scholarly journals QUI… DADA C’EST MOI. Historia de un huevo, por MISE en PLIS. Libro/objeto en memoria a Emilio Sdun. / QUI… DADA C’EST MOI. History of an egg, by MISE in PLIS. Book / Object in memory to Emilio Sdun.

2017 ◽  
Author(s):  
Lourdes Santamaria Blasco ◽  
Amparo Alepuz Rostoll ◽  
Rocio Villalonga Campos
Keyword(s):  
Computer Graphics ◽  
Digital Media ◽  
Open Field ◽  
Visual Arts ◽  
Found Objects ◽  
Avant Garde ◽  
Mise En Scene ◽  
Technical Reproducibility ◽  
History Of ◽  
Research And Design

Tres artistas agrupadas bajo el nombre de MISE en PLIS, ponen en escena (mise en scene) una investigación y diseño sobre la producción, reproductibilidad, difusión y comercialización de obra artística, con una perspectiva interdisciplinar y trabajando en la edición del libro/objeto de artista, tanto como soporte de obras gráficas (ilustraciones, fotografías, collages) como contenedor de objetos siguiendo la tradición Dadaísta y Surrealista respecto a los objets trouvés y los ready mades. Las obras resultantes de esta investigación rinden homenaje a las estrategias creativas de estos movimientos de vanguardia, desde el concepto de lo fragmentado y el de la multiplicidad al de la reproductibilidad técnica; desde las técnicas, medios y procesos empleados (collage, fotomontaje, tipografías, etc.) a la revisión de las artistas menos conocidas del Dadá y del Surrealismo. Estas estrategias son la evidencia de esa complejidad que alcanza a las artes plásticas, constituyendo los precedentes de la creación contemporánea, con unos recursos más virtuales y aplicados a los medios infográficos y digitales actuales. Gracias a esto, lo que aquí presentamos, nos ha permitido poner énfasis en la vigencia de las vanguardias como fuente inagotable de recursos gráficos y conceptuales, y nos señala el campo abierto en los márgenes difusos que existen entre unas manifestaciones artísticas y otras.QUI… DADA C’EST MOI. History of an egg, by MISE in PLIS. Book / Object in memory to Emilio Sdun.Three artists grouped under the name of MISE in PLIS, staged (mise en scene) research and design on production, reproducibility, diffusion and commercialization of artistic work with an interdisciplinary perspective and working on the edition of the book / object artist, both as a support of graphic works (illustrations, photographs, co-llages) as container objects following the Dadaist and Surrealist tradition regarding the found objects and readymades. The works resulting from this research pay tribute to the creative strategies of these avant-garde movements, from the concept of the fragmented and the multiplicity of technical reproducibility; from the techniques and proce-sses used media (collage, photomontage, fonts, etc.) to the revision of the lesser-known artists of Dada and Surrealism. These strategies are evidence of that complexity reaches the visual arts, constituting the precedents of contemporary creation, with more virtual and applied to current computer graphics and digital media resources. Thanks to this, what is here has allowed us to emphasize the effect of the vanguards as an inexhaustible source of graphics and conceptual resources, and points the open field in the diffuse margins between some artistic and other events.

scholarly journals Det multimodale ikon

2013 ◽  
Vol 28 (69) ◽  
Author(s):  
Joseph M. Conte
Keyword(s):  
Popular Culture ◽  
Digital Media ◽  
Visual Arts ◽  
Text And Image ◽  
Cognitive Poetics ◽  
Interpretive Skills ◽  
History Of

I den indledende artikel af Joseph M. Conte, “Det multimodale ikon: Syn, lyd og kognition i nyere poesi”, opridses poesiens historie frem til i dag med udgangspunkt i den tese, at der er sket et skift i den måde, hvorpå vi afkoder poesi. Mens man tidligereopfattede poesi som en kunstart, der kun udtrykte sig i én kode, nemlig bogstaverne på bogsiden, er digtet i den digitale tidsalder blevet et multimodalt ikon, i hvilket tekst og billede samvirker i betydningsdannelsen på en kompleks måde. Hvis fortolkeren skal være på højde med den nyeste poesi, kræver det ifølge Contesåledes også nye tilgange og kompetencer.Joseph M. Conte: “The Multimodal Icon: Sight, Sound and Intellection in Recent Poetries”This article examines the shift from single to multiple semiotic modes in poetry during the age of digital media. While one can argue that in the history of poetry the text has always represented “sight, sound and intellection,” the propagation of digital media and the devolution of popular culture into a predominantly graphical regime have made an irrevocable impression on poetry on-the-page. The production of multimodal poetry in print literature presents the hybridization of text and image, or typography and the visual arts. In the multimodal poetry of Emily McVarish,Steve McCaffery and Geof Huth, the reader encounters two or more semiotic modes simultaneously. The relation between text and image is not one of dependency or autonomy but rather a bilateral interactivity that requires and stimulates a cognitive poetics. Such print works demand that readers pursue a multiplicity of readingpaths and develop the interpretive skills required by multimodal metaphor in which signs are drawn from more than one mode.

scholarly journals In Anticipation of Disaster: The Beginnings of Croatian Modernism and the End of the Empire

2021 ◽  
Vol 46 (2) ◽  
pp. 10-25
Author(s):  
Nataliya Zlydneva ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Cultural Development ◽  
Avant Garde ◽  
History Of ◽  
Balkan Region ◽  
Theoretical Issues

The essay deals with the history of the first steps of modernism in Croatian visual arts in the 1910s – beginnings of the 1920s, which took the form of expressionism. In the aspect of early expressionism, the work of the most significant Croatian painters and graphic artists (L. Babić, M. Trepse and others), as well as sculptors (I. Meštrović), considered in the context of the art of the Balkan region (Serbian and Slovenian artists) as a whole, is observed. A number of theoretical issues are touched upon – the typology of symbolism and impressionism, closely related to Croatian expressionism, as well as the problem of isomorphism of expressionism poetics as an integral part of the avant-garde to the phenomenon of explosion in culture. The research shows that the beginnings of the Croatian modernism, which coincided with the end of the empire, reflect the specifics of the Balkan model of cultural development in the 20th century, based on the convergence of extremes.

Modernism Under Review: Reyner Banham's Theory and Design in the First Machine Age (1960)

2017 ◽  
Vol 12 (3) ◽  
pp. 331-344
Author(s):  
Tyrus Miller
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Design Theory ◽  
Machine Age ◽  
Avant Garde ◽  
International Style ◽  
History Of ◽  
Architecture And Design ◽  
Architectural Modernism ◽  
Modern Movement

This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the ‘first machine age’, characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the ‘second machine age’, populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative ‘international style’. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.

Out of the mainstream. Henryk Weber – a Jewish art critic in interwar Cracow

Tekstualia ◽  
2019 ◽  
Vol 2 (57) ◽  
pp. 37-54
Author(s):  
Diana Wasilewska
Keyword(s):  
Interwar Period ◽  
Visual Arts ◽  
Avant Garde ◽  
Logical Construction ◽  
Linguistic Awareness ◽  
Jewish Art ◽  
History Of

Henryk Weber, a painter and art critic of the interwar period, is today a completely, though inequitably, forgotten fi gure. He was mainly associated with the Jewish magazine „Nasz Wyraz” in which he ran a column devoted to the visual arts. He was particularly interested in the history of the artistic milieu of Cracow, including, though not exclusively, Jewish artists. As a painter he was close to the colorists, and in his reviews he turned out to be an insightful observer and interpreter, also open to the latest avant-garde art phenomena. His artistic concept grew out of the expressionist aesthetics, treating art as an expression of the artist’s feelings and emotions, but the act of creation meant for him submitting these impressions to the laws of a strict logical construction. Weber’s statements, especially reviews, are characterized by an extraordinary suggestiveness of the language, which is a specifi c combination of professional terminology and colloquialisms or terms borrowed from other disciplines or areas of life. Aesthetic and linguistic awareness, wide knowledge of the latest artistic phenomena as well as openness to new artistic trends make him one of the most outstanding critics of the interwar period in Poland.

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.

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

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.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

The Classical Tradition in University Theatre

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Art Education ◽  
Classical Tradition ◽  
Theory And Practice ◽  
Theatre Arts ◽  
Tel Aviv ◽  
Greek Drama ◽  
Mise En Scene ◽  
History Of ◽  
Stage Performance ◽  
And Performance

This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

Sign in / Sign up

Export Citation Format

Share Document