scholarly journals Magnetic Memory: A Day-Long Video Tribute to Nam June Paik

2006 ◽  
Vol 60 (2) ◽  
pp. 12-16 ◽  
Author(s):  
Nicky Hamlyn
Keyword(s):  
New York ◽  
Magnetic Memory ◽  
John Cage ◽  
Yoko Ono ◽  
Nam June Paik

ABSTRACT This review of video work by Nam June Paik traces the artist's origins in the European Fluxus movement before his move to New York, where he lived until his death (in 2006) and collaborated with other artists including John Cage, Charlotte Moorman, and Yoko Ono.

Komponisten, Interpreten und Editoren debattieren über Notation

2019 ◽  
Vol 33 (1) ◽  
pp. 64-81
Author(s):  
Dörte Schmidt
Keyword(s):  
New York ◽  
International Association ◽  
Contemporary Music ◽  
Second Step ◽  
John Cage ◽  
Musical Structure ◽  
New Developments ◽  
The Relationship

Abstract The article discusses how new developments in the notation of contemporary music were negotiated within the framework of the Darmstadt Summer Courses and which interests and actors played a role in this. The first part examines the publications and publication projects that emerged in the context of the Notation conference in 1964. The focus is on the interests of institutions such as the International Music Council and the International Association of Music Libraries, in whose name the New York publisher Kurt Stone attempted to persuade the International Music Institute Darmstadt to cooperate and, following on from the debates there, to systematically record various forms of notation together. In a second step, the content of the debates at the conference is examined, with a particular focus on the different and sometimes conflicting perspectives of interpreters and composers. Numerous connections to fundamental aesthetic discussions of the time can be worked out, in particular to the relationship between the composer’s intention and interpretation, which was renegotiated in a form of notation that was individualized to the extreme. Finally, with a view to later discussions, this topic is pointed to the question of the relationship between morphology and musical structure, exemplified by positions of Wolfgang Rihm (1982), Klaus Huber (1988) and John Cage (1990).

Joseph Beuys und die Musik

2021 ◽  
Author(s):  
Sigrun Hintzen
Keyword(s):  
John Cage ◽  
Unpublished Manuscript ◽  
Joseph Beuys ◽  
Nam June Paik ◽  
Erik Satie ◽  
Grand Piano

Joseph Beuys expanded his concept of art to include listening and conceived of sound as sculpture. Musical material runs through his work from early drawings to late performances. This book breaks down what the acoustic elements in Beuys' works, notations, symphonies and scores are all about. What does Beuys himself do at the grand piano, what are "Erdklavier" and "Innenton"? Beuys worked with John Cage, Nam June Paik and Henning Christiansen, felt close to Erik Satie. At the time, Sigrun Hintzen laid the foundation for research into Joseph Beuys' music. This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

scholarly journals Nicholas Ray’s We Can’t Go Home Again

2019 ◽  
pp. 43-56
Author(s):  
Patricia Pisters
Keyword(s):  
New York ◽  
Digital Media ◽  
The State ◽  
State University ◽  
Expanded Cinema ◽  
Virtual Window ◽  
Nicholas Ray ◽  
Nam June Paik

This chapter analyzes the film We Can’t Go Home Again (1972–1976), which the American director Nicholas Ray realized in collaboration with a class of students he taught at the State University of New York in Purchase. The film exemplifies the ability of cinema to provide access to an “elsewhere” and “elsewhen,” analyzed by Anne Friedberg in her book Window Shopping: Cinema and the Postmodern. This chapter claims that the film’s use of multiscreen projection can be illuminated through Friedberg’s notion of the virtual window, developed in The Virtual Window: From Alberti to Microsoft. Thanks to the collaboration on the film of video artist Nam June-Paik and the employment of techniques associated with the contemporaneous practice of “expanded cinema,” We Can’t Go Home Again is an important precursor to contemporary digital media.

Paik, Nam June (1932–2006)

2018 ◽  
Author(s):  
Chunghoon Shin
Keyword(s):  
Arnold Schoenberg ◽  
Electronic Media ◽  
John Cage ◽  
Alternative Mode ◽  
Art Form ◽  
American Artist ◽  
Japanese Colonial ◽  
The University ◽  
Nam June Paik ◽  
Private Music Lessons

Nam June Paik was a Korean-born American artist who achieved international notoriety for his destructive, neo-dada activities and visionary, esthetic experiments with electronic media. Born to a wealthy family in Seoul during Japanese colonial rule, Paik took private music lessons throughout his adolescence. After moving to Japan in 1951, he enrolled in the University of Tokyo, where he studied music, esthetics, and art history, graduating with a thesis on the composer Arnold Schoenberg in 1956. In the late 1950s and early 1960s, he turned away from the university setting to associate himself with a network of progressive artists such as John Cage and the Fluxus group. While studying in Germany in the late 1950s, Paik began exploring electronic media as an art form. Yet, far from being negative or polemical, Paik’s attitude toward the televisual environment was marked by a radical openness. He explored the esthetic potential of television and video in an all-encompassing way. Paik’s exploration encompassed manipulation of television signals or scan lines, videotape production, television transmission, live satellite telecast, video sculpture, and environment. Yet Paik was by no means naïve or conformist in his approach; instead, he hijacked broadcast signals, redressing one-way communication and rechanneling energy into an alternative mode of communication.

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

International Indeterminacy: George Maciunas and the Mail

ARTMargins ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 57-85 ◽  
Author(s):  
Colby Chamberlain
Keyword(s):  
New York ◽  
Attorney General ◽  
Conceptual Art ◽  
New York State ◽  
John Cage ◽  
Power Structures ◽  
Mail Art ◽  
Art Object ◽  
Curatorial Practice ◽  
History Of

The term “network” has often been used to characterize Fluxus's internationalism and to identify its membership. This has led a number of scholars to argue that Fluxus anticipated forms of artistic exchange now associated with Internet-based art. More recently, it has cast Fluxus as a precedent for applying a network model to other transcontinental avant-gardes, particularly in curatorial practice. Yet in the rush to relate Fluxus to contemporary discourses on global connectivity, insufficient attention has been paid to the specific apparatuses that facilitated its cohesion. This article stages an intervention into Fluxus studies (and by extension Conceptual art, mail art, and other transnational movements associated with communication and the “dematerialization” of the art object) by drawing on the field of German media theory to analyze the “paperwork” that makes up much of the movement's material production. Specifically, it focuses on how the artist George Maciunas's engaged the postal system in order to facilitate Fluxus's collectivity, as well to insinuate Fluxus's methods of experimental composition into larger power structures. After an opening discussion of Maciunas's important diagrammatic history of Fluxus's development (a.k.a. the John Cage chart), the article tracks Maciunas's deployment of newsletters to organize Fluxus activities, his infamous mail-based sabotage proposals, his collaborations with Mieko Shiomi and Ben Vautier, and his “Flux Combat” with the New York State Attorney General.

ORDINARY MATTERS: CHRISTIAN WOLFF ON HIS RECENT MUSIC

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 19-27 ◽  
Author(s):  
Stephen Chase ◽  
Clemens Gresser
Keyword(s):  
New York ◽  
Contemporary Music ◽  
New York School ◽  
John Cage ◽  
Music Festival ◽  
Christian Wolff ◽  
Morton Feldman

Christian Wolff, who turned 70 in March this year, is the last remaining member of the so-called New York School of Composers. Very briefly he studied with John Cage, and was exchanging thoughts with Earle Brown, Morton Feldman and David Tudor from the age of 16 in 1950. Along with friends and colleagues Cornelius Cardew and Frederic Rzewski, he began in the 1970s to draw upon musical ideas that reflected his social and political concerns in a more direct manner. The following is an extract of a much longer interview which took place during the Huddersfield Contemporary Music Festival in November 2002 where Christian Wolff was a featured composer. Wolff discusses his recent compositions, his attitude to writing for voice, and his approach to performance and to begin with, recording.

Sign in / Sign up

Export Citation Format

Share Document