Erinnerungen Aus Zwei Jahrzehnten
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The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
19.05.21 Notable Industry Recognition Awards List • ADC Advertising
19.05.21 Notable Industry Recognition Awards List • ADC Advertising Awards • AFI Awards • AICE & AICP (US) • Akil Koci Prize • American Academy of Arts and Letters Gold Medal in Music • American Cinema Editors • Angers Premier Plans • Annie Awards • APAs Awards • Argentine Academy of Cinematography Arts and Sciences Awards • ARIA Music Awards (Australian Recording Industry Association) Ariel • Art Directors Guild Awards • Arthur C. Clarke Award • Artios Awards • ASCAP awards (American Society of Composers, Authors and Publishers) • Asia Pacific Screen Awards • ASTRA Awards • Australian Academy of Cinema and Television Arts (AACTS) • Australian Production Design Guild • Awit Awards (Philippine Association of the Record Industry) • BAA British Arrow Awards (British Advertising Awards) • Berlin International Film Festival • BET Awards (Black Entertainment Television, United States) • BFI London Film Festival • Bodil Awards • Brit Awards • British Composer Awards – For excellence in classical and jazz music • Brooklyn International Film Festival • Busan International Film Festival • Cairo International Film Festival • Canadian Screen Awards • Cannes International Film Festival / Festival de Cannes • Cannes Lions Awards • Chicago International Film Festival • Ciclope Awards • Cinedays – Skopje International Film Festival (European First and Second Films) • Cinema Audio Society Awards Cinema Jove International Film Festival • CinemaCon’s International • Classic Rock Roll of Honour Awards – An annual awards program bestowed by Classic Rock Clio -
El Lissitzky Letters and Photographs, 1911-1941
http://oac.cdlib.org/findaid/ark:/13030/tf6r29n84d No online items Finding aid for the El Lissitzky letters and photographs, 1911-1941 Finding aid prepared by Carl Wuellner. Finding aid for the El Lissitzky 950076 1 letters and photographs, 1911-1941 ... Descriptive Summary Title: El Lissitzky letters and photographs Date (inclusive): 1911-1941 Number: 950076 Creator/Collector: Lissitzky, El, 1890-1941 Physical Description: 1.0 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The El Lissitzky letters and photographs collection consists of 106 letters sent, most by Lissitzky to his wife, Sophie Lissitzky-Küppers, along with his personal notes on art and aesthetics, a few official and personal documents, and approximately 165 documentary photographs and printed reproductions of his art and architectural designs, and in particular, his exhibition designs. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historial Note El Lissitzky (1890-1941) began his artistic education in 1909, when he traveled to Germany to study architecture at the Technische Hochschule in Darmstadt. Lissitzky returned to Russia in 1914, continuing his studies in Moscow where he attended the Riga Polytechnical Institute. After the Revolution, Lissitzky became very active in Jewish cultural activities, creating a series of inventive illustrations for books with Jewish themes. These formed some of his earliest experiments in typography, a key area of artistic activity that would occupy him for the remainder of his life. -
German Expressionism: the Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37
Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37. The notion that all the significant achievements of German Expressionism occurred before 1914 is a familiar one. Until recently most scholars and almost all exhibitions of German Expressionist work have drawn the line with the 1913 dissolution of Die Brücke (The Bridge) in Berlin or the outbreak of the First World War in 1914. Peter Selz’s pioneering study German Expressionist Painting, published in 1957, favored 1914 as a terminus as did Wolf-Dieter Dube’s Expressionism, which appeared in 1977. It is true that by 1914 personal differences had led the Brücke artists to dissolve their association, and Der Blaue Reiter (The Blue Rider) had disintegrated when Wassily Kandinsky returned from Munich to Russia and Franz Marc volunteered for war service. Other artists’ associations also broke up when their members were drafted. Thus, the outbreak of the war has provided a convenient endpoint for many historians, who see the postwar artistic activities of Ernst Barlach, Max Beckmann, Oskar Kokoschka, Kathe Kollwitz, and others as individual, not group responses and describe the 1920s as the period of developments at the Bauhaus in Weimar or of the growing popularity of Neue Sachlichkeit (New Objectivity). The years 1915-25 have been lost, or certainly not adequately defined, as a coherent and potent, albeit brief, idealistic period in the evolution of German Expressionism. More recent scholarship, including Dube’s Expressionists and Expressionism (1983) and Donald E. Gordon’s Expressionism- Art and Idea (1987), sees the movement as surviving into the 1920s. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Introduction
Introduction The PRESSA opened its doors in Cologne on 12 May 1928. To this day, this international press exhibition, deemed by contemporaries to be the “world’s first look at the press” is unrivalled in size and importance. By the time the last ticket had been sold that October, more than five million visitors from Ger- many and around the world had taken in the facilities, halls and pavilions on the Deutzer banks of the Rhine, all of which had required an unprecedented degree of time and effort to build. They were able to admire the press exhibits and cultural presentations of the many participating nations (including the members of the League of Nations), attend the exhibition’s many informative and entertaining events and see the numerous tourist attractions in and around the host city and along the Rhine. Despite its contemporary and media-historical significance, the PRESSA has, in retrospect, hardly been studied. One might even say that it has been for- gotten. On the occasion of the 80th anniversary of its inauguration, an interna- tional interdisciplinary conference was therefore organised by the Centre for European and International Studies Research at the University of Portsmouth, the Institute of “Deutsche Presseforschung” at the University of Bremen and the Bremen Society for German Press Research in order to come to terms with the PRESSA’s significance. Along with presentations on the preparation and implementation of the exhibition and its political and artistic implications, the conference also dealt with the appearance of the German-Jewish press at the PRESSA. For the first time this press had the chance to present itself, in its own pavilion no less, as part of the general press to a wider public. -
Graduação Em Letras – Linguagem E Identidade Curso De Mestrado Em Letras – Linguagem E Identidade
UNIVERSIDADE FEDERAL DO ACRE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS- GRADUAÇÃO EM LETRAS – LINGUAGEM E IDENTIDADE CURSO DE MESTRADO EM LETRAS – LINGUAGEM E IDENTIDADE TERESA DI SOMMA REPRESENTAÇÕES SOBRE RAÇA, GÊNERO E “DEFICIÊNCIA” NO FESTIVAL DA CANÇÃO ITALIANA DE SANREMO RIO BRANCO - ACRE 2019 TERESA DI SOMMA REPRESENTAÇÕES SOBRE RAÇA, GÊNERO E “DEFICIÊNCIA” NO FESTIVAL DA CANÇÃO ITALIANA DE SANREMO Dissertação apresentada ao programa de pós- graduação em Letras: Linguagem e Identidade da Universidade Federal do Acre, como requisito parcial para a obtenção do título de Mestre em Letras: Linguagem e Identidade. Área de concentração: Linguagem e Cultura. Linha de Pesquisa: Culturas, Narrativas e Identidades. Orientador: Prof. Dr. Miguel Nenevé RIO BRANCO - ACRE 2019 Ficha catalográfica elaborada pela Biblioteca Central da UFAC D536r Di Somma, Teresa, 1983 - Representações sobre raça, gênero e “deficiência” no festival da canção italiana de Sanremo / Teresa Di Somma; orientador: Prof. Dr. Miguel Nenevé. – 2019. 105p. f. : il. ; 30 cm. Dissertação (Mestrado) – Universidade Federal do Acre, Programa de Pós- Graduação em Letras: Linguagem e Identidade, Rio Branco, 2019. Inclui referências bibliográficas. 1. Sanremo – Festival da canção. 2. Festival da canção italiana. 3. “Deficiência”. I. Nenevé, Miguel (orientador). II. Título. CDD: 418 Bibliotecária: Irene de Lima Jorge CRB-11º/465 TERESA DI SOMMA REPRESENTAÇÕES SOBRE RAÇA, GÊNERO E “DEFICIÊNCIA” NO FESTIVAL DA CANÇÃO ITALIANA DE SANREMO Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu da Universidade Federal do Acre – UFAC, como pré-requisito para obtenção do grau de Mestre em Letras: Linguagem e Identidade. Aprovada em 29 de agosto de 2019. BANCA EXAMINADORA _________________________________________________ Prof. -
Checklist of the Exhibition Checklist of the Exhibition Note: All Objects Are
Checklist of the exhibition Note: All objects are from the collections of the Getty Research Institute, unless otherwise noted. When “photograph” is listed as the medium, the item is a documentary photograph of an original design or artwork. Futurist Beginnings 1. El Lissitzky Cover of Solntse na izlete (Spent sun) Poems by Konstantin Bolshakov Moscow: Tsentrifuga, 1916 88-B24323 2. Natalia Goncharova Cover of Vtoroi sbornik Tsentrifugi (Second Centrifuge collection) Poems by eleven authors Moscow: Tsentrifuga, 1916 90-B4642 3. Natalia Goncharova Cover of Serdtse v perchatke (Heart in a glove) Poems by Konstantin Bolshakov Moscow: Mezonin poezii, 1913 88-B24316 4. Natalia Goncharova Cover of Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 1 4a. Natalia Goncharova Pages from Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 Yiddish Book Design 5. El Lissitzky Dust jacket from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6a. El Lissitzky Cover of Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6b. El Lissitzky Page from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 7. El Lissitzky Cover of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Ferlag Chaver, 1917 93-B15342 8. El Lissitzky Frontispiece from deluxe edition of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Shamir, 1917 93-B15342 2 9. -
International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28 -
Herbert Bayer's Exhibition Catalogue for the 1930 Section Allemande
$UFKLWHFWXUDO Miller, W 2017 Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 5(1): 1, +LVWRULHV pp. 1–22, DOI: https://doi.org/10.5334/ah.221 RESEARCH ARTICLE Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande Wallis Miller Sigfried Giedion called Herbert Bayer’s exhibition catalogue for the 1930 Section Allemande a “minor typographical masterpiece.” Like similar catalogues, it is inexpensive, provides an inventory list, has an introduction, functions as a guide, and is illustrated. However, the majority of its images are of instal- lations, not their contents. Bayer accommodates the catalogue type for applied arts exhibitions by list- ing installations as objects, but he confronts the type by showing installations as display contexts that establish points of view, emulating, idealizing and interpreting the experience of the exhibition. By inde- pendently constructing ways of seeing and understanding the exhibition, the catalogue resists being an appendage to the exhibition, despite their close relationship. Giedion may have viewed Bayer’s catalogue as an important but secondary work of graphic design, but this article argues that it is of primary signifi- cance as an exhibition catalogue, an unusual essay on the book typology that is conscious of its history while moving outside — to other types of book design and to exhibitions — to transform it. Introduction In the summer of 1930, crowds filled Paris’s Grand Palais to capacity. The people were heading to the Section Alle- mande (German Section), the German Werkbund’s exhibi- tion at the annual Salon of the Société des Artistes Déco- rateurs (Society of Decorative Artists). -
JOHANNA EY: a Critical Reappraisal Vol 1
JOHANNA EY: a critical reappraisal by Michael Hausmann A thesis submitted to The University of Birmingham for the degree of Doctorate of Philosophy Volume 1 Department of German Studies School of Languages, Cultures, Art History and Music College of Arts and Law The University of Birmingham May 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This study draws on and interprets an extensive corpus of archived materials, in particular from the Stadtmuseum Düsseldorf, to offer the first wide-ranging critical analysis of the written and visual images of the life and legend of Weimar Germany’s most important ‘modern’ art dealers - Johanna Ey (1864 - 1947), commonly known as ‘Mutter Ey’. Once feted by the press as the most portrayed woman in Germany, she contributed greatly to the careers of artists such as Max Ernst, Otto Dix, Gert Wollheim, Otto Pankok and many others and was a vital figure in the ‘modern’ Düsseldorf art scene until she was evicted from her gallery by the Nazis in 1934. This study opens with a factual overview of Ey’s biography. -
Lexikon Der Kinder-Und Jugendliteratur
KINDER- UND fVGEND' EITERATER •EIN LEXIKON- ^on Herausgegeben von Kurt Franz und Franz-Josef Payrhuber im Auftrag der Deutschen Akademie für Kinder- und Jugendliteratur. e.V., Volkach Begründet von Alfred Clemens Baumgärtner (t) und Heinrich Pleticha (t) Mitherausgegeben von Günter Lange (t), 8. Erg.Lfg. 1999 bis 56. Erg.Lfg. 2015 ADOLFUZARSKl Ti-il 2: lllu.stru(ori-»/1l)ustnitU)iicn Adolf Uzarski Geb. 14.4, 1885 in Ruhrort Gest. 14. 7. 1970 in Düsseldorf Adolf Uzxirski, um IW.*; 1 l(io(>ruphie Adolf Uzarski wurde am 14. April 1885 in Rulirort, der Nachbargemeinde von Duis burg. geboren (Kiihrori wurde 1905 als rechisrlicinlsclier Mafensiadiieil gemeinsam mit Meiderk'h zur Stadl Duisburg vereinigt). Der Vater Carl Uzarski (1850-1920) stammle auseiner polnischen Adeisfamilie und arbeitete als Kaufmann und Justiziar in DiensiendesStalilkotizem.s „Phoenix". damalscinesdergrößtendeutscheiiMon- lanunlemehmen. Aus der Ehe mit Bertha, geb. Windel.schmidi (1857-1938). gingen drei Sohne hervor, Adolf war der iiiteste. Es folgten die zwei Brüder Julius, 1914 als Kriegsfreiwilliger im Feld an einer Rippenfellentzündung gestorben, und Richard. 1945 bei einem Verkehrsunfall verunglückt. Aasblldung Adolf Uzarski besuchte das Realgymnasium in Meiderich. Nach Abschlu.ss der Schule mit dem ..Einjährigen" (der heutigen mittleren Reife) und einer zweijährigen Maurer- und Zimmermannslehrc besuchte Uzarski die Baugewcrbeschule in Köln (heute Fakultät der Technischen Hochschule), die er 1904 mit dem Baumeister examen abschlo-ss. Hs folgten zwei Jahre als Bauführer und Architekturzeichner im Bauamt Meiderich. Seiner künstlerischen Neigung folgend schrieb sich Uzarski 1906 an der Kunstgewcrbeschule in Düsseldorf (1883 als erste ihrer Art im Rhein land gegKlndel) ein. Diese Institution erlebte von 1903 bis 1907 unler der Leitung des Architekten und Industriedesigners Peter Behrens (1868-1940) eine neue Blüte- Kinder-und Jugemllücramr 63.