Brian Eno's Ambient 1: Music for Airports

2018 ◽  
Author(s):  
John T. Lysaker
Keyword(s):  
Everyday Life ◽  
Human Activity ◽  
Conceptual Art ◽  
Avant Garde ◽  
Full Attention ◽  
Multiple Dimensions ◽  
Technological Variability

This study situates Eno’s ambient masterpiece, Music For Airports, within various avant-garde trends in order to underscore its multiple dimensions. In the manner of Satie, it aims to tint living situations without demanding that listeners give the album their full attention. In the manner of Cage, and with La Monte Young’s feel for the textures of individual tones, it arranges the activity of sounds outside traditional Euro-American musical conventions, and in a manner that can spark a kind of thoughtful reverie, thus bringing art into vital, possibly transformative contact with everyday life. Finally, like some of Steve Reich’s works, Music for Airports functions as a piece of conceptual art, facilitating sustained reflections on creativity, listening, and the overall ecology of human activity and meaning, including its technological variability. Because the album has these three distinct dimensions, it requires “prismatic listening,” which switches between distinct modes of attention in the knowledge that these dimensions cannot be heard simultaneously.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

scholarly journals Introduction to Hélio Oiticica's “The Senses Pointing Toward a New Transformation” (1969)

ARTMargins ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 115-128
Author(s):  
Jo Melvin ◽  
Luke Skrebowski
Keyword(s):  
Everyday Life ◽  
Behavioral Patterns ◽  
Art Making ◽  
Avant Garde ◽  
British Art ◽  
Art Magazine ◽  
The Senses

Hélio Oiticica's “The Senses Pointing Towards a New Transformation” was written between June 18 and June 25, 1969, in London and submitted to the British art magazine Studio International, but never appeared in print. The essay negotiates art after objecthood and contextualises Oiticica's project to effect a definitive radicalization of anti-art, one that the artist held to be necessary in light of the impasse reached by the longstanding conflict between formalist art and its various neo-avant-garde negations (both within the Brazilian and the international neo-avant-gardes). For Oiticica, after both Neoconcretism and Minimalism, it was now the process of art making itself that had to be rethought. Oiticica did so by developing what he called “crebehavior,” a practice that revealed the routinized character of everyday life and proposed an immanent transformation of the same via a change in everyday behavioral patterns. Such a transformation opened up the possibility of bringing about “creleisure,” a condition that Oiticica understood to involve both the realization and the dissolution of art.

scholarly journals B.S. Johnson’s Liberatic Cityscape in Albert Angelo

2020 ◽  
Vol 4 ◽  
pp. 99-110
Author(s):  
Katarzyna Biela
Keyword(s):  
Everyday Life ◽  
Literary Work ◽  
Visual Sensitivity ◽  
Material Object ◽  
Literary Genre ◽  
Crucial Aspect ◽  
Avant Garde ◽  
Post War ◽  
The Way

For Bryan Stanley Johnson, a British post-war avant-garde author, space was a crucial aspect of a literary work. Inspired by architects and film makers, he was convinced that “form follows function” (“Introduction” to Aren’t You Rather Young to Be Writing Your Memoirs) and exercised the book as a material object, thus anticipating liberature – a literary genre defined in 1999 by Zenon Fajfer and Katarzyna Bazarnik, which encompasses works whose authors purposefully fuse the content with the form. The goal of this paper is to analyse the cityscape theme in Johnson’s second novel, Albert Angelo (1964), in which London is presented as space that accompanies the character in his everyday life and becomes a witness of the formation of his identity. The protagonist is an architect by profession, so special attention is paid to his visual sensitivity and the way the cityscape is reflected in his memories. Furthermore, Johnson’s formal exploitation of the book as an object and its correspondence to the content is analysed with reference to the metaphor of “[t]he book as an architectural structure” discussed by Bazarnik in Liberature. A Book-bound Genre.

scholarly journals Intimité de Jean-Victor Pellerin, ou à la recherche du « théâtre du silence »

2017 ◽  
pp. 114-122
Author(s):  
Tomasz Kaczmarek
Keyword(s):  
Everyday Life ◽  
Main Element ◽  
Human Beings ◽  
Inner Life ◽  
Sexual Motives ◽  
Avant Garde

Jean-Victor Pellerin was a representative author of the „school of silence” or, as some called it, „art of unexpressed”, in which emotions are implied in gestures, fragments of speach, and silence. In his first drama Intimacy (1922) the French playwrighter presents a bourgeois marriage living a monotonous life. The characters discuss trivial things of everyday life, they talk to each other, but there is no communication between them, because each of them is closed in their own world. Nobody is listening one another and words are spoken only in order to fill their existential emptiness. The writer is focused on the dialogue between the characters in the context of what they hide and what they do not want to tell themselves. People who appear to them are not flesh and blood human beings but they are the reflection of their own disturbed personality only. In this manner the writer focuses on the inner life of his solitary, their nostalgia for youth or even their hidden sexual motives. This is why the silence grows into the main element of the drama. Intimacy is one of the finest examples of „intimist aesthectic” developed by the avant-garde theater creator Gaston Baty who rejected the predominance of the word for discovering the mysterious world of the spiritual man.

Debord, Guy (1931–1994)

2018 ◽  
Author(s):  
Ryan Robert Mitchell
Keyword(s):  
Everyday Life ◽  
City Planning ◽  
Urban Spaces ◽  
Art Practice ◽  
Situationist International ◽  
Art And Politics ◽  
Avant Garde ◽  
Political Theorist ◽  
Advanced Capitalism ◽  
The City

Guy Ernest Debord (1931–1994) was a French radical political theorist, writer, activist and filmmaker. After his early involvement with French avant-garde art movements in the 1950s, Debord founded a revolutionary organization, the Situationist International (SI), in 1957. Inspired by earlier avant-garde movements like Dada and surrealism, Debord sought to create an explicitly political and critical art practice that could be employed to transform everyday life. The SI attracted sound poets, architects, writers, activists, graphic artists and painters. The movement sought to merge everyday life, art and politics through such practices as radical city planning, the beautification of the city through graffiti, and rambling psycho-geographic drifts through urban spaces, seeking to uncover the desire and beauty that had been hidden by advanced capitalism.

scholarly journals Institutional rhythms: Combining practice theory and rhythmanalysis to conceptualise processes of institutionalisation

2017 ◽  
Vol 28 (3) ◽  
pp. 922-950 ◽  
Author(s):  
Stanley Blue
Keyword(s):  
Everyday Life ◽  
Social Theory ◽  
Human Activity ◽  
Social Life ◽  
Daily Life ◽  
Practice Theory ◽  
Practice Turn ◽  
Theories Of Practice ◽  
Temporal Organisation

The practice turn in social theory has renewed interest in conceptualising the temporal organisation of social life as a way of explaining contemporary patterns of living and consuming. As a result, the interest to develop analyses of time in both practice theories and practice theory-based empirical research is increasing. Practice theorists draw on theories of time and ideas about temporal rhythms to explain how practices are organised in everyday life. To date, they have studied how temporal experiences matter for the coordination of daily life, how temporal landscapes matter for issues of societal synchronisation, and how timespace/s matter for the organisation of human activity. While several studies refer to, draw on, and position themselves in relation to ideas about temporal rhythms, those working with theories of practice have yet to fully utilise the potential of Lefebvre’s rhythmanalysis for explaining the constitution of, and more specifically, changes within, social life. I argue that rhythmanalysis can be effectively combined with practice theory to better articulate the ways in which practices become connected through what I describe as processes of institutionalisation. I argue that this combination requires repositioning the role of time in theories of practice as neither experience, nor as landscape, but, building on Schatzki’s work on The Timespace of Human Activity, as practice itself. Drawing on Lefebvre’s concepts of arrhythmia and eurhythmia, and developing Parkes and Thrift’s notion of entrainment, I illustrate how institutional rhythms, as self-organising, open, spatiotemporal practices emerge, endure, and evolve in ways that matter for both socio-temporal landscapes and temporal experiences.

Lyrical Socialist Realism

October ◽  
2014 ◽  
Vol 147 ◽  
pp. 56-77 ◽  
Author(s):  
Christina Kiaer
Keyword(s):  
Everyday Life ◽  
Socialist Realism ◽  
Large Piece ◽  
Avant Garde ◽  
Critical Response ◽  
Geometric Patterns ◽  
Soviet Art ◽  
Socialist Realist ◽  
Cross Country ◽  
Revolutionary History

The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).

Transhumanism

2017 ◽  
Author(s):  
Andrew Pilsch
Keyword(s):  
Science Fiction ◽  
Conceptual Art ◽  
Media Theory ◽  
Media Culture ◽  
Online Media ◽  
Human Species ◽  
Christian Mysticism ◽  
Avant Garde ◽  
Human Thought ◽  
History Of

This book argues that transhumanism should be taken more seriously as a Utopian force in the present. Combatting the widespread idea that transhumanism is a naive and dangerous reframing of the most excessive forms humanist thought, this book situates the contemporary transhumanist movement within the longer history of a rhetorical mode Pilsch calls "evolutionary futurism." Evolutionary futurism is a way of arguing about technology that suggests that global telecommunications technologies, in expanding the geographic range of human thought, radically reshape the future of the human species. Evolutionary futurist argumentation makes the case that we, as a species, are on the cusp of a radical explosion in cognitive, physical, and cultural intelligence. Transhumanism surveys the varying uses of evolutionary futurism throughout the 20th century, as it appears in a wide array of fields. This book unearths evolutionary futurist argumentation in modernist avant-garde poetry, theosophy, science fiction, post-structural philosophy, Christian mysticism, media theory, conceptual art, and online media culture. Ultimately, the book suggests that evolutionary futurism, in the age of the collapse of the state as a unit for imagining Utopia, works by highlighting the human as the limit that must be overcome if we are to imagine new futures for our culture, our planet, and ourselves.

scholarly journals Rolling amnesia and the omnivorous now

2015 ◽  
pp. 76-88
Author(s):  
Lilly Husbands
Keyword(s):  
New York ◽  
Cognitive Psychology ◽  
Everyday Life ◽  
John Locke ◽  
The Self ◽  
Avant Garde ◽  
Single Frame ◽  
Phenomenological Experience ◽  
Animation Technique ◽  
Universal Nature

Throughout his career, New York-based experimental filmmaker and animator Jeff Scher has created animated works that are in dialogue with the diary film tradition in avant-garde cinema. Scher uses his distinctive single-frame rotoscope and collage animation technique to investigate the selective nature of memory and to celebrate the moments that constitute everyday life. Scher’s animated trilogy, You Won’t Remember This (2007), You Won’t Remember This Either (2009), and You Might Remember This (2011), depicts a series of everyday moments in the early childhoods of his two sons Buster and Oscar. The trilogy is centred on the mnemonic phenomenon that is referred to in developmental and cognitive psychology as childhood amnesia, which has presented problems for the philosophy of memory since John Locke first investigated the roles of memory and consciousness in the constitution of the identity of the self. Scher’s three portraits invite spectators to reflect on the mnemonic imbalance that is specific to this particular temporal situation—where the parent is able to remember what the child will ultimately forget—in both a distilled and heightened way. This paper investigates the ways in which the rotoscope collage technique employed by Scher in the You Won’t Remember This trilogy not only endows the works with a special capacity to emphasise the universal nature of childhood amnesia but also, conversely, resembles the phenomenological experience of remembering itself.

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