Alex Kitnick
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780226753317
- eISBN:
- 9780226753591
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226753591.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The ...
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This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The chapter also draws analogies between McLuhan's writing and work and the phenomenon of the "happening" in the case of artists including Andy Warhol and Allan Kaprow, and other multimedia spectacles. Other artists discussed include Claes Oldenburg and his own implementation of the "massage" concept.Less
This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The chapter also draws analogies between McLuhan's writing and work and the phenomenon of the "happening" in the case of artists including Andy Warhol and Allan Kaprow, and other multimedia spectacles. Other artists discussed include Claes Oldenburg and his own implementation of the "massage" concept.
Stephen Zepke
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748635030
- eISBN:
- 9780748652587
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635030.003.0006
- Subject:
- Philosophy, General
This chapter examines the relevance of the thoughts of Gilles Deleuze to the works of Allan Kaprow and Adrian Piper. It argues that Kaprow had made a shift akin to Deleuze's move from expressionism ...
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This chapter examines the relevance of the thoughts of Gilles Deleuze to the works of Allan Kaprow and Adrian Piper. It argues that Kaprow had made a shift akin to Deleuze's move from expressionism to constructivism and addresses the politics of Kaprow's practice in relation to Deleuze's concept of counter-actualisation. It describes the alternative of Piper's practice as one that creates performance events capable of catalysing new social territories in and as life.Less
This chapter examines the relevance of the thoughts of Gilles Deleuze to the works of Allan Kaprow and Adrian Piper. It argues that Kaprow had made a shift akin to Deleuze's move from expressionism to constructivism and addresses the politics of Kaprow's practice in relation to Deleuze's concept of counter-actualisation. It describes the alternative of Piper's practice as one that creates performance events capable of catalysing new social territories in and as life.
Gordon Mumma, Allan Kaprow, James Tenney, Christian Wolff, Alvin Curran, and Maryanne Amacher
- Published in print:
- 2001
- Published Online:
- March 2013
- ISBN:
- 9780226044071
- eISBN:
- 9780226044873
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226044873.003.0009
- Subject:
- Music, Philosophy of Music
This chapter explains the impact of Cage's work on five of his former colleagues in terms of their own work and as well as that of others. An account of Cage's classes in experimental music at the ...
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This chapter explains the impact of Cage's work on five of his former colleagues in terms of their own work and as well as that of others. An account of Cage's classes in experimental music at the New School for Social Research in 1950 is given by Allan Kaprow. Cage's historical role is assessed by James Tenney, who claims that by eliminating personal expression from music Cage brought to an end a period in music history that started with the beginnings of opera in the early seventeenth century. Christian Wolff writes that Cage's groundbreaking discoveries helped others pursue their individual and independent creative paths. Maryanne Amacher hopes to remain open to changes of the same magnitude of those that have occurred in future. Lastly, Alvin Curran, discusses his own work with the improvisatory performing group Musica Elettronica Viva, telling us that although Cage disliked improvisation, he was an important source of inspiration for this group.Less
This chapter explains the impact of Cage's work on five of his former colleagues in terms of their own work and as well as that of others. An account of Cage's classes in experimental music at the New School for Social Research in 1950 is given by Allan Kaprow. Cage's historical role is assessed by James Tenney, who claims that by eliminating personal expression from music Cage brought to an end a period in music history that started with the beginnings of opera in the early seventeenth century. Christian Wolff writes that Cage's groundbreaking discoveries helped others pursue their individual and independent creative paths. Maryanne Amacher hopes to remain open to changes of the same magnitude of those that have occurred in future. Lastly, Alvin Curran, discusses his own work with the improvisatory performing group Musica Elettronica Viva, telling us that although Cage disliked improvisation, he was an important source of inspiration for this group.
Megan Dickerson
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781447330035
- eISBN:
- 9781447330080
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447330035.003.0006
- Subject:
- Sociology, Methodology and Statistics
The New Children’s Museum is a museum in which each ‘exhibit’ is a conceptual work of art by a contemporary artist, commissioned by the museum as a springboard for playful experiences. Neither a ...
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The New Children’s Museum is a museum in which each ‘exhibit’ is a conceptual work of art by a contemporary artist, commissioned by the museum as a springboard for playful experiences. Neither a children’s museum, where the focus is on learning through play, nor a standard contemporary art museum, The New Children’s Museum is a hybrid space that calls for new ways of doing research, requiring tools that can go beyond positivist and ethnographic approaches. This review assembles examples of alternative research methodologies, drawn from diverse practices such as performance studies and performance art, that may contribute to mapping the complexities presented by a children’s museum that also actively engages in the production of contemporary art. It includes some experiments with a/r/tography, and in conclusion offers a method assemblage that might be termed ‘ludo-artographic’.Less
The New Children’s Museum is a museum in which each ‘exhibit’ is a conceptual work of art by a contemporary artist, commissioned by the museum as a springboard for playful experiences. Neither a children’s museum, where the focus is on learning through play, nor a standard contemporary art museum, The New Children’s Museum is a hybrid space that calls for new ways of doing research, requiring tools that can go beyond positivist and ethnographic approaches. This review assembles examples of alternative research methodologies, drawn from diverse practices such as performance studies and performance art, that may contribute to mapping the complexities presented by a children’s museum that also actively engages in the production of contemporary art. It includes some experiments with a/r/tography, and in conclusion offers a method assemblage that might be termed ‘ludo-artographic’.
Eva J. Friedberg
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677252
- eISBN:
- 9781452947440
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677252.003.0002
- Subject:
- Art, Art History
In 1966, husband and wife collaborators Anna and Lawrence Halprin created two workshops that took place in the summers of 1966 and 1968 that combined dance, sensory exploration, design, architecture, ...
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In 1966, husband and wife collaborators Anna and Lawrence Halprin created two workshops that took place in the summers of 1966 and 1968 that combined dance, sensory exploration, design, architecture, and theories of creativity. This chapter focuses on these workshops, which were important contributions to the counterculture of the 1960s and its distinctive approach to the blurring of art and life called for by artist Allan Kaprow. It shows that both of the Halprins were interested in pushing the boundaries of their own artistic practices, and their experiments in this regard represent a distinctive, particularly literal carrying out of Kaprow’s theorization of art into life that characterized many countercultural projects designed to transform the individual and subsequently society at large.Less
In 1966, husband and wife collaborators Anna and Lawrence Halprin created two workshops that took place in the summers of 1966 and 1968 that combined dance, sensory exploration, design, architecture, and theories of creativity. This chapter focuses on these workshops, which were important contributions to the counterculture of the 1960s and its distinctive approach to the blurring of art and life called for by artist Allan Kaprow. It shows that both of the Halprins were interested in pushing the boundaries of their own artistic practices, and their experiments in this regard represent a distinctive, particularly literal carrying out of Kaprow’s theorization of art into life that characterized many countercultural projects designed to transform the individual and subsequently society at large.
