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Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Strictly Berlin”
folio DOSJE BERLIN_ Pilot za intermedijsko umetnost, kulturo in veselje do življenja / Guide to intermedia art, culture and the joy Aleksandra Kostič: of life Berlinartpedia Letnik 1 (2009), Maribor / Volume 1 (2009), Maribor, Slovenia Heiko Daxl: “Strictly Berlin” Folio izhaja sezonsko – štiri številke letno. / Folio is Barbara Caveng, Berlin published quaterly – four issues per year. Folio izhaja v slovenskem in angleškem jeziku. / Folio Don Ritter, Berlin is published in Slovenian and English language. Časopis Folio je vpisan v razvid medijev pod zaporedno številko 1455. / Folio magazine is entered in the mass media register under order No 1455. Urednica / Editor: Snežana Štabi Uredništvo / Editorial staff: Peter Tomaž Dobrila, Aleksandra Kostič, Dejan Pestotnik Maja Vuksanovič Prevodi / Translation: Alenka Ropret Sodelavci / Contributors: Nika Logar, Lidija Pačnik, Mirjana Predojevič, Srdžan Trifunović Fotografije / Photographs: arhiv Kibla / Kibla archives Prelom / Layout: Luka Cimolini Svetovanje / Support: Dejan Štampar Tisk / Printing: Naklada / Print run: 15.000 izvodov / 15,000 copies Tiskano v Sloveniji. / Printed in Slovenia. Izdajatelj časopisa / Publisher: Kulturno izobraževalno društvo Kibla / Asssociation for Culture and Education Kibla Zanjo / Represented by: Aleksandra Kostič, predsednica KID Kibla / President of ACE Kibla Copyright © 2009 ACE Kibla Photographs Copyright © Authors and ACE Kibla Vse pravice pridržane. / All rights reserved. Finančna podpora / Supported by: Ministrstvo RS za kulturo Mestna občina Maribor Folio, nov časopis! Folio, a new magazine! Snežana Štabi Etymologically, Folio originates in the Latin singular form of “folium” – leaf. Folio is leaf of a manuscript Folio izvira etimološko iz edninske oblike latinskega or book, and a standard size sheet of paper once “folium” in pomeni list. Folio je list rokopisa ali knjige folded – like the folded newspaper sheet. -
Laibach Is a Slovenian Multi-Media Collective, Founded in 1980 in the Mining Town Trbovlje
LAIBACH Laibach is a cross-media pop-art formation, founded in 1980 in the industrial mining town Trbovlje, in Slovenia (then still Yugoslavia). The name Laibach (German for the capital city Ljubljana) as well as the group’s militant self-stylisation, propagandist manifestos and statements has raised numerous debates on their artistic and political positioning. Many theorists, among them Slavoj Žižek repeatedly, have discussed the Laibach-phenomenon. The main elements of Laibach’s varied practices are: strong references to the history of avant- garde, nazi-kunst and socialist realism, de-individualisation in their public actions as anonymous quartet, conceptual proclamations, and forceful sonic stage performances - mostly labelled as industrial pop music, but their artistic strategy also carries a lot of humour and tactics of persiflage and disinformation. Self-defined ‘engineers of human souls’ are practicing collective work (official member names are Eber, Saliger, Dachauer and Keller), dismantling individual authorship and establishing the principle of hyper-identification. Already within their early Laibach Kunst exhibitions they created and defined the term ‚retro- avant-garde’ (in 1983), creatively questioned artistic ‚quotation’, appropriation, copyright, and promoting copy-left. Starting out as both an art and music group, Laibach became internationally renowned, especially with their violating re-interpretations of hits by Queen, the Stones, the Beatles, but also by their unique and daring concerts during the war in occupied Sarajevo (1995) or their recent one in North Korean capital of Pyongyang (2015). But what many do not know, however, is that Laibach in fact began its career as a visual art group. Images that most people know from the paintings of the NSK Irwin group – the cross, the coffee cup, the deer, the metal worker and the Red Districts – were originally Laibach motifs. -
Leonardo Reviews Quarterly 2.02 | 2012
L|R|Q Leonardo Reviews Quarterly 2.02 | 2012 Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST L|R|Q Leonardo Reviews Quarterly 2.02 | 2012 Science, Spectacle and Imagination Executive Editor: Roger Malina Editor-in-Chief: Michael Punt Associate Editor: Claudy Op den Kamp www.leonardo.info © ISAST Leonardo Reviews Leonardo Reviews Reviews Panel Leonardo Reviews is the work of an international Allan Graubard, Amy Ione, Anastasia Filip- panel of scholars and professionals invited from poupoliti, Annick Bureaud, Anna B. Creagh, a wide range of disciplines to review books, exhi- Anthony Enns, Aparna Sharma, Boris Jardine, bitions, DVDs, CDs, websites, and conferences. Brian Reffin Smith, Brigitta Zics, Catalin Brylla, Collectively they represent an intellectual commit- Chris Cobb, Chris Speed, Claudia Westermann, ment to engaging with the emergent debates and Claudy Op den Kamp, Craig Harris, Craig Hilton, manifestations that are the consequences of the Dene Grigar, David Bering-Porter, Dene Grigar, convergence of the arts, science and technology. Eduardo Miranda, Elizabeth McCardell, Ellen Pearlman, Enzo Ferrara, Eugene Thacker, Flor- Leonardo Reviews publishes all reviews received ence Martellini, Flutor Troshani, Franc Cham- from the panel monthly at www.leonardo.info. In berlain, Fred Andersson, Frieder Nake, George addition, four times a year a selection of reviews Gessert, George K. Shortess, Giovanna Cos- is printed in Leonardo and now Leonardo Reviews tantini, Hannah Drayson, Hannah Rogers, Har- Quarterly will be publishing an even larger selec- riet Hawkins, Ian Verstegen, Jac Saorsa, Jack tion as a PDF together with introductory material Ox, Jacques Mandelbrojt, Jan Baetens, Jennifer and overview essays. -
1 Bibliografia
Paolo Albani e Berlinghiero Buonarroti AGA MAGÉRA DIFÚRA Dizionario delle lingue immaginarie Zanichelli, 1994 e 2011 e Les Belles Lettres 2001 e 2010 BIBLIOGRAFIA I testi evidenziati in grassetto sono, nello specifico campo di ricerca (ad esempio: lingue filosofiche, lingue immaginarie di tipo letterario, lingue internazionali ausiliarie, ecc.), opere fondamentali. Aarsleff, Hans, Da Locke a Saussure. Saggi sullo studio del linguaggio e la storia delle idee, Bologna, il Mulino, 1984. Abbott, Edwin A., Flatlandia. Racconto fantastico a più dimensioni, 1ª ed., Milano, Adelphi, 1966, 12ª ed. 1992. Academia pro Interlingua, Torino, 1921-1927, fascicoli consultati 32. Accame, Vincenzo, Il segno poetico. Materiali e riferimenti per una storia della ricerca poetico- visuale e interdisciplinare, Milano, Edizioni d'Arte Zarathustra - Spirali Edizioni, 1981. Adams, Richard, La valle dell'orso, Milano, Rizzoli, 1976. Agamben, Giorgio, "Pascoli e il pensiero della voce", introduzione a: Pascoli, Giovanni, Il fanciullino, Milano, Feltrinelli, 1982, pp. 7-21. Agamben, Giorgio, "Un enigma della Basca", in: Delfini, Antonio, "Note di uno sconosciuto. Inediti e altri scritti", Marka, 27, 1990, pp. 93-96. Airoli, Angelo, Le isole mirabili. Periplo arabo medievale, Torino, Einaudi, 1989. Albani, Paolo, a cura di, "Piccola antologia dei linguaggi immaginari", Tèchne, 3, 1989, pp. 79-93. Albani, Paolo, "Il gioco letterario tra accademici informi, patafisici e oulipisti italiani", in: Albani, Paolo, a cura di, Le cerniere del colonnello, Firenze, Ponte alle Grazie, 1991, pp. 7-23. Alembert, Jean-Baptiste Le Rond d', "Caractère", in: Diderot, Denis e Alembert, Jean-Baptiste Le Ronde d', a cura di, Encyclopédie ou Dictionnaire raisonné des sciences des arts et des métiers. -
Milko Kelemen: Life and Selected Works for Violoncello
MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
Drawing the Intersections of Exhibition, Media, Performance and Architecture Lawrence Paul Wallen University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 A grammar of space - drawing the intersections of exhibition, media, performance and architecture Lawrence Paul Wallen University of Wollongong Recommended Citation Wallen, Lawrence Paul, A grammar of space - drawing the intersections of exhibition, media, performance and architecture, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3689 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Faculty of Creative Arts A GRAMMAR OF SPACE Drawing the Intersections of Exhibition, Media, Performance and Architecture Lawrence Paul Wallen Bachelor of Architecture (1st Class Honours) RMIT Master of Architecture (Research) RMIT This thesis is presented as part of the requirements for the Award of the Degree of Doctor of Creative Arts of the University of Wollongong March 2012 i ABSTRACT ‘A Grammar of Space’ refers to the search for the first memory of space, and to the construction of a framework that explains artistic approaches to space, through the process of reflecting on a spatial practice. The research asks what is the interstitial space between image and text? It is this junction, potent in contemporary practice, that I argue underpins my artistic research. This is both an artistic and scholarly investigation, and it engages with my search for the origin of (cultural) memory as manifested in works from a range of media: architecture, installation, scenography, drawing, and time-based media. The study is distinctive in its exploration of a contemporary global trajectory as it traces geographic, psychological and cultural landscapes as it revisits central works created in Europe, Australia, Asia and New Zealand since 1992. -
Ninja Jamm Is an App That Allows You to Remix and Reimagine Songs and Tunes in an Intuitive Way
Ninja Jamm – Frequently Asked Questions What is Ninja Jamm? Ninja Jamm is an app that allows you to remix and reimagine songs and tunes in an intuitive way. It is not an app that simply allows you to mix two tunes together – Ninja Jamm presents you all the elements of a song, broken down into easy-to-access samples which include the original compositions and more besides. Through touch and gesture controls and the intuitive Ninja Jamm interface, you are able to take an original song and reimagine it as you wish. Strip the bass and drums away and turn Eyesdown by Bonobo into a haunting piano ballad. Slow down the tempo and add reverb to the drums and bass lines to turn Take It Back by Toddla T into a down and dirty dub tune… the possibilities are endless. Ninja Jamm offers the user a way to engage with music that they love like never before. Why just consume when you can interact and create? And all for less than the price of an iTunes single. Why is Ninja Jamm a first for the music industry? Ninja Jamm is more than just an app: it’ s a brand new, interactive format for the distribution and consumption of music. It’ s a new way for people to enjoy music and a new revenue stream for artists. It will sit alongside vinyl, CD, and digital MP3 downloads in all future Ninja Tune releases. Record labels - and in particular independents record labels such as Ninja Tune - constantly seek new ways to engage their audiences and to answer the challenges met by competition from streaming services, and the increase in consumption of music via YouTube search or even file shares. -
SM Bio Final 1 25 20
www.teamgal.com Suzanne McClelland 1959 Born in Jacksonville, FL Lives and works in Brooklyn, NY Education: 1989 M.F.A School of Visual Arts, New York, NY 1981 B.F.A University of Michigan, Ann Arbor, MI Solo Exhibitions: 2019 Team Gallery, New York, NY, MUTE Team Gallery, Gallery B, New York, NY, Selections from MUTE 2017 Aldrich Museum of Contemporary Art, Ridgefield, CT, Third Party (curated by Amy Smith-Stewart, with catalogue) Team (Bungalow), Venice, CA, Rank 2016 Dieu Donne, Lab Grant Exhibition, New York, NY, Articulate Muscle 2015 Team Gallery, New York, NY, Call with Information 2014 Shane Campbell Gallery, Chicago, IL, Zero Plus Zero 2013 University Art Museum, University at Albany SUNY, Albany, New York, Furtive Gesture_CEDEpart2 Team Gallery, New York, NY, Every Inch of My Love The Fralin Museum of Art, The University of Virginia, Charlottesville, VA, STrAY: Found Poems from a Lost Time 2011 Sue Scott Gallery, New York, NY, left 2010 Shane Campbell Gallery, Chicago, IL, Scratch 2009 Sue Scott Gallery, New York, NY, Put Me in the Zoo 2007 David Krut Projects, New York, New York, NY, STrAY (with catalog) team (gallery, inc.) 83 grand street new york, ny 10013 tel. 212.279.9219 www.teamgal.com 2005 Larissa Goldston Gallery, New York, NY, SLIP (with catalog) Shane Campbell Gallery, Chicago, IL, Team Play Her 2003 KS Art, New York, NY, Suzanne McClelland: Drawings and Prints 2001 Orlando Museum of Art, Orlando, FL, Enough Enough 2000 Paul Kasmin Gallery, New York, NY, Out of Character Galerie Lutz and Thalmann, Zurich, Switzerland, -
Some Pioneer Families of Wisconsin
.. .... -. ,. .. ,. ......i ......- -- SOME PIONEER FAMILIES OF WISCONSIN - An Index - edited by Betty Patterson A Bicentennial Project of the Wisconsin State Genealogical Society, Inc. Madison, Wisconsin 1977 Copyright@1977, Wisconsin State Genealogical Society, Inc. Library of Congress Cata log Card No.: 77-11739 PUBLISHED BY THE WISCONSIN STATE c;:+ICAL SOCIETY INC. PRINTED IN THE UNITED STATES OF AMERICA BY .•.• tht: PRINl'shop OF DIXON, ILLINOIS ' ' This little book is dedicated to those who have sensed the thrill of unraveling their family mystery stories and the quiet satisfaction that comes from traveling vicariously with generations of grandparents long unknown. It is hoped that, at least in Wisconsin, it may make their searching a little easier. ERRATA II p. 2, Line 31 should read: "Spelling was an imprecise art in times past, Line 38 should read: 11 Jorndt, while the other (Fern Smith, #1815 .... 11 p. 126, Lines 70, 71, & 72, the spouses in column 4 should be Ann Eliza Taylor, George J. Beach, and Edward L. Myers. Background of the Pioneer and Century Certificate Project Even before the impetus of the Bicentennial year and the appearance of Alex Haley's Roots, more and more people were becoming interested in genealogy. Fifty years ago, the word was apt to mean an exercise aimed at qualifying for membership in an exclusive society. Today, its meaning has broadened to acconnnodate an increased awareness of the value of family and national heritages. Realization has come, too, that in a time of great social change, the knowledge of these--placing the individual, as it were, in a context--can stabilize and illuminate the sense of self. -
Maurice Merleau-Ponty: Phenomenology of Perception
Phenomenology of Perception ‘In this text, the body-organism is linked to the world through a network of primal significations, which arise from the perception of things.’ Michel Foucault ‘We live in an age of tele-presence and virtual reality. The sciences of the mind are finally paying heed to the centrality of body and world. Everything around us drives home the intimacy of perception, action and thought. In this emerging nexus, the work of Merleau- Ponty has never been more timely, or had more to teach us ... The Phenomenology of Perception covers all the bases, from simple perception-action routines to the full Monty of conciousness, reason and the elusive self. Essential reading for anyone who cares about the embodied mind.’ Andy Clark, Professor of Philosophy and Director of the Cognitive Science Program, Indiana University Maurice Merleau-Ponty Phenomenology of Perception Translated by Colin Smith London and New York Phénomènologie de la perception published 1945 by Gallimard, Paris English edition first published 1962 by Routledge & Kegan Paul First published in Routledge Classics 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1945 Editions Gallimard Translation © 1958 Routledge & Kegan Paul All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.