scholarly journals Glenn Gould, Spliced

2016 ◽  
Vol 22 (4) ◽  
Author(s):  
Garreth P. Broesche
Keyword(s):  
Walter Benjamin ◽  
Original Research ◽  
Technology Support ◽  
Similar Relationship ◽  
Ontological Status ◽  
Audio Analysis ◽  
Extant Literature ◽  
Art Form ◽  
Archival Documents ◽  
Historical Truth

Glenn Gould often drew an analogy: live theater is to film as concert performance is to studio recording. In his writings, Gould cites one finished “performance” created by splicing together two contrasting interpretations of a piece; through editing, the finished version somehow becomes more than the sum of its parts. Here Gould’s use of editing appears to invoke montage technique in a manner similar to one of its uses in film: contrasting images (interpretations) are juxtaposed, bequeathing responsibility to the viewer (listener) to infer meaning not explicitly present in either. To paraphrase Walter Benjamin, the use of montage technique separates filmmaking from live theater, altering the ontological status of the former and elevating it to an independent art form. Do the ways in which Gould employs technology support the claim that there is a similar relationship between live and studio music?For all the extant literature on Gould, there is little that discusses—in detail—his actual studio process. Scholars have tended to take Gould at his word. However, I believe that only by placing the focus squarely on the historical truth may we evaluate his recording/filmmaking analogy. This paper centers on a detailed audio analysis of one Gould performance: his 1981 recording of a Brahms Ballade. I will present original research into archival documents and clips of studio outtakes, and I will discuss my own re-creation of Gould’s splicing scheme.My research allows me to make two claims regarding Gould’s studio process. First, Gould’s understanding of the function of studio recording is quite different from the commonplace notion that that recording studio is a means to create a simulacrum of the live event. And, second, his use of montage technique is quite a bit “weaker” than his own words on the recording/filmmaking analogy might lead one to believe.

scholarly journals Historical e-sources on the problem of the irrevocable human losses during the great Patriotic war of 1941-1945 (by the example of the Kuibyshev (Samara) Region)

2020 ◽  
Vol 9 (1) ◽  
pp. 220-225
Author(s):  
Olga Yuryevna Igoshina
Keyword(s):  
21St Century ◽  
The Internet ◽  
Electronic Database ◽  
Military Operations ◽  
Great Patriotic War ◽  
Archival Documents ◽  
Historical Truth ◽  
The Military ◽  
Mass Sources ◽  
Human Losses

This paper considers one of the urgent problems of the great Patriotic war history - the irrevocable human losses during the great Patriotic war. In the 21st century mass sources (electronic databases and databanks) were distributed. Some of them can be used while studying how local people of the Kuibyshev (now - Samara) Region participated in the military operations in 1941-1945. The paper analyzes information opportunities of the generalized databank Memorial and the consolidated database of the all-Russian information and search center Fatherland. The paper also analyzes the electronic database of the irrevocable human losses of the Kuibyshev Region that is founded on The Memory book and made by the author of the paper. The databank Memorial and the database Fatherland are on the Internet and help to determine the fate or find the information about the dead or missing relatives and friends as well as to determine their burial place. Sections of the victims are accompanied by links as well as by digital copies of archival documents that confirm the information about the date, place of service, death and burial of soldier. Electronic resources have unique features and value for achieving the historical truth about the price of Victory.

Explosive Pluralisms

2019 ◽  
pp. 137-173
Author(s):  
Emily Richmond Pollock
Keyword(s):  
Spherical Shape ◽  
Formal Structure ◽  
Art Form ◽  
Archival Documents ◽  
Serial Construction ◽  
A Site

A specifically Germanic tradition of opera was renewed in Zimmermann’s Die Soldaten, an ambitious serial construction saddled with an antiwar moral. Zimmermann approached the problem of tradition by recasting opera as an inherently monstrous, pluralistic, and multivalent art form. Rather than steering around Wagner, Berg, and the modernists who had problematized opera, Zimmermann regarded them as a legacy worth confronting. He programmatically addressed modern music’s relationship to history, referring to old forms as Berg had done and incorporating new influences in an updated Gesamtkunstwerk. He positioned opera as a site for the serialist realization of his concept of the “spherical shape of time” (Kugelgestalt der Zeit). His allusions shaped the work’s formal structure and characterization, the rigidity of which in turn suggested an analogy to the inevitability of societal oppression. Archival documents show Zimmermann negotiating a balance between serialist control and Expressionist verve.

scholarly journals The Horror of the Real: Filmic Form, The Century, and Fritz Lang's M

2019 ◽  
Vol 6 (1) ◽  
pp. 19-28
Author(s):  
Peter Gavaris
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Walter Benjamin ◽  
The Political ◽  
Political Responsibility ◽  
Aesthetics And Politics ◽  
German State ◽  
The Real ◽  
Art Form ◽  
The One

It is not surprising that film became the dominant art form of the twentieth century. The promise of a medium that could capture life in motion proved exciting, though soon after its conception, debates cropped up pitting the merits of realism against those of expressionism. Should a medium predicated on recording life adopt expressionistic sensibilities? Writing on the burgeoning cinema, Walter Benjamin seemed to imply that film carried with it a distinctly political responsibility to show life as it really is. In attempting to rethink this argument, I argue for the political potential of an expressionistic cinema, as understood by considering the theoretical underpinnings of Alain Badiou’s The Century (2008) when read in relation to Fritz Lang’s M (1931)—a film that embodies Badiou’s musings on the twentieth century’s aesthetic ideals and violent tendencies. Badiou writes that “the torment of contemporary art” is that it is situated at a crossroads between “romantic pathos, on the one hand, and a nihilistic iconoclasm” on the other: a knowing admission that the Real can never be truly represented, and an oppositional desire to convey it anyways. M knowingly exposes these aesthetic contradictions at the heart of the filmic medium by leaning into its own artificiality, and, in doing so, it prophetically exposes the thinking behind a growingly fascist German state in the 1930s. By the end of my paper, I arrive at the conclusion that the violence found in both twentieth century aesthetics and politics came about as the result of a similarly idealistic principle.

scholarly journals The Influence Of Wage On Motivation And Satisfaction

2011 ◽  
Vol 10 (9) ◽  
pp. 81 ◽  
Author(s):  
Eder Paschoal Pinto
Keyword(s):  
Data Collection ◽  
Research Design ◽  
Positive Influence ◽  
Original Research ◽  
Limited Sample ◽  
Extant Literature ◽  
Collection Process ◽  
Data Collection Process ◽  
Wage Earners ◽  
The Relationship

This article seeks to contribute to the extant literature on the origin of motivation (intrinsic or extrinsic) by examining the relationship between wage, motivation, and satisfaction. That is, its aims is to discover the extent to which wages influence the motivation and satisfaction of wage earners who are considered to be more highly motivated than their colleagues. Employees who work for eight companies from diverse segments of the Brazilian economy were selected by intentional sampling. The data collection process was carried out along with them by explaining the objectives of the survey and handing out the forms that were to be completed by them. Four hundred fifty-eight useful answers were validated. The results show that the wages paid by the companies do not significantly influence the respondents motivation and satisfaction, with the exception for a highly limited sample. These constructs (motivation and satisfaction) were investigated in terms of the way the work is organized, the communication is processed, and the rewards system is built. The findings are opposite of those that assert the positive influence of extrinsic rewards (salary is one of them) on motivation. The article offers an original research design; that is, with a focus on highly motivated wage earners. Similar research design is strongly recommended in order to elucidate a little more on the influence of wages on motivation.

scholarly journals Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy

October ◽  
2017 ◽  
Vol 160 ◽  
pp. 30-50
Author(s):  
Steven Jacobs ◽  
Hilde D'haeyere
Keyword(s):  
Walter Benjamin ◽  
Frankfurt School ◽  
Everyday Objects ◽  
Siegfried Kracauer ◽  
Art Form ◽  
Mass Entertainment ◽  
The Way

Scrutinizing the writings by Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno and connecting them to specific comedy scenes and tropes, this essay explores the fascination for American slapstick comedies and comedians by the philosophers of the Frankfurt School. Although often critical of mass entertainment, Benjamin, Kracauer, and Adorno admired the way slapstick film elevated motion and speed to an art form that answered to the rhythms and dangers of an industrialized society. For these writers, slapstick's crude and anarchic humor and anthropomorphizing of everyday objects offered a means of resistance against the forces of modernization through ludic encounters.

Internal audit quality: a polysemous notion?

2016 ◽  
Vol 29 (5) ◽  
pp. 714-738 ◽  
Author(s):  
Melanie Roussy ◽  
Marion Brivot
Keyword(s):  
Audit Committee ◽  
Audit Quality ◽  
Meta Analysis ◽  
Internal Audit ◽  
Content Type ◽  
Internal Auditors ◽  
External Auditors ◽  
Extant Literature ◽  
Public Sector Organizations ◽  
Archival Documents

Purpose – The purpose of this paper is to characterize how those who perform (internal auditors), mandate (audit committee (AC) members), use (AC members and external auditors) and normalize (the Institute of Internal Auditors (IIA)) internal audit work, respectively make sense of the notion of “internal audit quality” (IAQ). Design/methodology/approach – This study is predicated on the meta-analysis of extant literature on IAQ, 56 interviews with internal auditors and AC members of public or para-public sector organizations in Canada, and archival documents published by the IIA, analyzed in the light of framing theory. Findings – Four interpretative schemes (or frames) emerge from the analysis, called “manager,” “éminence grise,” “professional” and “watchdog.” They respectively correspond to internal auditors’, AC members’, the IIA’s and external auditors’ viewpoints and suggest radically different perspectives on how IAQ should be defined and controlled (via input, throughput, output or professional controls). Research limitations/implications – Empirically, the authors focus on rare research data. Theoretically, the authors delineate four previously undocumented competing frames of IAQ. Practical implications – Practically, the various governance actors involved in assessing IAQ can learn from the study that they should confront their views to better coordinate their quality control efforts. Originality/value – Highlighting the contrast between these frames is important because, so far, extant literature has predominantly focussed on only one perspective on IAQ, that of external auditors. The authors suggest that IAQ is more polysemous and complex than previously acknowledged, which justifies the qualitative and interpretive approach.

scholarly journals Understanding the Creation of Abstract Concepts beyond the Intangible and Tangible Materials of Land Art

2021 ◽  
Vol 24 (6) ◽  
pp. 685-691
Author(s):  
Jinvo Nam
Keyword(s):  
Significant Role ◽  
Abstract Art ◽  
Land Art ◽  
Original Research ◽  
Abstract Concepts ◽  
The Earth ◽  
Art Form ◽  
Art Based Research ◽  
Objective Understanding ◽  
Selection Of

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s.Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow.Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of ‘take-nothing,’ ‘reflection’ and ‘opportunity.’ Tangible materials reflected the abstract concepts of ‘intervention,’ ‘resistance,’ ‘unliving,’ and ‘change,’ and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis–and with caveats–and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future.Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist’s selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

Scientific progress is like doing a puzzle, not building a wall

2018 ◽  
Vol 41 ◽  
Author(s):  
Alexa M. Tullett ◽  
Simine Vazire
Keyword(s):  
Scientific Progress ◽  
Original Research ◽  
Jigsaw Puzzle ◽  
Replication Research

AbstractWe contest the “building a wall” analogy of scientific progress. We argue that this analogy unfairly privileges original research (which is perceived as laying bricks and, therefore, constructive) over replication research (which is perceived as testing and removing bricks and, therefore, destructive). We propose an alternative analogy for scientific progress: solving a jigsaw puzzle.

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