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This is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.
Art vidéo. --- Musique expérimentale. --- Video art. --- Printing --- Electronic art --- Experimental television --- Art, Modern --- Performance art --- Television --- Experimental films --- History. --- Sound in art. --- Theatre studies --- Music --- Theatrical science --- geluidsanalyse --- beeldanalyse --- video-opnamen --- geluiden --- Time-based art
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Letters of an avant-garde icon available to the public for the first time.
Composers --- Avant-garde (Music) --- Compositeurs --- Musique expérimentale --- Correspondence. --- Attitudes --- Social networks --- Correspondance --- Réseaux sociaux --- Cage, John --- ameriška glasba --- skladatelji --- 20. st. --- pisma --- Monographic series --- Musique expérimentale --- Réseaux sociaux --- C., J. --- Cage, John Milton, --- J. C. --- Keidž, Džon --- Keĭdzh, Dzhon --- Kēji, Jon
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IRCAM (Research institute : France) --- Avant-garde (Music) --- Musique expérimentale --- Boulez, Pierre, --- Avant-garde (Music). --- Musique expérimentale --- Postmodernism --- Computer music --- Social aspects --- Social aqspects --- Experimental music --- Musical avant-garde --- Avant-garde (Aesthetics) --- I.R.C.A.M. --- Institut de recherche et de coordination acoustique/musique (France) --- Institut de recherche et coordination acoustique/musique (France) --- Institut de recherche et de coordination Acoustique/musique --- France. --- Research institutes --- France --- Anthropological aspects --- Boulez, Pierre --- Influence --- Social aspects.
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This study of six early twentieth-century periodicals serves to refine the traditional image of the inter-war journal as the pre-eminent vehicle of artistic and intellectual renewal. Every periodical has its own history but general themes are clearly identified. Traces emerge of a common commitment to the internationalisation of the arts and we find early and unexpected discussion of Freud, Chaplin and Joyce in Brussels and Berlin, jazz in Vienna and Brussels, Ezra Pound in the Netherlands and Belgium. In contrast to this internationalisation are the ambitions of the various editors to play a significant role in their national cultures. This tension between national and international influences was in the first instance stimulating and innovative. Later, as a result of political and socio-economic developments, the newly achieved openness and exchange were gradually diminished and finally disappeared as did the periodicals themselves.
Arts
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Avant-garde (Music)
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Literature, Experimental
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Art, Modern
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Musique expérimentale
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Littérature expérimentale
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Art
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Experimental methods
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Periodicals
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History
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Méthodes expérimentales
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Périodiques
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Histoire
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Avant-garde.
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Kunst.
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Tijdschriften.
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Avantgarde.
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Literarische Zeitschrift.
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History.
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Méthode expérimentale
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Histoire.
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Anbruch
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