A Celibate Founder

2020 ◽  
pp. 99-106
Author(s):  
Roberto Curti ◽  
Roberto Curti
Keyword(s):  
Avant Garde ◽  
Commercial Success ◽  
Commercial Potential

This chapter looks at the popularity of Mario Bava, which was already a prestigious name in the context of the genre cinema in Italy and abroad. It talks about Bava that was mentioned on the cover of the critical anthology Film 1964 that was curated by Vittorio Spinazzola and linked by the significant subtitle of “mass movies and avant-garde cinema.” It also points out why the film Blood and Black Lace (6 donne per l'assassino) was not a commercial success in Italy despite the critics' interest on Bava and the commercial potential of the story. The chapter discusses critics that were content to concede Blood and Black Lace's stylistic qualities and its exquisite tricks of the trade. It looks at the newspaper La Stampa's review about how the film dispenses thrills and emotions by way of the director's excellent technique than with the shaky gimmicks of a clumsy script.

scholarly journals Djent – cyfrowa neomoderna metalu?

2018 ◽  
Vol 3 (10) ◽  
pp. 141-155
Author(s):  
Andrzej Mądro
Keyword(s):  
Avant Garde ◽  
Commercial Success

Djent - digital metal neomoderne? Deep-rooted ideas of “art rock” do not expire and recently gave rise to the new, progressive metal trends like djent. It wants to be the elite, the modern, and the innovative. At the expense of greater commercial success, djent bands cut off from the mainstream and operate independently, incessantly exceeding stylistic and aesthetical boundaries. Poetics of their music often reveal a tension between elitism and egalitarianism, intellect and corporeality, individuality and convention. But can it be seen as some kind of musical trans-avant-garde or neomodernistic?

scholarly journals Aesthetic Height of the Art and the Art Market: Essential and Imaginary Nature of Art Quality

2021 ◽  
pp. 94-131
Author(s):  
A.V. Karpov ◽  
Keyword(s):  
Aesthetic Experience ◽  
Art Market ◽  
Past Century ◽  
Art World ◽  
Contemporary History ◽  
Cultural Economic ◽  
Avant Garde ◽  
Commercial Success ◽  
Market Participants ◽  
Essential Value

A problem of perfection at art is analyzed in the article according to paradigm of the art market as a system of cultural, economic and social interactions of the art world. The author finds out the vitality of the artwork not only as its essential value but also defines the idea of its imaginary vitality. The latter is created by the art market participants, and it causes the commercial value of the artwork. The article makes an assumption about the division of art, at least of the Modern and Contemporary history, into two spheres — the art of “aesthetic experience” and the art of “commercial success”. While the art of “aesthetic experience” is aimed at finding and creating a new artistic language (the embodiment of new creative ideas, complex ethical and aesthetic problems), the art of “commercial success” follows artistic stereotypes, uses creative innovations in an adapted form, which is included in the cultural and aesthetic system familiar to the audience of art. This antithesis is analyzed in the article by the example of comparing a number of works by two artists of the same time. One is Mikhail Larionov, a prominent artist of the Russian Avant-Garde, and the other is Vladislav Izmailovitch, a typical representative of Salon and Late Academic art. Considering the specific historical aspects of vitality in art, the author analyzes several examples. Firstly, the late oeuvre of the Russian artist Ilya Repin as a metaphor for the “joy of the risen”. Secondly, the Easter rarities of the House of Faberge, which have changed their status over the past century from a home memorabilia to a cultural myth and became an object of the art market nowadays. Thirdly, the exposition of the Russian pavilion at the Venice Biennale of Contemporary Art in 2019, where authors and curators exploited the vitality of Dutch and Flemish art of the 17th century as the personification of contemporary creative pursuits.

Trends and Developments in the Manufacturing of Polymer Nanofibrils with the Electrospinning Technique

2013 ◽  
Vol 446-447 ◽  
pp. 1298-1303
Author(s):  
Raj Das ◽  
Nathaniel James Burbery
Keyword(s):  
Polymer Solution ◽  
Polymeric Materials ◽  
Cost Effective ◽  
Electrostatic Forces ◽  
Electrospinning Technique ◽  
Easy Task ◽  
Commercial Success ◽  
Commercial Potential ◽  
Current Trends ◽  
Rapid Pace

Electrospinning is a technique that is exceptionally well-suited for reliable, cost-effective production that uses electrostatic forces to form and manipulate a jet of polymer solution to form nanosized, fibrillar polymeric materials. However, producing smooth (non-beaded) fibres with truly nanosized diameters is not an easy task and is highly influenced by polymer selection. Substantial versatility also exists in the properties and morphologies of the nanomaterials produced with this method. Knowledge of the fundamental features and current trends within the sector of electrospinning are enabling the reliable, effective production of materials that would be most suitable for a variety of applications. This article will discuss each of these issues and will demonstrate the usefulness of the electrospinning technique with a brief overview of the key applications of interest including those which have obtained commercial success. Overall, this article will demonstrate how electrospinning is a unique and effective tool that continues to develop at a rapid pace, with substantial commercial potential yet to be unlocked.

Copyright Royalties

2017 ◽  
Author(s):  
Amy C. Beal
Keyword(s):  
Popular Music ◽  
Nonprofit Organization ◽  
Music Industry ◽  
New Music ◽  
Broad Sense ◽  
Avant Garde ◽  
Commercial Potential ◽  
Economic Control ◽  
Personal Use ◽  
Music Distribution

This chapter examines the New Music Distribution Service (NMDS), a nonprofit organization designed to provide a “desperately needed alternative to the music industry machine.” The NMDS constituted a musician-run service “for the distribution of all independently produced recordings of new music regardless of commercial potential or personal use.” It aimed, namely, to give musicians total artistic and economic control over their recorded work. Moreover, the NMDS focused on new music in a broad sense, with inclusiveness at its core. This diverse array reflected Bley's growing identification with a wider variety of musical styles and her ongoing exploration of jazz's position with regard to both mass-marketed popular music and the niche genres of the classical avant-garde.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

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