Experience the Experimental

Contracultura ◽  
2016 ◽  
Author(s):  
Christopher Dunn
Keyword(s):  
Popular Music ◽  
Active Participation ◽  
The Other ◽  
Experimental Writing ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
Mass Audience ◽  
Other Hand

Chapter 2 explores the connections between the artistic avantgarde and the counterculture. A small, but influential group of artists sometimes identified as “marginal” or “underground” coalesced in the aftermath of Tropicália. Cultura marginal may be located at the intersection of two cultural phenomenon: On one hand it had deep affinities with the emergent counterculture. On the other hand, cultura marginal was indebted to the mid-century constructivist avant-garde, especially neo-concretism. The author discusses the work of experimental artist, Hélio Oiticica and Lygia Clark, who developed a series of environmental and performative works that demanded the active participation of spectators to create meaning. The author explores Oiticica’s dialogue with experimental writer and songwriter, Waly Salomão, whose work circulated within the rarified field of experimental writing, while also finding a mass audience through popular music, notably in the performances of Gal Costa. The author devotes a section to the journalist and artist Torquato Neto, who promoted cultura marginal and also performed in “Nosferato no Brasil,” a celebrated example of Super 8 film. Finally, the author analyzes the publication Navilouca, a graphic and textual project that brought together key figures of cultura marginal and the avantgarde.

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

Notation and identity in contemporary popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 215-234 ◽  
Author(s):  
H. Stith Bennett
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Classical Music ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
Long Term Changes ◽  
Western European ◽  
Rock N Roll

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

scholarly journals Quand la chair de l’interprète européenne hante la chaire des hérauts européanistes…

2011 ◽  
Vol 1 (3) ◽  
pp. 71
Author(s):  
Chris Reyns-Chikuma
Keyword(s):  
Real Life ◽  
The Other ◽  
Minor Role ◽  
European Policy ◽  
The Real ◽  
Avant Garde ◽  
Other Hand ◽  
National Boundaries ◽  
The One ◽  
A Minor

On the one hand, there is a great number of « national » fictions. To various degrees (patriotic, nationalistic) and consciously or not, these fictions participate in the construction of a nation. On the other hand, there are also a lot of fictions that we can characterize as cosmopolitan or postnational and which are situated outside any clear national boundaries. On the contrary, one can count very few fictions on the construction of a European supranationality. To my knowledge, Constellation by Alain Lacroix (2008) is the only one in French and that is the one I am going to write about in this essay. My goal here is threefold. It is first to show that although the interpreter seems to play a minor role (according to the number of pages) and although she is apparently considered an insignificant quantity by both male protagonists, as her regular and obsessive return in the text proves it she is actually important since she haunts the characters sexually and ideologically. I will also show that this haunting spreads through the whole novel through the issue of the interpretation of signs. The second goal is to show that the interpreter, who is explicitly presented as an impersonation of Europe, actually incarnates the ambivalence of any « europeanist » project. She is indeed a bridge not only between two languages & cultures but also between both faces of any European policy. The first one, concrete, tries to incorporate the real life of the Europeans, their daily concerns which themselves are often inscribed within their « national habitus», and the other one to exceed it within a transnational project which is often perceived as too abstract. Finally, I will conclude showing how Constellation “foreignizes” (Venuti, 2008, 6) its translation of the European realities, not by its choices but by the choice of avant-garde esthetic techniques.

scholarly journals Lucas Galon’s Concerto for Violin, Percussion and Strings (2018)

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Ricardo Alex Palmezano
Keyword(s):  
Popular Music ◽  
Contemporary Music ◽  
Compositional Style ◽  
The Self ◽  
The Other ◽  
Specific Method ◽  
Twelve Tone ◽  
Violin Concerto ◽  
Second Viennese School ◽  
Other Hand

In this paper, I investigate how the composer searches for his own voice in his violin concerto while using a blend of influences such as Bartok, twelve-tone and Brazilian popular music. Galon argues that composers such as Bartok, Stravinsky and Villa-Lobos followed an independent, more varied compositional style without subscribing to any specific method.[1]On the other hand, the self-proclaimed mainstream of the Second Viennese School established a very structured, particular way of writing music. The composer seems to put into question the mechanization of composition of the dodecaphonic method, but validates its use as a way of refraining his creative impulse.[2]While Bartok’s Violin Concerto No. 2provides a framework for his piece; the tools he uses to manipulate the musical material are drawn from a free use of serialism and Brazilian contemporary music philosophy and aesthetic.    

scholarly journals „Self-tracking” jako zjawisko kulturowe wspierające procesy samopoznania

2021 ◽  
Vol 26 ◽  
pp. 355-368
Author(s):  
Danuta Smołucha
Keyword(s):  
Internet Of Things ◽  
Social Factors ◽  
The Other ◽  
The Internet ◽  
Cultural Contexts ◽  
Cultural Phenomenon ◽  
Other Hand ◽  
Full Picture ◽  
The Internet Of Things

The article analyses the popularity of self-tracking as one cultural phenomenon. The practice of tracking one’s activity and controlling life parameters is not new, but nowadays it has been popularised and entered into a group of new, cultural trends. This process is strongly related to the development of technology, the Internet of Things and mobile solutions. On the other hand, to outline the full picture of the phenomenon of self-tracking, it should be considered in different cultural contexts, taking into account social factors and current fashions and trends.

Luminous Stuff: The Resurrection of the Flesh in Vaughan’s Religious Verse

2021 ◽  
pp. 101-123
Author(s):  
Daniel Juan Gil
Keyword(s):  
Natural World ◽  
The Body ◽  
The Other ◽  
Historical Time ◽  
Avant Garde ◽  
Other Hand ◽  
Religious Verse ◽  
Henry Vaughan ◽  
The One

Henry Vaughan asserts an understanding of resurrection as essentially and fundamentally about the body, and he understands resurrection to be “immanent” in the sense that signs of resurrection can already now be seen breaking into the here and now. Vaughan’s goal in his poetry is to uncover “Traces, and sounds of a strange kind,” as he puts it in “Vanity of Spirit.” Vaughan’s searching analysis of himself splits his bodily life into two: on the one hand, a socialized and historicized life and, on the other hand, a life that, in its material strangeness, is alien to his time and place and therefore the substrate of resurrection. At the same time, Vaughan is also interested in investigating the material stuff of the natural world separate from the uses and meanings that human languages impose upon it. By mystical attention to material stuff, including feathers, rocks, rainbows, and trees, Vaughan believes he can discover a perspective that transcends historical time. In that sense, Vaughan anticipates the Romantic poets. His formal experimentation is designed to make his poetry a tool to investigate the material strangeness of the person. As such, he develops a distinctively avant-garde poetics as theorized by Peter Bürger.

scholarly journals La influencia y actuación de los padres en el fútbol cadete

2019 ◽  
Vol 8 (1) ◽  
pp. 51-56 ◽  
Author(s):  
D. Pulido Salas ◽  
P. A. Borrás Rotger ◽  
F. J. Ponseti Verdaguer
Keyword(s):  
Parental Involvement ◽  
Pressure Support ◽  
Active Participation ◽  
Balearic Islands ◽  
The Other ◽  
Parent Child Relationship ◽  
Other Hand ◽  
Child Relationship ◽  
Parent Child

En esta investigación se analiza la influencia y la actuación de los padres de futbolistas pertenecientes a la categoría cadete 2ª regional de las Islas Baleares. El estudio se centra en los comportamientos de gestión, presión, apoyo, comprensión y la participación activa de los padres en las actividades deportivas de sus hijos. Los participantes fueron 102 progenitores (63 padres y 39 madres), quienes participaron voluntariamente en el estudio rellenando el cuestionario Análisis del Comportamiento y Actuación de Padres y Madres en el Deporte (ACAPMD) durante la temporada 2016-2017. Además, un total de 176 jugadores completaron el cuestionario Parental Involvement Sports Questionnaire (PISQ). Los resultados muestran que no hay diferencias significativas entre los datos obtenidos por padres y madres. También, señalan que los padres muestran niveles elevados de implicación con el deporte de sus hijos y se muestran interesados en mantener una buena relación paterno-filial. En cambio, no se posicionan a favor de las intervenciones de los padres desde la grada en los partidos de sus hijos. In this investigation is analysed the influence and the conduct carried out by footballers’ parents who belong to 2nd category of U15’s league in the Balearic Islands. This study is focused on management behaviours, pressure, support, comprehension and parents’ active participation. The participants were 102 parents (63 fathers and 39 mothers) who participated voluntarily with the study during the 2016-2017 season filling up the questionnaire Análisis del Comportamiento y Actuación de Padres y Madres en el Deporte (ACAPMD). Furthermore, 176 young footballers filled up the questionnaire Parental Involvement Sports Questionnaire (PISQ). The results show that, firstly, doesn’t exist significant differences between obtained data by fathers and mothers. Results also point that parents have high implication levels about their children’s sport. Furthermore, parents are interested into keep a nice parent-child relationship and they value positively their sons’ sportive schools. On the other hand, parents don’t agree with spectators’ interventions from the grandstands in their children’s matches.

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