William S. Burroughs
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Universidade Estadual De Ponta-Grossa Pró-Reitoria De Pesquisa E Pós-Graduação Programa De Pós-Graduação Em Linguagem, Identidade E Subjetividade
UNIVERSIDADE ESTADUAL DE PONTA-GROSSA PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM LINGUAGEM, IDENTIDADE E SUBJETIVIDADE ANDERSON COSTA UMA REVOLUÇÃO PELO ACASO OU O CUT-UP NO CINEMA UNDERGROUND DOS ANOS 60 PONTA-GROSSA – PARANÁ 2013 ANDERSON COSTA UMA REVOLUÇÃO PELO ACASO OU O CUT-UP NO CINEMA UNDERGROUND DOS ANOS 60 Dissertação apresentada para a obtenção do título de Mestre na Universidade Estadual de Ponta Grossa. Área de Linguagem, Identidade e Subjetividade. Orientador: Prof. Dr. Antonio João Teixeira PONTA-GROSSA – PARANÁ 2013 Ficha Catalográfica Elaborada pelo Setor de Tratamento da Informação BICEN/UEPG Costa, Anderson C843 Uma revolução pelo acaso ou o cut-up no cinema underground dos anos 60/ Anderson Costa. Ponta Grossa, 2013. 123f. Dissertação (Mestrado em Linguagem, Identidade e Subjetividade - Área de Concentração: Linguagem, Identidade e Subjetividade), Universidade Estadual de Ponta Grossa. Orientador: Prof. Dr. Antonio João Teixeira. 1.Burroughs. 2.Cut-Up Films. 3.Beatniks. 4.Cinema. I.Teixeira, Antonio João. II. Universidade Estadual de Ponta Grossa. Mestrado em Linguagem, Identidade e Subjetividade. III. T. CDD: 410 ANDERSON COSTA UMA REVOLUÇÃO PELO ACASO OU O CUT-UP NO CINEMA UNDERGROUND DOS ANOS 60 Dissertação apresentada para obtenção do título de Mestre na Universidade Estadual de Ponta Grossa, Área de Linguagem, Identidade e Subjetividade. Ponta Grossa, 02 de julho de 2013. Professor Dr. Antonio João Teixeira Doutor em Letras (Inglês e Literatura Correspondente) Universidade Estadual de Ponta-Grossa Professor Dr. José Soares Gatti Júnior Doutor em Cinema Studies Universidade Tuiuti do Paraná Professora Dra. Silvana Oliveira Doutora em Teoria e História Literária Universidade Estadual de Ponta Grossa AGRADECIMENTOS Quero agradecer, especialmente, a meu orientador, professor Doutor Antonio João Teixeira, pelas valiosas contribuições e pela imensa paciência que teve com este orientando relapso. -
Towers Open Fire (1963). Foto: Antony Balch Films
Towers Open Fire (1963). Foto: Antony Balch Films. 56 Storm studiet – panoreringer i det grå rum Antony Balch, William S. Burroughs, cut-up og flm Balthazar Lars Movin I sin klumme i New York-magasinet Te Art Newspaper opremsede kunstkritikeren Adrian Dannatt i oktober 2001 en række eksempler på, hvordan Manhattans kunstverden var blevet påvirket af terroran- grebet mod World Trade Center måneden forinden. Hårdest ramt var naturligvis de kunstnere, som havde atelier i selve Twin Towers. Og dernæst var der dem, som boede eller arbejdede i Tribeca-området eller endnu længere sydpå – samt de mange gallerier og andre typer kunstin- stitutioner, som havde adresse i samme område. Alle blev de påvirket i et eller andet omfang. Udstillinger og projekter blev afyst eller udsat. Kunstnere og institutioner måtte fytte, midlertidigt eller permanent. Det kan godt være, at der fandtes vildfarne sjæle, som senere ville lufte muligheden af, at begivenhederne den 11. september 2001 i et vist perspektiv kunne betragtes som et apokalyptisk kunstværk med en hidtil uset efekt. Men i dagene og ugerne efter 9/11 kunne ingen være i tvivl om, at der først og fremmest var tale om en yderst virkelig hændelse med, om ikke apokalyptiske, så dog ganske seriøse konse- kvenser. Der var kort sagt ikke meget at grine ad, da Dannatt forsøgte at danne sig et overblik over, hvad den nye verdensorden ville betyde 57 for hans stofområde. Og som for at slutte sine refeksioner i et mindre dystert leje rundede han af med en lille kuriøs anekdote, der skulle de- monstrere, at kunstnerne ikke var ene om at lide under eftervirkninger- ne af angrebet. -
San Francisco Cinematheque Program Notes
titled "The situationists and ne\ politics and art" appeared i iniste#ll (October 1967). Hebe, ve have stuck principally to subv^ m of forms, categories inherited f ; prini San Francisco Cinematheque entury that 1990 Program Notes nt the^ don by means which proceed wi It is not however a matter of i 'hich we have made battle on the passing of philosophy, the realize I of politics; it is a matter of takin, : of our journal, in areas where i le then outlines a new offensive a San Francisco Cinematheque 1990 Program Notes Editor: Kurt Easterwood Productimi and Layout: Laura Poitras Production Assistants: Mai-Lin Cheng Emily Cronbach Jennifer Durrani Written and Researctied by: Bruce Cooper Emily Cronbach Kurt Easterwood Susanne Fairfax Matt Fein Crosby McCIoy Eric S. Theise Don Walker material © Copyright 1991 by the San Francisco Cinematheque, a project of the Foundation for Art in Cinema. No may be reproduced without written permission from the publisher. All individual essays © to the individual authors. San Francisco Cinematheque Foundation for Art in Cinema 480 Potrero Avenue San Francisco, CA 94110 (415)558-8129 San Francisco Cinematheque, 1990-91: Staff: Steve Anker, Artistic Director David Gerstein, Executive Director Laura Poitras. Program Coordinator Board of Directors: Eric S. Theise, President Sally Allen Lynn Kirby (through January 1991) Janis Crystal Lipzin (through May 1990) Lynne Sachs Scott Stark (through May 1991) Scott Taylor Susan Vigil Contents Introduction v 1990 Program Notes 1 Film and Video Maker Index 1 13 Title Index 117 Introduction The San Francisco Cinematheque provides program notes at our screenings as a regular feature of our exhibition activities. -
William S. Burroughs: Pictographic Coordinates
William S. Burroughs: Pictographic Coordinates ANTONIO JOSÉ BONOME GARCÍA Universidade da Coruña (Spain) Abstract La apropiación y reorganización de contenidos audiovisuales preexistentes es un hecho cotidiano en las actuales tecnologías de la información. El objetivo de esta comunicación es trazar dichas estrategias en los métodos de producción del escritor William S. Burroughs, que durante los años 60 produce seis mil páginas de escritura experimental mediante el método cut-up. Burroughs cuestiona el concepto de autor cuando se apropia de textos de otros escritores y los recorta, reordena, y combina con su propia escritura en un nuevo contexto, reintroduciendo una aleatoriedad estancada hasta entonces en automatismos y cadáveres exquisitos. Con Burroughs, la palabra pasa a ser un material tangible y táctil, mientras que el texto deviene algo contingente y múltiple. Burroughs produce diferentes versiones de sus textos integrándolos en un archivo multimedia, al que recurre para alterar radicalmente posteriores reediciones de sus obras. En la intertextualidad del archivo y sus subproductos descubrimos frecuentes reflexiones sobre la construcción de unos textos que son accesibles desde cualquier punto de entrada. Hay tres factores cruciales en las tácticas interdisciplinares de Burroughs: los procesos de percepción, cognición y recepción. Burroughs extiende su sistema nervioso a través de mecanismos de grabación y reproducción para expresar la simultaneidad de estímulos que asedian al sujeto cotidianamente. También se apropia de imágenes y textos que reordena en retículas y columnas triples, legibles en cualquier dirección y sentido. La parataxis es una táctica recurrente en su particular sistema semiótico, que compromete al lector como productor de sentido. Los cuadernos y collages resultantes erosionan el límite entre literatura y artes plásticas. -
Beat Generation November 2016
Saturday 26.11.2016 – Sunday 30.04.2017 C Press Release Beat Generation November 2016 ZKM_Lichthof 8+9 Beat Generation Exhibition __ Duration of exhibition Sat, Nov. 26, 2016 - The exhibition will open on Friday, November 25, 2016 at 7 p.m.. The Sun, Apr. 30, 2017 press conference will be held on Thursday, November 24, 2016 at 11 a.m.. Venue __ ZKM_Atrium 8+9 The ZKM | Karlsruhe will be the second stage of the Beat Generation exhibition after the Centre Pompidou in Paris. In the Press contact Dominika Szope last few years, the ZKM has dedicated a number of major Head of Press & Public Relations Tel.: +49(0)721 / 8100 – 1220 exhibitions to the leading figures of the Beat Generation, such as William S. Burroughs and Allen Ginsberg. In this new Regina Hock Press & Public Relations exhibition, an overview of the literary and artistic movement, Tel.: +49 (0)721 / 8100 – 1821 which was created at the end of the 1940s, will now be E-mail: [email protected] provided for the first time. If “beatniks” were viewed back then www.zkm.de/presse as subversive rebels, they are now perceived as actors in one of ZKM | Center for Art and Media Karlsruhe th the most important cultural directions of the 20 century. Lorenzstraße 19 76135 Karlsruhe The Beat Generation was a literary and artistic movement that arose at the end of the Forties in the USA after the Second World War and in the early days of the Cold War. It scandalized the puritanical America of the ZKM sponsors McCarthy era, heralding the cultural and sexual revolution of the Sixties and the lifestyle of the younger generation. -
Expanded Media March 2012
March 24 – August 12, 2012 Press Information the name is BURROUGHS – Expanded Media March 2012 Such works as “Naked Lunch” or “The Soft Machine” are what made the name is BURROUGHS – William S. Burroughs (1914-1997) world famous as an author. Far less Expanded Media known, by contrast, is that Burroughs, as a cross-media artist, also produced a comprehensive, varied body of work that no less Location experiments with audio tape, film and photography as it does with ZKM | Museum of Contemporary Art painting and collages. The comprehensive exhibition “the name is BURROUGHS – expanded media” presents the author’s artistic Press Discussion output in Germany for the first time; it examines the multiple Thurs, March 22, 2012, 11 a.m. at the ZKM | Museum affiliations between literary and experimental image production, of Contemporary Art further augmenting the image by way of the representation of Opening “collaborations” Burroughs produced in association with other Fri, March 23, 2012, artists. The exhibition gains additional appeal thanks to a series of 7 p.m. in the ZKM_Foyer works by contemporary international artists who each make Duration unambiguous reference to Burrough’s writings and his method of March 24 – August 12, 2012 “expanded media”, and thus, from a present-day perspective, sound out the individual pictorial potential. Press Contact Dominika Szope Head of Department Press and The exhibition’s goal is to make tangible, in review and for the first time Public Relations Tel: 0721 / 8100 – 1220 within Europe on such a scale, the visionary volatility of William S. Burroughs’ literary output while at the same time showing the impact of his Denise Rothdiener ideas and philosophy on a wider network of authors, musicians, Department Press Tel: 0721 / 8100 – 1821 composers, painters, photographers, video artists and filmmakers. -
Retaking the Universe
Schn-FM.qxd 3/27/04 11:25 AM Page iii Retaking the Universe William S. Burroughs in the Age of Globalization Edited by Davis Schneiderman and Philip Walsh Schn-FM.qxd 3/27/04 11:25 AM Page iv First published 2004 by Pluto Press 345 Archway Road, London N6 5AA 22883 Quicksilver Drive, Sterling, VA 20166–2012, USA www.plutobooks.com Copyright © Davis Schneiderman and Philip Walsh 2004 The right of the individual contributors to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0 7453 2082 1 hardback ISBN 0 7453 2081 3 paperback Library of Congress Cataloging-in-Publication Data Retaking the Universe: William S. Burroughs in the Age of Globalization/ edited by Davis Schneiderman and Philip Walsh. p. cm. Includes bibliographical references. ISBN 0-7453-2082-1 (hbk.)—ISBN 0-7453-2081-3 (pbk.) 1. Burroughs, William S., 1914—Criticism and interpretation 2. Homosexuality and literature—United States—History—20th century. 3. Sexual orientation in literature. 4. Beat generation in literature. 5. Narcotic habit in literature. I. Schneiderman, Davis. II. Walsh, Philip, 1965– PS3552.U75Z835 2004 813Ј.54—dc22 2003025963 10987654321 Designed and produced for Pluto Press by Chase Publishing Services, Fortescue, Sidmouth, EX10 9QG, England Typeset from disk by Newgen Imaging Systems (P) Ltd, India Printed and bound in the European Union by Antony Rowe Ltd, Chippenham and Eastbourne, England Schn-FM.qxd 3/27/04 11:25 AM Page v Contents List of Abbreviations vii Acknowledgments x Foreword xi —Jennie Skerl Introduction: Millions of People Reading the Same Words —Davis Schneiderman and Philip Walsh 1 Part I Theoretical Depositions 1. -
Burroughs Gysin Third Mind.Pdf
To and for all our collaborators at all times third minds everywhere. W.S.B. & B.G. Copyright © William S. Burroughs and Brion Gysin, 1978 All rights reserved A Seaver Book/The Viking Press First published in 1978 by The Viking Press 625 Madison Avenue, New York, N.Y. 10022 Published simultaneously in Canada by Penguin Books Canada Limited LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA Burroughs, William S 1914- The third mind. "A Seaver book." I. Gysin, Brion, joint author. II. Title. PS3552.U75T48 813'.5'4 77-26896 ISBN 0-670-70099-1 Printed in the United States of America Set in Linotype Times Roman Portions of this book appeared during the years 1960-73, in slightly different form, in the following publications: The Award Avant-Garde Reader: "Proclaim Present Time Over"; Brion Gysin Let the Mice In: "Let the Mice In"; A Casebook on the Beat: "The Cut-up Method of Brion Gysin"; Evergreen Review: "Cut-ups Self-Explained," "Cut- ups: A Project for Disastrous Success," "Fold-ins"; The Exterminator: "The Exterminator"; Insect Trust Gazette: "Formats: The Grid"; May fair: "Films"; Minutes to Go: "First Cut-ups," "Intersection Readings"; Nova Express: "Technical Deposition of the Virus Power"; Paris Review: "Interview with William S. Burroughs." BURROUGHS: I don't know about where fiction ordinarily di- rects itself, but I am quite deliberately addressing myself to the whole area of what we call dreams. Precisely what is a dream? A certain juxtaposition of word and image. I've recently done a lot of experiments with scrapbooks. I'll read in the newspaper something that reminds me of or has relation to something I've written. -
Kenneth Anger and R.D. Laing
WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch The films of Kenneth Anger and the sixties politics of consciousness Matthew Hughes School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2011. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] The Films of Kenneth Anger and The Sixties Politics of Consciousness __________________________________________ Matthew Hughes A thesis submitted in partial fulfillment of the requirements of the University of Westminster for the degree of Doctor of Philosophy May 2011 Abstract This thesis is an enquiry into avant-garde filmmaker Kenneth Anger’s stated impetus for aesthetic practice, in that his approach is characterised by a desire to elicit a ‘transformative’ response from the spectator: “I chose cinema as the mode of personal expression for its potential and capacity for disruption: it is the surest means to incite change.”1 This central animating principle of Anger’s practice has been fundamentally neglected in what little critical writing that already exists on his work. -
A Selectively Annotated Bibliography of William S. Burroughs V. 3.0
I ANYTHING BUT ROUTINE: A Selectively Annotated Bibliography of William S. Burroughs v. 3.0 by Brian E. C. Schottlaender The Audrey Geisel University Librarian UC San Diego Libraries 2012 II PREFACE to v. 3.0 This third edition of Anything but Routine includes an entirely new section, “Video Recordings” (Section F). Not only is Burroughs’ film work with Antony Balch and others well documented in various video formats, but a number of Burroughs’ readings over the years are likewise well documented. Section F represents a first attempt to pull these disparate materials together in one place. In addition, particular attention has been paid in this v. 3.0 to promotional materials, including: • Press Kits • Press Releases • Posters, and • Publishers’ Prospectuses. These can be found in Section G. Quantitatively, v. 3.0 includes 1,127 numbered entries (and hundreds more sub-entries), as compared to the 1,077 entries in v 2.0., an increase of almost 5%. III INTRODUCTION The bibliography of William S. Burroughs is as challenging as the man was himself. He wrote voluminously and kaleidoscopically. He rearranged, recycled, and reiterated obsessively. He produced across five decades and four continents. He was a novelist, a poet, an essayist, and a correspondent at home in all media. He never met a “little magazine” or an interviewer he wouldn’t share with. There have been a few attempts at documenting the range of Burroughs’ prodigious output over the years—some better than others. I initially conceived of this bibliography as an update of Joe Maynard’s and Barry Miles’ definitive William S. -
Shamanic Transformation: Terry Wilson's Perilous
Shamanic Transformation: Terry Wilson’s Perilous Passage - an artifact of The Third Mind An Introduction by Ian MacFadyen and Phil Wood With excerpts from Perilous Passage: the Nervous System and the Universe in Other Words by Terry Wilson _____________________________________________________ It was fifty years ago in Paris that Brion Gysin and William Burroughs, along with their collaborators Ian Sommerville and Antony Balch, developed the techniques known as “The Third Mind.” Drawing upon esoteric and scientific sources, this “project for disastrous success” deconstructed sound and image and computer technology, sabotaging systems of ideological transmission and reproduction, dismantling and erasing the human image repertoire in the process. Gysin and Burroughs asserted the absolute validity of their own psychic and mystical experiences, treating cybernetic information technologies as magical instruments for the shamanic invocation of spirits, challenging the “known laws” of space and time. The Third Mind project was aimed at the radical opening of consciousness ‐‐ evisceration with real knives, scissors and razor blades. Not only cutting up the Word, but pursuing the Tibetan practise of CHÖD – Terry Wilson and Ian MacFadyen with the the extreme cutting up of self, identity and “true memory”, Dream Machine at and the immolation of “immutable” belief systems. Gysin October Gallery, Brion appears to have invented the cut‐up technique at the exact Gysin, Calligraffiti of Fire moment that reporters from LIFE magazine were visiting show, London 2009. the Beat Hotel in Paris. In fact, he already knew that Photo © by Jonathan Greet versions of the technique had been used in antiquity by ( dd k) Ausonius and Vergilius Maro, primarily for comic and entertaining effect. -
Verônica D'agostino Piqueira Monstrumanidade O
VERÔNICA D’AGOSTINO PIQUEIRA MONSTRUMANIDADE O ENCONTRO ENTRE O HUMANO E O MONSTRO NO CINEMA DE TOD BROWNING São Paulo 2013 VERÔNICA D’AGOSTINO PIQUEIRA MONSTRUMANIDADE O ENCONTRO ENTRE O HUMANO E O MONSTRO NO CINEMA DE TOD BROWNING Dissertação apresentada à Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Mestre em Educação, Arte e História da Cultura Orientador: Prof. Dr. Paulo Roberto Monteiro Araújo São Paulo 2013 P666m Piqueira, Verônica D'Agostino. Monstrumanidade : o encontro entre o humano e o monstro no cinema de Tod Browning / Verônica D'Agostino Piqueira - 2013. 93 f. ; 30 cm. Dissertação (Mestrado em Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo, 2013. Referências bibliográficas: f. 87-92. 1. Cinema de horror. 2. Monstros. 3. Sideshow. I. Título. CDD 791.430973 4 VERÔNICA D’AGOSTINO PIQUEIRA MONSTRUMANIDADE O ENCONTRO ENTRE O HUMANO E O MONSTRO NO CINEMA DE TOD BROWNING Dissertação apresentada à Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Mestre em Educação, Arte e História da Cultura Aprovada em 23 / 01 / 2013 BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Wilton Luiz de Azevedo ____________________________________________________ Prof. Dr. Francione Oliveira Carvalho 5 AGRADECIMENTOS À minha mãe Justina e meu pai José Roberto que, sem eles, nada disso seria possível. Ao meu orientador, Paulo Roberto Monteiro de Araujo, pelo convívio e orientação dispensada. Ao amigo e professor Wilton Azevedo e Wagner Pinheiro Pereira, por compartilharem seus conhecimentos e sugestões na qualificação. Aos professores do Mackenzie e Pontifícia Universidade Católica de São Paulo. Aos colegas de trabalho, em especial Luciene Lilian dos Reis e Solange Bueno, pelo apoio sempre presente.