9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

Boulez, Pierre (1925-2016)

2018 ◽  
Author(s):  
Jonathan Goldman
Keyword(s):  
Twentieth Century ◽  
Personal Development ◽  
Work Of Art ◽  
Going Public ◽  
Concert Music ◽  
Avant Garde ◽  
Central Concern ◽  
Pierre Boulez ◽  
History Of ◽  
Listening Habits

French composer Pierre Boulez was one of the most influential composers of the second half of the twentieth century. His personal development mirrored the history of Western concert music. An essential figure in the history of artistic modernism, he was perceived as a leader of the musical avant-garde since 1945. In addition, through his international career as a conductor, he sought to change the listening habits of the concert-going public by initiating them, through concerts and recordings, into the classics of modernism from the first half of the twentieth century (Stravinsky, Schoenberg, Webern, Bartók, Berg, etc.). From serialism, open forms, the interface between instrument and machine, the concern with perceptibility, Boulez’s catalog forms a rich and varied corpus. Although Boulez dispensed with total serialism after a brief but decisive period, his concern with the formal unity of a work of art remained a central concern throughout his career.

scholarly journals THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

2021 ◽  
Vol 10 (86) ◽  
Keyword(s):  
First Century ◽  
Free Jazz ◽  
Third Stream ◽  
Avant Garde ◽  
Jazz Music ◽  
Jazz History ◽  
History Of ◽  
Hard Bop ◽  
The 1950S ◽  
Musical Understanding

The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The echoes of the pre-fusion period 1959-1967 are still influential on the musical output of jazz in the twenty first century. This study aims to convey the variety of jazz styles between 1950 and 1967 by looking at the foundational elements that create the musical understanding of these styles by means of a descriptive methodology. Keywords: Jazz, Free Jazz, Hard Bop, 1959, Third Stream, Cool Jazz, Avant-Garde

Selective Histories

2016 ◽  
pp. 62-78
Author(s):  
Chirstinn Whyte
Keyword(s):  
First Century ◽  
Mobile Technologies ◽  
Late Nineteenth Century ◽  
Television Industry ◽  
Avant Garde ◽  
Film And Television ◽  
Production Models ◽  
History Of ◽  
Motion Studies ◽  
Magic Lantern

Beginning with the traditions of Chinese shadow-theater and the magic lantern, and progressing through the photographic innovations of late-nineteenth-century motion studies, including the work of Eadweard Muybridge and Etienne-Jules Marey, the moving image established itself and gained nonlinear dance-related freedom in the work of René Clair and Ferdinand Leger. This informed its legacy in the twentieth-century avant-garde film movement and in the works of dance-based filmmakers such as Maya Deren and Shirley Clarke, with particular reference to Deren’s notion of “vertical form” and concept of the term “choreographic” as used within a screen context. Meanwhile, despite the dominance of more narrative-based film and television industry production models, so-called hybrid dance/screen practice arose from twenty-first-century artists such as Katrina McPherson, Alex Reuben, and Lisa May Thomas. The chapter concludes with recent writing on the history of mobile filmmaking by Caridad Botella Lorenzo and the potential future impact of mobile technologies.

scholarly journals Krótki wykład o muzyce XX wieku. Kompendium dydaktyczne / A Short Lecture on Twentieth-Century Music. A Teaching Compendium

2014 ◽  
Vol 12 (2) ◽  
Author(s):  
Tomasz Jasiński
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
First Century ◽  
Avant Garde ◽  
Arts And Humanities ◽  
The Arts ◽  
Twentieth Century Music ◽  
History Of ◽  
Recent Trends ◽  
Concrete Music

AbstractThe article is a comprehensive presentation of the history of music in the twentieth century, taking into account the main trends and phenomena of this period, inter alia impressionism, expressionism, neoclassicism, dodecaphony, punctualism, and total serialism, then avant-garde solutions and pluralism after World War Two (inter alia electronic music, concrete music (musique concrète), graphic music, aleatoric music, open forms, instrumental theater, minimal music), and finally the most recent trends (e.g. spectral music, new complexity, polystylistics), including a clearly marked return to the Romantic tradition. The chronologically presented discourse includes opinions that concisely explain some compositional solutions, as well as the list of composers and the titles of their works that exemplifi ed the problems discussed. The paper ends with the thoughts on the future of music in the new, twenty-first century.The article is meant as teaching material for the arts and humanities programs.

Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily

2009 ◽  
Vol 34 (2) ◽  
pp. 194-199 ◽  
Author(s):  
SANDRA UMATHUM
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Work Of Art ◽  
Unique Position ◽  
Works Of Art ◽  
History Of Art ◽  
The Future ◽  
History Of ◽  
The Way

This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012”

CORAK ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Edi Eskak
Keyword(s):  
Performance Art ◽  
Mixed Media ◽  
First Century ◽  
Creative Potential ◽  
Works Of Art ◽  
Arts Festival ◽  
Digital Prints ◽  
Wide Assortment

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemorate the first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat, featuring the character or the privilege of Yogyakarta through works of art by artists with no exit from the corridors of copyrighted artistic distinctiveness. The works on display most of the particular character, specific and have their own specialty. Privileges of Yogyakarta with its dynamic, multicultural, and tolerant of the works reflected on display in the various mediums of expression and creation. A wide assortment of works of art displayed expression of both the traditional, conventional and non conventional, such as: painting, graphics, sculpture, video, film, animation, installation, performance art, digital prints, puppets, mixed media and others. Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in this exhibition appear surprisingly with exceptional works that have creative potential prospective. These young artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I Gusti Ngurah Edi Basudewa.Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Menapak Jejak Seni Gambuh dalam Naskah-Naskah Panji Melayu

2020 ◽  
Vol 11 (2) ◽  
pp. 139
Author(s):  
Priyo Joko Purnomo ◽  
Wahyudhi Wahyudhi
Keyword(s):  
Performance Art ◽  
Oral Tradition ◽  
Close Relation ◽  
Cultural Transformation ◽  
Historical Aspects ◽  
Historical Approach ◽  
University Library ◽  
Critical Method ◽  
History Of ◽  
Performing Art

Gambuh as the performing art in Malay area became one of the cultural transformation evidences of the close relation between Java and Malay. The history of gambuh performance in Malay area recorded in the archipelago’s manuscripts, one of them is a manuscript entitled Surat Gambuh which is being the collection of Leiden University Library. This paper attempts to examine the contents of the manuscript in order to reconstruct the gambuh performance art in Malay and also trace the historical aspects. As far as the research had been done, there have been no studies of this manuscript so it is necessary to first transliterate it using a critical method. Furthermore, the historical aspects are explored using a historical approach by adding data from other texts of Panji. The analysis result of the reflection of Malay gambuh performance rules and historical aspects show that there is a transformation of work from oral tradition to written tradition, the cultural acculturation between Java and Malay, and the Islamic influence behind Malay gambuh.

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