scholarly journals The anatomy of voice: Two views on the exhibition post-opera ('Tent' Gallery and 'V2_Lab for the Unstable Media', Rotterdam, April 19 - June 30 and May 3-26 2019)

New Sound ◽  
2020 ◽  
pp. 179-199
Author(s):  
Ivana Ilić ◽  
Iva Nenić
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Body ◽  
The Third ◽  
Art Object ◽  
Theoretical Perspectives ◽  
Art And Culture ◽  
Speaking Voice ◽  
The Voice

In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.

DARON HAGEN (b. 1961)Muldoon Songs (1989 and 1992)

2020 ◽  
pp. 111-114
Author(s):  
Jane Manning
Keyword(s):  
Contemporary Art ◽  
Art Song ◽  
The Third ◽  
Wide Range ◽  
The Voice

This chapter explores the Muldoon Songs by Daron Hagen. This succinct, appealing cycle comes from a generous, attractively presented volume, replete with notes by both the composer and Paul Sperry, who has done so much for contemporary art song. This cycle consists of seven contrasting songs; the third and fourth mere fragments. The sixth was added last, at the request of Paul Sperry, who commissioned the piece. Much of the intriguingly acerbic text is set straightforwardly. Through this cycle, Hagen shows a masterly grasp of the voice–piano idiom, along with a love of words, and a refined instinct for setting them. His writing seems unfettered and entirely natural, encompassing an exceptionally wide range of styles with unerring craftsmanship and sometimes deceptive simplicity. Indeed, as this chapter shows, the music breathes freely, maintaining elasticity and rhythmic verve.

A corpus-based diachronic investigation of metaphorical containers of sadness in English

2014 ◽  
Vol 1 (2) ◽  
pp. 236-251
Author(s):  
Yan Ding ◽  
Dirk Noël
Keyword(s):  
Human Body ◽  
Body Parts ◽  
Noticeable Increase ◽  
The Third ◽  
General Conception ◽  
British National Corpus ◽  
Early English ◽  
The Voice ◽  
National Corpus

This paper addresses the question of conceptual diversity in the seat of emotions via a corpus-based case study of diachronic variation in the metaphorical containers of sadness in English. Data sourced from Literature Online, Early English Books Online and the British National Corpus reveal three types of metaphorical containers of sadness: (1) the human body in general and whatever is either literally internal to it, or at least often conceptualized as such, such as the heart and the soul; (2) external body parts and different kinds of superficial body features, such as the eyes and the voice; and (3) containers that are not inherently connected with the human body, such as a room and a sonnet. A comparison between the types of metaphorical containers in different periods shows that whereas the percentage of the third type of containers remains constant by and large, there has been a noticeable increase in the percentage of the second type of containers and a quite obvious decrease in the percentage of the first type of containers. It is argued that the diachronic variation in the relative frequencies of the two types of containers may have been related to a shift in the general conception of body and emotions, and specifically to the gradual disintegration of humoral theory.

Apollo (1909–1917)

2018 ◽  
Author(s):  
Hanna Chuchvaha
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
The Third ◽  
Dance Theater ◽  
Art Works ◽  
The World ◽  
Russian Modernism ◽  
The Creation ◽  
The Aesthetic ◽  
The Revolution

Apollo (Apollon, 1909–1917) was the third and last major Russian modernist art periodical before the revolution of 1917. Edited by the art critic and art historian Sergei Makovsky (1877–1962), and from 1911 by both Makovsky and Baron Nikolai Vrangel’ (1880–1915), the journal ran for 91 issues. Aiming to craft an ideal art periodical, Apollo continued the aesthetic program of its forerunners, the World of Art and The Golden Fleece. According to its title and editorial manifesto, the creation of art works was seen as an act of worshipping Apollo, while the principle of Apollonianism alluded to Friedrich Nietzsche’s dichotomy of the Apollonian and the Dionysian. Apollo was a consistent propagator of contemporary art trends and defined a new stage in the development of Russian modernism. The periodical was international in scope; it devoted articles to Russian and European artists and art shows and featured sections dedicated to visual arts, literature, dance, theater, and music.

scholarly journals Dak’Art. Biennale de l'Arte Africain Contemporain

2019 ◽  
Author(s):  
Chiara Pattaro
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Context ◽  
Case Histories ◽  
African Art ◽  
Pan African ◽  
Art And Culture

Dak’Art, the Dakar Biennale of Art was devised in Senegal in 1989 as the Biennale de Dakar des Arts et des Lettres but – after an edition committed only to literatures, the Biennale des Lettres in 1990 – was achieved in 1992 as the Biennale Internationale des Arts de Dakar. Its creation is influenced by Leopold Sedar Senghor’s ideas: between 1960 and 1980, he was the first President of Independent Senegal and was always a passionate promoter of African art and culture. Under his government the nation developed a flourishing cultural context that will later lead to the birth of Dak’Art which, from its second edition in 1992, is exclusively dedicated to visual arts. This essay describes history, management and organization of its editions, until 2014, analysing some artists and artworks as case histories. The study identifies therefore the characteristics of a Biennale that is purposefully Pan-African, committed to giving visibility and prominence to African contemporary art, which is still poorly represented in the international art system.

How well do voice-hearing assessment measures capture the positive experiences of individuals?

2019 ◽  
Author(s):  
Lucy Armstrong ◽  
Lorna Hogg ◽  
Pamela Charlotte Jacobsen
Keyword(s):  
Systematic Review ◽  
Lived Experience ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Hearing Assessment ◽  
Positive Experiences ◽  
Assessment Measures ◽  
Stage 1 ◽  
The Voice

The first stage of this project aims to identify assessment measures which include items on voice-hearing by way of a systematic review. The second stage is the development of a brief framework of categories of positive experiences of voice hearing, using a triangulated approach, drawing on views from both professionals and people with lived experience. The third stage will involve using the framework to identify any positve aspects of voice-hearing included in the voice hearing assessments identified in stage 1.

scholarly journals Will the voice of science of the Third World be heard?

Nature ◽  
1977 ◽  
Vol 270 (5635) ◽  
pp. 288-288
Author(s):  
Michael J. Moravcsik
Keyword(s):  
Third World ◽  
The Third ◽  
The Third World ◽  
The Voice

scholarly journals Lullaby: Births, Deaths and Narratives of Hope

Religions ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 138
Author(s):  
Rebekah Pryor
Keyword(s):  
Contemporary Art ◽  
Hannah Arendt ◽  
Luce Irigaray ◽  
The Voice

Guided by the hopeful possibilities of birth, breath and beginning that Hannah Arendt and Luce Irigaray variously articulate, this paper examines the lullaby as an expressive form that emerges (in a variety of contexts as distinct as medieval Christendom and contemporary art) as narrative between natality and mortality. With narrative understood as praxis according to Arendt’s schema, and articulated in what Irigaray might designate as an interval between two different sexuate subjects, the lullaby (and the voice that sings it) is found to be a telling of what it is to be human, and a hopeful reminder of our capacity both for self-affection and -preservation, and for meeting and nurturing others in their difference.

Axis: broadening the constituency and extending the sphere of influence of visual art

1998 ◽  
Vol 23 (2) ◽  
pp. 8-11
Author(s):  
Doug Sandle
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Information Resource ◽  
Text Data ◽  
Widening Access ◽  
Visual Text ◽  
Sphere Of Influence ◽  
National Information

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

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