ACRL News Issue (B) of College & Research Libraries
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
Postmodern Art and Its Discontents Professor Paul Ivey, School of Art [email protected]
Humanities Seminars Program Fall 2014 Postmodern Art and Its Discontents Professor Paul Ivey, School of Art [email protected] This ten week course examines the issues, artists, and theories surrounding the rise of Postmodernism in the visual arts from 1970 into the twenty-first century. We will explore the emergence of pluralism in the visual arts against a backdrop of the rise of the global economy as we explore the “crisis” of postmodern culture, which critiques ideas of history, progress, personal and cultural identities, and embraces irony and parody, pastiche, nostalgia, mass or “low” culture, and multiculturalism. In a chronological fashion, and framed by a discussion of mid-century artistic predecessors Abstract Expressionism, Pop, and Minimal Art, the class looks at the wide-ranging visual art practices that emerged in 1970s Conceptual Art, Performance, Feminist Art and identity politics, art activism and the Culture Wars, Appropriation Art, Neo-expressionism, Street Art, the Young British Artists, the Museum, and Festivalism. Week 1: October 6 Contexts and Setting the Stage: What is Postmodernism Abstract Expressionism Week 2: October 13 Cold War, Neo-Dada, Pop Art Week 3: October 20 Minimalism, Postminimalism, Earth Art Week 4: October 27 Conceptual Art and Performance: Chance, Happenings, Arte Povera, Fluxus Week 5: November 3 Video and Performance Week 6: November 10 Feminist Art and Identity Politics Week 7: November 17 Street Art, Neo-Expressionism, Appropriation Week 8: December 1 Art Activism and Culture Wars Week 9: December 8 Young British Artists (YBAs) Week 10: December 15 Festivalism and the Museum . -
Claes-Göran Holmberg
fLaMMan claes-Göran holmberg Precursors swedish avant-garde groups were very late in founding their own magazines. in france and Germany, little magazines had been pub- lished continuously from the romantic era onwards. a magazine was an ideal platform for the consolidation of a new movement in its formative phase. it was a collective thrust at the heart of the enemy: the older generation, the academies, the traditionalists. By showing a united front (through programmatic declarations, manifestos, es- says etc.) you assured the public that you were to be reckoned with. almost every new artist group or current has tried to create a mag- azine to define and promote itself. the first swedish little magazine to embrace the symbolist and decadent movements of fin-de-siècle europe was Med pensel och penna (With paintbrush and pen, 1904-1905), published in Uppsala by the society of “Les quatres diables”, a group of young poets and students engaged in aestheticism and Baudelaire adulation. Mem- bers were the poet and student in slavic languages sigurd agrell (1881-1937), the student and later professor of art history harald Brising (1881-1918), the student of philosophy and later professor of psychology John Landquist (1881-1974), and the author sven Lidman (1882-1960); the poet sigfrid siwertz (1882-1970) also joined the group later. the magazine did not leave any great impact on swedish literature but it helped to spread the Jugend style of illu- stration, the contemporary love-hate relationship with the city and the celebration of the intoxicating powers of beauty and deca- dence. -
To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake.. -
MUSIC and the VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5Pm
MUSIC AND THE VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5pm Course Description This course gives a broad overview of Western art music (a.k.a. Classical Music) from the Middle Ages to our times, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (painting, sculpture and architecture in particular) of their times. The class aims to awaken and encourage an appreciation of Western art music and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed. Course Objectives • Learn new musical repertoire and new pieces of visual art • Grasp the historical trajectory of both Western art music and of the visual arts • Learn how to think critically of arts as dynamic cultural products Course Material Musical examples will be heard and videos will be watched in each class. I will assign readings or some listening as homework most weeks. None of this will take more than half an hour of your time per week. Required Reading Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011. Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013. E. H. Gombrich, The Story of Art, Phaidon Press. Evaluation 1. Mid-term exam (25%) 2. Final exam (25%) 3. Two assignments (50%) (25% each) Assignments: 1. -
FINAL EXAM)—April 26Th, 9:00 A.M
ART OF LISTENING, MUAR 211 STUDY GUIDE FOR EXAM #3 (FINAL EXAM)—April 26th, 9:00 a.m. Composer Work title___ Naxos # / track Claude Debussy Nocturnes, no. 1, Nuages 8.553275, tr. 5 Igor Stravinsky The Rite of Spring, part I, i-iii 8.557501, tr. 1-3 Arnold Schoenberg Pierrot lunaire, no. 18, “Der Mondfleck” BCD9032, tr. 18 Bela Bartok Music for Strings, Percussion and Celesta, 8.550261, tr. 7 2nd movement, Allegro *Pierre Boulez Le marteau sans maître, 4th movement CAP21581, tr. 4 Edgard Varèse Poème électronique (excerpt) not on Naxos György Ligeti Lux Aeterna COLCD125, tr. 18 *John Cage Sonatas and Interludes for Prepared Piano, 8.559042, tr. 6 No. 6 (Sonata no. 5) *Tan Dun Pipa Concerto, iv. Allegro vivace ONYX4027, tr. 4 Steve Reich Music for 18 Musicians INNOVA678, tr. 1-2 *Arvo Pärt Cantate Domino canticum novum 8.557299, track 1 Josquin Desprez Kyrie from Pange lingua Mass [Exam #1] Johann Sebastian Bach Brandenburg Concerto No. 5, 1st movement [Exam #1] Ludwig van Beethoven Symphony No. 5 in C Minor, 1st movement [Exam #2] Frédéric Chopin Nocturne in F# Major, op. 15 no. 2 [Exam #2] *denotes a piece that is not included on the CDs that accompany the Listen textbook. TERMS LIST Arnold Schoenberg (1874-1951) impressionism (style term) Anton Webern (1883-1945) characteristics in painting Alban Berg (1885-1935) musical characteristics Wozzeck and Lulu (Berg’s operas) symbolist poetry Sprechstimme Claude Debussy (1862-1918) atonal music / atonality (harmony term) tone poem / symphonic poem 12-tone music / dodecaphonic / serialism pentatonic -
Vallelyn Phd2018.Pdf
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Beyond the tune: new Irish music Author(s) Vallely, Niall Publication date 2018 Original citation Vallely, N. 2018. Beyond the tune: new Irish music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2018, Niall Vallely. http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information Not applicable Item downloaded http://hdl.handle.net/10468/7021 from Downloaded on 2021-10-10T08:36:19Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork Beyond the Tune: New Irish Music Thesis presented by Niall Vallely For the degree of Doctor of Philosophy University College Cork School of Music and Theatre Head of School: Prof. Jools Gilson Supervisor: John Godfrey 2018 2 Table of Contents Declaration 4 List of accompanying musical scores and CD 5 Acknowledgements 6 Preface 7 Chapter 1 Introduction and Background 8 Education 9 Performance 12 Impact of cross-cultural music 14 Chapter 2 Context and Influences 17 Seán Ó Riada 17 Shaun Davey 18 Mícheál Ó Súilleabháin 19 Other Composers 21 Beyond Genre 23 Chapter 3 Artistic Statement 26 Compositions 27 The Red Tree 28 Sondas 35 Ó Riada Room 37 Time Flying 38 throughother 42 Nothing Else 44 Connolly’s Chair 46 Concertina Concerto 47 Conclusion 50 Appendix 1 List of compositions used in PhD 51 Appendix 2 Complete list of compositions to date 54 Discography 75 3 Bibliography 79 4 Declaration I, Niall Vallely, declare that this dissertation is the result of my own work, except as acknowledged by appropriate reference in the text. -
Redefining the Art Experience : from Static to Temporal Art Forms
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1998 Redefining The Art Experience : From Static To Temporal Art Forms Justine McKnight Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation McKnight, J. (1998). Redefining The Art Experience : From Static To Temporal Art Forms. https://ro.ecu.edu.au/theses/1450 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1450 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Combination Unlock: SM
Combination unLock: SM Unlock bingos from COMMON 2 & 3-LETTER COMBOS. 7s/8s starting, containing, ending (if any). Plurals / conjugations not listed separately. compiled by Jacob Cohen, Asheville Scrabble Club 7s start SM- SMACKED ACDEKMS SMACK, to strike sharply [v] SMACKER ACEKMRS one that smacks (to strike sharply) [n -S] SMALLER AELLMRS SMALL, of limited size or quantity [adj] SMALTOS ALMOSST SMALTO, colored glass used in mosaics [n] SMARAGD AADGMRS emerald (green gem) [n -S] SMARMED ADEMMRS SMARM, to use excessive flattery to obtain favors [v] SMARTED ADEMRST SMART, to cause sharp, stinging pain [v] SMARTEN AEMNRST to improve in appearance [v -ED, -ING, -S] SMARTER AEMRRST SMART, characterized by mental acuity [adj] SMARTIE AEIMRST smarty (obnoxiously conceited person) [n -S] SMARTLY ALMRSTY in smart (characterized by mental acuity) manner [adv] SMASHED ADEHMSS SMASH, to shatter violently [v] SMASHER AEHMRSS one that smashes (to shatter violently) [n -S] SMASHES AEHMSSS SMASH, to shatter violently [v] SMASHUP AHMPSSU collision of motor vehicles [n -S] SMATTER AEMRSTT to speak with little knowledge [v -ED, ING, -S] SMEARED ADEEMRS SMEAR, to spread with sticky, greasy, or dirty substance [v] SMEARER AEEMRRS one that smears (to spread with sticky, greasy, or dirty substance) [n -S] SMECTIC CCEIMST pertaining to phase of liquid crystal [adj] SMEDDUM DDEMMSU ground malt powder [n -S] SMEEKED DEEEKMS SMEEK, to smoke (to emit smoke (gaseous product of burning materials)) [v] SMEGMAS AEGMMSS SMEGMA, sebum (fatty matter secreted by certain -
Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence. -
William Blake, Electric Thinking, Holism, and the New Art: Blake Helps the Toronto School Unlock the Seals to the Great Code; Or Reconnecting R
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net William Blake, Electric Thinking, Holism, and The New Art: Blake Helps the Toronto School Unlock the Seals to the Great Code; or Reconnecting R. Bruce Elder—Professor Emeritus Ryerson University—[email protected] In his last public lecture on Blake, presented in 1987 in London, England, Northrop Frye situated the poet’s formidable achievement in the context of Western mythology: To have turned a metaphorical cosmos eighteen centuries old upside down in a few poems, and provided the basis for a structure that practically every major thinker for the next century would build on, was one of the most colossal imaginative feats in the history of human culture. The only drawback, of course, was that no one knew Blake had done it: in fact Blake hardly realized he had done it either. For some fifty years, Frye devoted significant efforts to discerning the deep structure of Blake’s universe and the underlying forces that give rise to it. In Anatomy of Criticism, he generalized the approach he developed while studying Blake: he decided to investigate literature as an “order of words” with an assumed coherence and set out to crack the great code the gives rise to its recurrent patterns. The investigation of patterns in literature (or in art history) is what Frye believes the critical method to be: one identifies basic elements and notes patterns in their reoccurrence, reorganization, transformation, and interaction. Marshall McLuhan, Frye’s colleague in the Department of English at the University of Toronto, also believed that the study of media is a search of patterns.