In the text Symphony for 20 Rooms, Paik emphasized the sexual dimension of his interest in stasis, and its relation to the reality of Cage. For a more detailed discussion of the ethical dimension in Cage, see Gerald L. I can’t do my german homework. Business plan for tipper trucks. Now it appears only in terms of a sublime fascination for the infinite continuities of the reality-surface. When, or what, is the proper time of a work of art? The aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French theatre between and , dealing with three texts:
Born into a strict and highly devout Catholic family, Hugo Rudolf Ball was a sensitive child, who grew up fearing the severity of his mother’s faith. Heart failure dissertation ideas. Its crucial role can be demonstrated by the fact that the Event even became something of a trademark for Fluxus, the closest the movement ever came to anything resembling a “stylistic” coherence. The precise mathematical formulas which allows an unprecedented “measuring” of sound, have direct psycho-acoustic implications which can be experienced by anyone, and usually provides his sonic environment with their strongly dreamlike and affective quality. For a more detailed discussion of the ethical dimension in Cage, see Gerald L. Literature review for project sample.
Boredom and the Event 40 Chapter 3: And this fact points to how the repetition-structure of the plural event sets up a strange and “difficult” interplay between hermeneutics and ontology. This determination of the art historical object of study is, however, paradoxical: Views Read Edit History. If, as we have seen, the repetition or the temporal diffusion in the collective mode of reception essentially confounds the distinction between production and reception, the temporality of this touch may itself be questioned — or rather, opened to repetition.
Now, the filling material had been shed, and the structuring impulse — the enjoyable rhythmic pulsation – had become the core and the content of the work itself.
Higgins discussion is interesting because it frames indeterminacy in terms of structure, while linking the new intentionality to the force of an appeal or a command. A small number of explicitly “cartographic” works makes this point about contiguity in a way that also dramatizes the missed encounters with the mute and enigmatic real itself.
Now we can see the consistency of reality as a fantasy that serves to mask disssertation lack that is at the heart of the reality-system itself. Chapter Three takes up the theme of Hausmann’s materiality in order to explore the way in which it produces the event. In this sense, all of these pieces were but the preliminaries to La Monte Young’s ambitious conception of a Dream House of infinite sonic continuity. Now the image suggests a process of winding and unwinding, of complicated folding, of recording, playback and deletion.
What I have tried to pay attention to is the fact that this articulation actually involves procedures of reversal and distancing in which the particular questions or ideals identified with an avantgarde tradition are delivered to a radical indifference — an indifference in which the question of futurity is opened up or made indeterminate.
Foster adds the notion of criticality to the concept of working through in order to single out returns that aspire to a critical consciousness of both artistic conventions and historical conditions from those that are mere formalizations of the superficial traits of avantgardist principles of construction.
At one point, this wider framework is made explicit, even if Benjamin takes precautions with respect to differences of the fields in question. This type of chance-based work was discontinued, never to be taken up again. Around works by many of these artists were assembled by La Monte Young for a special issue of Beatitude East. Business plan empty template. At this point, Cage’s reality no longer appears in terms of his own insistently non-affective view on the infinite play of the world’s heterogeneous objects.
Hugo Ball — was a German author, poet and one of the leading Dada protagonists.
L’absurde dans le théâtre Dada et présurréaliste français – Mgr. Mariana Kunešová, Ph.D.
This attempt to give actuality to the artwork’s purported singularity is in other words tantamount to searching out the irruption wur the event at the place or the placing of its suppression. Computer course online free. I want to invoke this work because it seems to me that it calls out sr the particular and quite diverse constellation of practices that converge in the early years of the Fluxus movement. Again, the paradoxical notion of the cut-off touch of the technological sphere presents the image of a relation which takes the form of a non-relation: There, in Februaryafter stints with theatrical companies and vaudeville troupes, they opened the Cabaret Voltaire.
Many accounts of this historical repetition are guided by the concept of comparison: But the contemporary position from which dadaisje unfolding is traced is necessarily bound up in the mechanism of repetition one tries to understand only that by which one is indelibly marked.
Dissertation sur le dadaisme
Reprinted in Hendricks, ed. In mid Ball and Emmy Hennings, a cabaret singer whom he had met in Munich and whom he would marry inleft Berlin for neutral Zurich. Approached as a real physical being, sound itself stages a disappearance act in Young’s theatre of the singular event — a disappearance act that takes place because its physical reality is La Monte Youngs role as a impresario, publicist and scenemaker in general was crucial for the formation of what was later to become the Fluxus group.
This evocation of the determinacy of cause is the main impact of his thing-like, repetitive or eternally sustained sounds. The art of the so-called “historical avant-garde”, with its various expressions of interest in the singularity of the chance occurrence, and its emphasis on future becoming rather than the past of origins, could be seen not to negate but, rather, to return to the question of this posited yet suppressed singularity.
The autonomy of the institution is in other words never absolute — the institution still carries contents of a political nature which contradicts the autonomy principle. I am doing my homework. He advocated the intentional destruction and clearing away of the rationalized language of modernity that for him represented all that had led to the “agony and death throes of this age.
He is just a very old man and he gets easily confused. Since a poem cannot be represented — i.