The Academy and the Avant-Garde: A Relationship of Dependence and Resistance

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

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Directing of the contemporary French avant-garde theater Nanter-Amandier: stylistic and conceptual innovations

Collection of scientific works “Notes on Art Criticism” ◽

10.32461/2226-2180.39.2021.238733 ◽

2021 ◽

pp. 245-250

Author(s):

Maryna Tatarenko

Keyword(s):

Art History ◽

Modern Human ◽

Avant Garde ◽

Functional Methods ◽

Creative Solutions ◽

Historical Processes ◽

The World ◽

Close Relationship ◽

Relationship Of ◽

First Time

The purpose of the article is consideration of stylistic and conceptual innovative ideas directed by the modern French avant-garde theater Nanter-Amandier. The methodology consists of the application of empirical, art history, analytical, axiomatic, functional methods of researching the concept of ideas of avant-garde directing of Nanterre-Amandier theater, its innovations, and search for radical reforms of stage skills, phenomenal artistic techniques of theatrical forms. Scientific Novelty. For the first time, empirical analysis and substantiation of the concept of ideas of avant-garde directing of the Nanterre-Amandier Theater, its innovations in the search for original artistic and creative solutions of stage forms. Conclusions. Directors of the modern French avant-garde theater J.-P. Vincent, J.-L. Martinelli and F. Ken successfully embodied innovative artistic techniques by transforming the reality surrounding the modern human and transmitting it to the viewer - this breaks the close relationship of artistic intentions with the socio-cultural environment. The depiction of the world by modern directors of the French avant-garde theater is characterized by a deep and holistic rethinking of it in accordance with the specifics of socio-historical processes, the development of scientific and technological progress, the general philosophical and aesthetic picture of the world, and others.

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Architecture and music/sound: Points of meeting, networking, interactions

SAJ - Serbian Architectural Journal ◽

10.5937/saj1401075s ◽

2014 ◽

Vol 6 (1) ◽

pp. 75-88

Author(s):

Biljana Srećković

Keyword(s):

Sound Art ◽

Avant Garde ◽

Formal Level ◽

History Of ◽

Music And Architecture ◽

Relationship Of ◽

The Relationship ◽

Architecture And Music

This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

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The fecund interval: visualizing acoustic space in Canadian experimental cinema.

10.32920/ryerson.14652135.v1 ◽

2021 ◽

Author(s):

Daniel Browne

Keyword(s):

Media Analysis ◽

Space Forms ◽

Cultural Traditions ◽

Avant Garde ◽

Experimental Cinema ◽

History Of ◽

Unique Approach ◽

Acoustic Space ◽

Relationship Of ◽

The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

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The fecund interval: visualizing acoustic space in Canadian experimental cinema.

10.32920/ryerson.14652135 ◽

2021 ◽

Author(s):

Daniel Browne

Keyword(s):

Media Analysis ◽

Space Forms ◽

Cultural Traditions ◽

Avant Garde ◽

Experimental Cinema ◽

History Of ◽

Unique Approach ◽

Acoustic Space ◽

Relationship Of ◽

The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

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A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race

Slavic Review ◽

10.1017/slr.2021.79 ◽

2021 ◽

Vol 80 (2) ◽

pp. 280-289

Author(s):

Eli Rosenblatt

Keyword(s):

African American ◽

Soviet Union ◽

The United States ◽

James Weldon Johnson ◽

Race And Racism ◽

Avant Garde ◽

The Soviet Union ◽

Black Modernism ◽

Relationship Of ◽

The Relationship

This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

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Empires within and without: the conquest of the self and the Florentine avant-garde

Modern Italy ◽

10.1017/mit.2019.45 ◽

2019 ◽

Vol 25 (1) ◽

pp. 49-62

Author(s):

Bertrand Marilier

Keyword(s):

The Self ◽

Individual Level ◽

Avant Garde ◽

Psychological Understanding ◽

The Subject ◽

The Individual ◽

Intellectual Formation ◽

Relationship Of ◽

The Relationship ◽

Intense Debate

This article examines the relationship of the young Giovanni Papini to the notion of imperialism. The period of Papini's intellectual formation was a time of intense debate among the Italian intelligentsia concerning imperialism and its relationship to nation and culture. He joined the conversation with a distinctive interpretation of the idea, one that could at once make him heir apparent to the tradition of Umbertian nationalism, while also rejecting the positivist slant of his forebears. William James's porous conception of the subject and Papini's sense of his own fragmented subjectivity provided the ground for a psychological understanding of imperialism: one that relied on knowledge and appreciation, which translated into literature at the individual level, and into culture at that of the nation. Ultimately, however, disappointments abroad, the demands of nationalist politics, and Papini's own avant-garde posture, led him to abandon his intellectual empire in favour of a more concrete one.

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A juxtaposition of signifiers: radical collage in children’s literature

Journal of Literary Education ◽

10.7203/jle.1.11471 ◽

2018 ◽

pp. 26 ◽

Cited By ~ 1

Author(s):

Victoria Inez Frederike De Rijke

Keyword(s):

Children's Literature ◽

Turning Point ◽

Children’S Literature ◽

Artistic Expression ◽

Umberto Eco ◽

Avant Garde ◽

Political Critique ◽

Fundamental Part ◽

Major Turning Point ◽

Relationship Of

Collage is a form found in many classic and popular picturebooks for children, and contemporary picturebook artists have increasingly used the cross-med6iality of the form, but its more radical use is perhaps less well known. This paper explores collage as a particularly interdisciplinary artistic expression, pointing to plural readings and understandings across its intermedial form, drawing on a number of ‘cutting-edge’ artists’ picturebooks for children that have posed radical political questions through collage design, including Hannah Höch’s Picturebook (1945), Umberto Eco & Eugenio Carmi’s The Bomb and the General (1989), Davide Cali & Serge Bloch’s The Enemy (2009) and André Leblanc & Barroux’s The Red Piano (2009).Now recognised as a major turning point in the evolution of modernist art—a form that always seeks change—collage is a developing element of children’s literature. Many of the images in anti-establishment or anti-war picturebooks act as riposte to political rhetoric. Such questions are posed as a fundamental part of the urgent artistic expression of collage, where absurdist and paradoxical images expose truths and ridicule fictions, created to surprise and shock the reader or viewer. The special relationship of collage as anti-war activism and ‘avant-guerre’ art is explored, viewing collage as a form which can challenge the seeming realities of a point in history, present political critique and point to possibilities for change, using as its material ripped-out, torn, cut, stuck and pasted visual refuse of its time. Thus war becomes literally war-torn.Key words: Collage, Politics, Picturebook, Avant-garde, War. ResumenEl collage es una técnica que se utiliza en muchos álbumes ilustrados infantiles clásicos y populares; los artistas de álbumes ilustrados contemporáneos han utilizado cada vez más la mediación cruzada de la forma, pero su uso más radical es quizás menos conocido. Este trabajo explora el collage como una expresión artística particularmente interdisciplinaria, apuntando a interpretaciones y lecturas plurales a través de su forma intermedia, recurriendo a una serie de álbumes ilustrados infantiles de ‘vanguardia’ que han planteado cuestiones políticas radicales a través de sus diseños de collage, incluyendo Picturebook (1945), de Hannah Höch, The Bomb and the General (1989), de Umberto Eco y Eugenio Carmi, The Enemy (2009), de Davide Cali y Serge Bloch, y The Red Piano (2009), de André Leblanc y Barroux.Siendo ahora reconocido como un importante punto de inflexión en la evolución del arte modernista, una forma que siempre busca el cambio, el collage es un elemento en desarrollo en la literatura infantil. Muchas de las imágenes contra el establecimiento o contra la guerra presentes en álbumes ilustrados actúan como respuesta a la retórica política. Tales preguntas se plantean como una parte fundamental de la expresión artística urgente del collage, donde las imágenes absurdas y paradójicas exponen verdades y ficciones ridículas, creadas para sorprender e impactar al lector o al espectador. Se explora la relación especial entre el collage como activismo contra la guerra y el arte de ‘avant-guerre’, considerando el collage como una forma que puede desafiar las realidades aparentes de un punto de la historia, presentar una crítica política y señalar posibilidades de cambio, utilizando como material basura visual de su tiempo desgarrada, rasgada, cortada, adherida y pegada. Por lo tanto, la guerra se convierte literalmente en un desgarro de guerra.Palabras clave: Collage, Política, Álbum ilustrado, Vanguardias, Guerra. ResumEl collage és una tècnica que s'utilitza en molts àlbums il·lustrats infantils clàssics i populars; els artistes d'àlbums il·lustrats contemporanis han utilitzat cada vegada més la mediació creuada de la forma, però el seu ús més radical és potser menys conegut. Aquest treball explora el collage com una expressió artística particularment interdisciplinària, tot apuntant a interpretacions i lectures plurals a través de la seua forma intermèdia, recorrent a una sèrie d'àlbums il·lustrats infantils d’ 'avantguarda' que han plantejat qüestions polítiques radicals a través dels seus dissenys de collage , incloent Picturebook (1945), de Hannah Höch, The Bomb and the General (1989), d'Umberto Eco i Eugenio Carmi, The Enemy (2009), de Davide Cali i Serge Bloch, i The Red Piano (2009), d'André Leblanc i Barroux.A hores d’ara és reconegut com un important punt d'inflexió en l'evolució de l'art modernista, una forma que sempre busca el canvi; el collage és un element en desenvolupament en la literatura infantil. Moltes de les imatges contra l'establiment o contra la guerra presents en àlbums il·lustrats actuen com a resposta a la retòrica política. Tals preguntes es plantegen com una part fonamental de l'expressió artística urgent del collage, on les imatges absurdes i paradoxals exposen veritats i ficcions ridícules, creades per sorprendre i impactar el lector o l'espectador. S’explora la relació especial entre el collage com activisme contra la guerra i l'art de 'avant-guerre', considerant el collage com una forma que pot desafiar les realitats aparents d'un punt de la història, presentar una crítica política i assenyalar possibilitats de canvi, utilitzant com a material escombraries visuals del seu temps esquinçades, tallades, adherides i enganxades. Per tant, la guerra es converteix literalment en un esquinç de guerra.Paraules clau: Collage, Política, Àlbum il·lustrat, Avantguardes, Guerra

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China's Flat Earth: History and 8 August 2008

The China Quarterly ◽

10.1017/s0305741009000046 ◽

2009 ◽

Vol 197 ◽

pp. 64-86 ◽

Cited By ~ 20

Author(s):

Geremie R. Barmé

Keyword(s):

Forensic Analysis ◽

Symbiotic Relationship ◽

Reform Era ◽

Avant Garde ◽

Opening Ceremony ◽

The World ◽

Scene Description ◽

Relationship Of ◽

Historical Issues ◽

Party State

AbstractThe opening ceremony of the 29th Olympiad in Beijing was celebrated in China as an opportunity for the country to “tell its story to the world.” This article offers a forensic analysis of that story and how it was created under Party fiat with the active collaboration of local and international arts figures. In a scene-by-scene description of the ceremony, the article also reviews the symbiotic relationship of avant-garde cultural activists and the party-state, a relationship that has continuously evolved throughout the Reform era (since 1978). It also discusses contentious historical issues related to the revival of real and imagined national traditions in the era of China's re-emergence on the global stage.

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A Rose is a Rose is a Hero is a Horse: Naming and Referentiality in the Poetry of Robert Kroetsch and Gertrude Stein

Language and Literature ◽

10.1177/0963947004036631 ◽

2004 ◽

Vol 13 (2) ◽

pp. 119-137 ◽

Cited By ~ 1

Author(s):

Maria Casas

Keyword(s):

Literary History ◽

Meaning Making ◽

Gertrude Stein ◽

Robert Kroetsch ◽

Avant Garde ◽

Philosophical Foundations ◽

The Status ◽

Relationship Of ◽

The Relationship ◽

Critical Writings

The contemporary Canadian poet Robert Kroetsch claims Gertrude Stein as an important influence on his work. On the surface, there are indeed many similarities between the poetics of Kroetsch and that of Stein. Separated by one generation and one epoch of literary history – from Stein’s Modernism to Kroetsch’s avowed Postmodernism – they are nevertheless both avant-garde poets, with an interest in the relationship of signifier to signified and in the problems and joys of representation. However, the poetry of these two writers diverges radically in meaning-making practices and, finally, philosophical foundations. Although Stein and Kroetsch share a fascination with the unstable relationship between signifier and signified, Stein’s approach seems to suggest that the instability was a problem and source of anxiety in her quest to represent reality, even inasmuch as ‘representation’ became ‘creation’, while Kroetsch’s poetry and critical writings express a joy and sense of play produced by his awareness of the gap between signified and signifier. I have reconstructed the metalinguistics of these two avant-garde writers by comparing poems by Kroetsch and Stein at the level of syntax, lexical collocation and coherence, and conception. Their poems share many themes and preoccupations, including conceptions of ‘naming’, the deconstruction of the signifier, and the status of the text. However, differences in technique are the direct reflection of philosophical differences in art movements at opposite ends of the 20th century.

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