern, Mischformen, Niemandsland ..., Standpunkte von Komponistinnen und Komponisten, 55/2003, 30-31 –/Markus Fein, Überschneidungen. Ein Gespräch, 59/2004, 18-21 –, Ausdruck/Sonate, 73/2007, 7-12 –, Keine Überschreitung, 78/2009, 11 Abromeit, Peter, Bericht: Grosses Lernen in Bremen, 80/2009, 59 Adkins, Helen, »Dead chickens« Schrottmutationen und Klangapokalypse, 14/1993, 7-8 Albrecht, Norbert, Ruth Zechlin: Kristallisation für Orchester, 3/1989, 20-21 de Alvear, Maria, Zur Verfügbarkeit und Geschichtlichkeit des Materials, 49/2001, 31 –/ Mörchen, Raoul, »Es geht um eine Verrückung...« , 67/2006, 26-27 –, Über Aufmerksamkeit im Alltag, 76/2008, 31-32 Amme, Kristin, Bericht: MachtMusik, 69/2006, 54-56 –, Bericht: Leipzig: stéle 2008, 78/2009, 57 –, Bericht: FreiZeitArbeit in Leipzig: Bahnhofskonzert, 80/2009, 66 –, Bericht: Reisen bildet: Flughafenkonzert, 84/2010, 62 Amzoll, Stefan, Georg Katzers »Multi-Media«-Projekte, 14/1993, 26-28 –, Radio-Oper Die Gebeine des Dantons von Schenker/Mickel, 5/1990, 19-20 –, Zeugnisse: Offener Brief an die Akademie der Künste Berlin-Brandenburg, 22/1995, 54-55 –, Störfall. Gespräch mit Friedrich Schenker, 35/1998, 36-38 –, Von Anfang an dialektisch gedacht, der Hallenser Komponist Thomas Müller, 41/1999, 44-48 –, Goldberg-Passion. Ein Gespräch mit Friedrich Schenker, 42/2000, 50-51 –, Bericht: IX. Randspiele in Zepernick, 48/2001, 64-66 –, Bericht: XI. Randspiele in Zepernick, 56/2003, 55-56 –, Bericht; Pyramidale in Berlin-Hellerdorf, 58/2004, 62-63 –, Bericht: Randspiele Zepernick, 69/2006, 56-57 –, Der Dorn im Fleisch. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
World Literatures: Exploring the Cosmopolitan-Vernacular Exchange, Edited by Stefan Helgesson, Annika Mörte Alling, Yvonne Lindqvist, and Helena Wulff, 246–260
21. Seclusion versus Accessibility: The Harems of Constantinople as Aesthetic Worlds in Stories by Elsa Lindberg-Dovlette Helena Bodin Comparative Literature, Stockholm University At the turn of the twentieth century, the harem was still a secluded and concealed space, unknown to most westerners and there- fore arousing their curiosity. Novels about life in a harem, such as Pierre Loti’s Les Désenchantées (1906),1 set in cosmopolitan Constantinople, were bestsellers and widely translated in the early twentieth century. Likewise, for several decades, descrip- tions of visits to Turkish harems had been essential elements in travelogues about Constantinople by female writers such as the Englishwoman E. C. C. Baillie and the Danish Elisabeth Jerichau Baumann,2 while motifs from harems, painted by such artists as 1 Pierre Loti, Les Désenchantées: Roman des harems turcs contemporains (Paris: Calmann-Lévy, 1906). 2 E. C. C. Baillie, A Sail to Smyrna: Or, an English Woman’s Journal; Including Impressions of Constantinople, a Visit to a Turkish Harem, and a Railway Journey to Ephesus ... (London: Longmans, Green, and Co., 1873), 165–99, as mentioned by Mary Roberts, Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (Durham: Duke University Press, 2007), 62–63; Elisabeth Jerichau-Baumann, Brogede rejsebilleder (Kjøbenhavn: Forlagsbureauet, 1881), esp. 20–28, discussed by Elisabeth Oxfeldt, Journeys from Scandinavia: Travelogues How to cite this book chapter: Bodin, Helena. “Seclusion versus Accessibility: The Harems of Constantinople as Aesthetic Worlds in Stories by Elsa Lindberg-Dovlette”. In World Literatures: Exploring the Cosmopolitan-Vernacular Exchange, edited by Stefan Helgesson, Annika Mörte Alling, Yvonne Lindqvist, and Helena Wulff, 246–260. -
California State University, Northridge Jean Cocteau
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere. -
Intersections, Boundaries and Passages
Keith Dietrich INTERSECTIONS, BOUNDARIES AND PASSAGES: TRANSGRESSING THE CODEX October 2011 Keith Dietrich was born in Johannesburg in 1950 and studied graphic design at Stellenbosch University, where he graduated with a BA degree in Visual Arts in 1974. Between 1975 and 1977 he studied painting at the National Higher Institute for Fine Arts in Antwerp, Belgium. He obtained his MA in Fine Arts (cum laude) in 1983 and his D Litt et Phil in Art History in 1993, both at the University of South Africa (Unisa). He has lectured at the University of Pretoria and Unisa, and is currently INTRODUCTION Chair of the Department of Visual Arts at Stellenbosch University. He has participated in over thirty community interaction projects in southern Africa and has received a number of awards, in South Africa and abroad, for both his creative and his academic work. He has participated in group exhibitions and biennials in Belgium, Botswana, Chile, Egypt, Germany, Italy, Namibia, the Netherlands, South Africa, Spain, Sweden, Switzerland, the United Kingdom and the USA, and has held 20 solo exhibitions in South Africa. His work is represented in 34 corporate and public collections in South Africa and abroad. 1 Intersections, Boundaries and Passages: Transgressing the Codex Inaugural lecture presented on 4 October 2011 Prof. K.H. Dietrich Department of Visual Arts Faculty of Arts and Social Sciences Editor: SU Language Centre Design: Keith Dietrich Printing: Sunprint ISBN: 978-0-7972-1335-7 2 Given that the convention of an inaugural lecture Artists’ books lie at the intersection of disciplines in excludes art practice, I decided to present an inaugural ex- both the visual arts and literature, and include poetry, prose, hibition. -
Catalogue Chronologique Des Œuvres De Francis Poulenc
CATALOGUE CHRONOLOGIQUE DES ŒUVRES DE FRANCIS POULENC Légende : [œuvre inédite] [œuvre détruite] [œuvre perdue] 1 [Processionnal pour la crémation d’un mandarin] 2 [Préludes pour piano] 1918 3 Rhapsodie nègre, œuvre pour voix et piano 4 [Scherzo à quatre mains] 5 [Trois pastorales pour piano] 6 [Poèmes sénégalais] 1919 7 Sonate pour 2 clarinettes, œuvre de musique de chambre 8 Sonate pour piano à quatre mains, œuvre pour piano 9 [Prélude-percussion] 10 [Le Jongleur] 11 Toréador (Cocteau), œuvre pour voix et piano 12 [Sonate pour violon et piano n°0] 13 [Sonate pour violon, piano et violoncelle] 1920 14 3 Mouvements perpétuels, œuvre pour piano 15 Le Bestiaire (Apollinaire), œuvre pour voix et piano 16 Cocardes (Cocteau), œuvre pour voix et piano 17 Valse 18 [Quadrille à quatre mains] 19 Suite en 3 mouvements, œuvre pour piano 20 Le gendarme incompris, œuvre pour la scène 21 5 Impromptus, œuvre pour piano 1921 22 Quatre poèmes de Max Jacob, œuvre pour voix et piano 23 Les mariés de la Tour Eiffel, œuvre pour orchestre 24 10 Promenades, œuvre pour piano 25 Esquisse pour une fanfare, œuvre pour la scène 26 [Trois études de pianola] 27 [Suite d’orchestre n°1] 28 [Quatuor à cordes n° 1] 29 [Trio pour piano, clarinette et violoncelle] 30 [Marches militaires pour piano et orchestre] 1 1922 31 Chanson à boire, œuvre chorale profane 32 Sonate pour clarinette et basson, œuvre de musique de chambre 33 Trio pour cor, trompette et trombone, œuvre de musique de chambre 34 [« Caprice espagnole »] 1923 35 [Récitatifs pour La Colombe -
The Sorcerer's Apprentice Suite from Les Biches
Paul Dukas / October 1, 1865 – May 17, 1935 THE SORCERER’S APPRENTICE Best known for its prominent role in Walt Disney’s Fantasia, Dukas’s scherzo is the translation into music of a poem by Johann von Goethe based on an ancient folk tale. The moral of the tale is ‘don’t try to run before you can walk,’ or ‘don’t meddle in matters you don’t understand.’ Goethe turned the fable into poetry, Dukas into a literal sound poem. Dukas’s programmatic music recounts the story of a magician who could turn a broom handle into a living object which would then execute the duties of a servant, such as fetching water. The secret of the trick lay in the magic words the sorcerer used to work this miracle. One day the sorcerer’s apprentice overheard him rehearsing these words, and while his boss was away on an errand, the apprentice decided to try the trick himself – with disastrous results. The broom did become a servant, and it did fetch water as commanded, but the apprentice had not overheard the words needed to put the magic in reverse. The mindless runaway broom proceeded to flood the house. Desperately, the apprentice took an axe to the broom, splitting it in two – but then there were two mindless creatures flooding the house. Fortunately, the sorcerer arrived and put a halt to the mayhem. Dukas’s clever music captures the story in great detail, with the bassoons and contrabassoon playing the part of the broom. As the flood increases, orchestral arpeggios create the effect of flooding water. -
Novello’S Dressing Room Had Other Reports About Its Condition
1 HOME CHAT Remembering AUTUMN/FALL 2015 Graham Barry Day remembers Graham Payn on the 10th Anniversary of his death The Coward Family The business and personal friendships that sustained Noël Coward: Graham Payn Cole Lesley Lorn Lorraine Joan Hirst Noël Coward Screenplays A new publication from Barry Day featuring the screenplays of: In Which We Serve Brief Encounter The Astonished Heart Brief Encounter 70th Anniversary Showings Noël Coward On Film At The Regents Street Cinema Noël Coward: An Entertainer Abroad Exhibition at The Cadbury Research Library at Birmingham University 2 Remembering Graham Memories of Graham Payn by Barry Day Do you believe in happen-stance? course, “London Pride” coming over walk back in at any moment, even I never did. But my thirty-some year the radio into your living room. though he’d left us a decade earlier involvement with all things Coward at this point. It was fascinating but has made me wonder. I don’t know what sort of house depressing at the same time. I expected but certainly not the Ironically, it started in Jamaica. I’d unpretentious little semi-bungalow We were shown round by Miguel, the been visiting the Kingston office of at the end of what passed for a road servant who had been with him when the advertising agency I worked for leading up to the top of a mountain. he died. And then it became even and my wife and I decided to stay over But the view over the Spanish Main more depressing when Miguel made for a couple of days at a hotel on the was something else.