Nilo Couret
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780520296848
- eISBN:
- 9780520969162
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520296848.001.0001
- Subject:
- Film, Television and Radio, Film
This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin ...
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This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin America in the twentieth century. Comedies have been either relegated to the margins of regional film histories in the shadow of the New Latin American Cinema or articulated to the broader socializing and nationalistic function of earlier commercial traditions. Rather than map Latin American cinema according to radical politics, film directors, or film movements—as do conventional film histories—this comparative project examines the formal and narrative operations of Argentine, Brazilian, and Mexican commercially successful comedies released between the 1920s and the 1950s in order to demonstrate how they functioned as peripheral responses to modernization and prefigured the more explicitly political New Latin American Cinema of the 1960s. Each chapter braids empirical research, close reading, film theory, and Latin American studies to argue that Latin American cinema from the studio period became classical in ways that were phenomenally distinct from but structurally akin to those of Hollywood. To that end, each chapter presents one way that classical Hollywood was constructed within film studies and demonstrates how the ways cinema became classical in Hollywood do not occur identically in Latin America. Using an approach that encompasses both textual analysis as well as a range of practices from the film experience, such as stardom, trade and popular publications, and broadcast media, this book proposes thinking classicism as a discourse that mediates and renders the world, looking at the construction of the aesthetic world as diegetic totality and the circulation of the texts and objects in global circuits of economic exchange.Less
This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin America in the twentieth century. Comedies have been either relegated to the margins of regional film histories in the shadow of the New Latin American Cinema or articulated to the broader socializing and nationalistic function of earlier commercial traditions. Rather than map Latin American cinema according to radical politics, film directors, or film movements—as do conventional film histories—this comparative project examines the formal and narrative operations of Argentine, Brazilian, and Mexican commercially successful comedies released between the 1920s and the 1950s in order to demonstrate how they functioned as peripheral responses to modernization and prefigured the more explicitly political New Latin American Cinema of the 1960s. Each chapter braids empirical research, close reading, film theory, and Latin American studies to argue that Latin American cinema from the studio period became classical in ways that were phenomenally distinct from but structurally akin to those of Hollywood. To that end, each chapter presents one way that classical Hollywood was constructed within film studies and demonstrates how the ways cinema became classical in Hollywood do not occur identically in Latin America. Using an approach that encompasses both textual analysis as well as a range of practices from the film experience, such as stardom, trade and popular publications, and broadcast media, this book proposes thinking classicism as a discourse that mediates and renders the world, looking at the construction of the aesthetic world as diegetic totality and the circulation of the texts and objects in global circuits of economic exchange.
Catherine Gander and Sarah Garland (eds)
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781784991500
- eISBN:
- 9781526115003
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784991500.001.0001
- Subject:
- Art, Art History
Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting ...
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Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms.
Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.Less
Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms.
Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Message to Our Folks is the first book about the Art Ensemble of Chicago, one of the most influential groups in jazz and experimental music. Unlike many texts in jazz studies and improvisation ...
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Message to Our Folks is the first book about the Art Ensemble of Chicago, one of the most influential groups in jazz and experimental music. Unlike many texts in jazz studies and improvisation studies, Message to Our Folks combines musical analysis with historical inquiry. The book offers a detailed history of the Art Ensemble, from its 1966 founding on Chicago’s South Side to its final performances in the 2010s. But the book’s greatest contribution to music theory (and a range of other disciplines) may be its analyses of the Art Ensemble’s performances. Message to Our Folks proposes a new theory of group improvisation that explains how the Art Ensemble members are able to improvise together in many different styles while drawing on an extensive repertoire of notated compositions. The book also examines the intermedia dimensions of the Art Ensemble’s performances, which integrate music with poetry, theater, costumes, and movement. Additionally, Message to Our Folks investigates the connections between the group’s performances and its distinctive model of social relations—practices of cooperation and personal autonomy that the group members adapted from the Association for the Advancement of Creative Musicians (AACM), the Chicago collective from which the Art Ensemble emerged.Less
Message to Our Folks is the first book about the Art Ensemble of Chicago, one of the most influential groups in jazz and experimental music. Unlike many texts in jazz studies and improvisation studies, Message to Our Folks combines musical analysis with historical inquiry. The book offers a detailed history of the Art Ensemble, from its 1966 founding on Chicago’s South Side to its final performances in the 2010s. But the book’s greatest contribution to music theory (and a range of other disciplines) may be its analyses of the Art Ensemble’s performances. Message to Our Folks proposes a new theory of group improvisation that explains how the Art Ensemble members are able to improvise together in many different styles while drawing on an extensive repertoire of notated compositions. The book also examines the intermedia dimensions of the Art Ensemble’s performances, which integrate music with poetry, theater, costumes, and movement. Additionally, Message to Our Folks investigates the connections between the group’s performances and its distinctive model of social relations—practices of cooperation and personal autonomy that the group members adapted from the Association for the Advancement of Creative Musicians (AACM), the Chicago collective from which the Art Ensemble emerged.
Kathryn H. Fuller-Seeley
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780520295049
- eISBN:
- 9780520967946
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520295049.003.0008
- Subject:
- Film, Television and Radio, Radio
Jack Benny was not only radio’s biggest star after the mid-1930s, but he was the most visible celebrity in Hollywood. This chapter examines the many ways that Benny’s radio program, and Benny’s ...
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Jack Benny was not only radio’s biggest star after the mid-1930s, but he was the most visible celebrity in Hollywood. This chapter examines the many ways that Benny’s radio program, and Benny’s performance career, intertwined radio and film, two powerful media industries that were often said to be at war with one another. While media conglomeration today means that performers and story ideas are moved freely across media, there were many impediments to do so in the past. Benny’s radio show was the first to parody popular movies, but he could not mention the radio stars who sold rival products. Benny’s radio-themed films made at Paramount between 1939 and 1941, met with significant box office success and even greater critical disparagement.Less
Jack Benny was not only radio’s biggest star after the mid-1930s, but he was the most visible celebrity in Hollywood. This chapter examines the many ways that Benny’s radio program, and Benny’s performance career, intertwined radio and film, two powerful media industries that were often said to be at war with one another. While media conglomeration today means that performers and story ideas are moved freely across media, there were many impediments to do so in the past. Benny’s radio show was the first to parody popular movies, but he could not mention the radio stars who sold rival products. Benny’s radio-themed films made at Paramount between 1939 and 1941, met with significant box office success and even greater critical disparagement.
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.001.0001
- Subject:
- Music, History, Western, Popular
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available ...
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This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.Less
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.
Andrew V. Uroskie
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780226842981
- eISBN:
- 9780226109022
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226109022.001.0001
- Subject:
- Society and Culture, Media Studies
Treats the contemporary explosion of artist film & video practice obliquely, using the 1960s Expanded Cinema as a historical and conceptual optic through which to reconsider entrenched paradigms of ...
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Treats the contemporary explosion of artist film & video practice obliquely, using the 1960s Expanded Cinema as a historical and conceptual optic through which to reconsider entrenched paradigms of medium- and disciplinary-specificity. Contesting an endemic, medium-specific framework that would reinforce film’s proper place within the cinematic theater, the Expanded Cinema sought to displace the moving image from its established situation within the cinematic theatre so as to initiate a series of disruptive encounters across interdisciplinary institutions of artistic exhibition and spectatorship. While existing scholarship on Expanded Cinema has typically focused on European practices of the 1970s, this study explores its earlier emergence within mid-‘60s New York alongside the rise of Minimalist aesthetics and compositional revolution inaugurated by John Cage. The first chapter establishes the conceptual framework for the investigation, differentiating the idea of Expanded Cinema from the multiscreen cinema with which it was historically conflated. Situating it within a broader, post-Cagean aesthetic of institutional disruption, the Expanded Cinema circa 1966 is conceptualized as a fulcrum for the historical emergence of the moving image in the spaces of postwar art. The following chapters then trace a brief history of the idea as it grew from of the Lettrist deconstruction of the cinematic theater in the early ‘50s (chapter 2) to challenge the institutional spaces of the art gallery (chapter 3) and performance stage (chapter 4), before the incorporation of real-time video feedback begins to occasion a shift torwards the more problematically diffuse institutions of televisual culture (chapter 5).Less
Treats the contemporary explosion of artist film & video practice obliquely, using the 1960s Expanded Cinema as a historical and conceptual optic through which to reconsider entrenched paradigms of medium- and disciplinary-specificity. Contesting an endemic, medium-specific framework that would reinforce film’s proper place within the cinematic theater, the Expanded Cinema sought to displace the moving image from its established situation within the cinematic theatre so as to initiate a series of disruptive encounters across interdisciplinary institutions of artistic exhibition and spectatorship. While existing scholarship on Expanded Cinema has typically focused on European practices of the 1970s, this study explores its earlier emergence within mid-‘60s New York alongside the rise of Minimalist aesthetics and compositional revolution inaugurated by John Cage. The first chapter establishes the conceptual framework for the investigation, differentiating the idea of Expanded Cinema from the multiscreen cinema with which it was historically conflated. Situating it within a broader, post-Cagean aesthetic of institutional disruption, the Expanded Cinema circa 1966 is conceptualized as a fulcrum for the historical emergence of the moving image in the spaces of postwar art. The following chapters then trace a brief history of the idea as it grew from of the Lettrist deconstruction of the cinematic theater in the early ‘50s (chapter 2) to challenge the institutional spaces of the art gallery (chapter 3) and performance stage (chapter 4), before the incorporation of real-time video feedback begins to occasion a shift torwards the more problematically diffuse institutions of televisual culture (chapter 5).
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.003.0001
- Subject:
- Music, History, Western, Popular
This chapter uses the specificities of analogue video to argue that the genre has a double lineage that runs through music and art histories. The theoretical work of Gene Youngblood, André Gaudreault ...
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This chapter uses the specificities of analogue video to argue that the genre has a double lineage that runs through music and art histories. The theoretical work of Gene Youngblood, André Gaudreault and Philippe Marion and Yvonne Spielmann is used to situate early video art-music within the expansive multimedia culture of the 1960s. Contrasting the electromagnetic basis of the medium with the technologies of film and television, the issues of transmission, preservation and deliberation are used to demonstrate how the simultaneity of the video signal enabled image and sound to be produced, projected and manipulated at the same time. Nam June Paik, Steina Vasulka, Robert Cahen, Tony Conrad and Bill Viola provide examples of musically-trained artists who embraced video as an audiovisual agent for transformation. With the experimental nature of these musicians in mind, video art-music is discussed as a form of visual noise-composition able to produce a form of live intermedia.Less
This chapter uses the specificities of analogue video to argue that the genre has a double lineage that runs through music and art histories. The theoretical work of Gene Youngblood, André Gaudreault and Philippe Marion and Yvonne Spielmann is used to situate early video art-music within the expansive multimedia culture of the 1960s. Contrasting the electromagnetic basis of the medium with the technologies of film and television, the issues of transmission, preservation and deliberation are used to demonstrate how the simultaneity of the video signal enabled image and sound to be produced, projected and manipulated at the same time. Nam June Paik, Steina Vasulka, Robert Cahen, Tony Conrad and Bill Viola provide examples of musically-trained artists who embraced video as an audiovisual agent for transformation. With the experimental nature of these musicians in mind, video art-music is discussed as a form of visual noise-composition able to produce a form of live intermedia.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0001
- Subject:
- Music, Ethnomusicology, World Music
The members of the Art Ensemble belonged to the Association for the Advancement of Creative Musicians (AACM), an African American community organization on Chicago’s South Side. Formed in 1965, the ...
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The members of the Art Ensemble belonged to the Association for the Advancement of Creative Musicians (AACM), an African American community organization on Chicago’s South Side. Formed in 1965, the AACM was the most influential artists’ collective in jazz and experimental music, and the Art Ensemble was its flagship band, the first AACM group to tour the world and record for major labels. The Art Ensemble’s model of social relations, adapted from the AACM, made all of these accomplishments possible. Although AACM musicians composed and performed in many different styles, they were bound together by a shared commitment to support one another’s creative explorations. Drawing on the Association’s example, the members of the Art Ensemble established their own social model based on the practices of cooperation and personal autonomy. The Art Ensemble’s revolutionary musical practices were also rooted in the early discoveries of the Association. In the 1960s, AACM members devised new means of integrating improvisation and composition, hybrid modes of music-making not previously envisioned by jazz players or experimentalist composers. The Art Ensemble took AACM-style hybridity to a new level, developing a unique performance practice that combined group improvisation with intermedia and a large repertoire of written compositions.Less
The members of the Art Ensemble belonged to the Association for the Advancement of Creative Musicians (AACM), an African American community organization on Chicago’s South Side. Formed in 1965, the AACM was the most influential artists’ collective in jazz and experimental music, and the Art Ensemble was its flagship band, the first AACM group to tour the world and record for major labels. The Art Ensemble’s model of social relations, adapted from the AACM, made all of these accomplishments possible. Although AACM musicians composed and performed in many different styles, they were bound together by a shared commitment to support one another’s creative explorations. Drawing on the Association’s example, the members of the Art Ensemble established their own social model based on the practices of cooperation and personal autonomy. The Art Ensemble’s revolutionary musical practices were also rooted in the early discoveries of the Association. In the 1960s, AACM members devised new means of integrating improvisation and composition, hybrid modes of music-making not previously envisioned by jazz players or experimentalist composers. The Art Ensemble took AACM-style hybridity to a new level, developing a unique performance practice that combined group improvisation with intermedia and a large repertoire of written compositions.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0003
- Subject:
- Music, Ethnomusicology, World Music
Chapter 2 chronicles the early years of the Association for Creative Musicians (AACM). Malachi Favors, Joseph Jarman, and Roscoe Mitchell joined the Association at its founding in 1965, enlisting in ...
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Chapter 2 chronicles the early years of the Association for Creative Musicians (AACM). Malachi Favors, Joseph Jarman, and Roscoe Mitchell joined the Association at its founding in 1965, enlisting in a nationwide movement of African American organizations working to achieve social change through the arts. By 1966, the preeminent bands in the AACM were Jarman’s quartet and Mitchell’s Art Ensemble, which featured Favors on bass and a new arrival from St. Louis, trumpeter Lester Bowie. The two groups were developing distinct yet compatible approaches to improvisation, composition, intermedia, and instrumentation (multi-instrumentalism, little instruments), and the members of the Art Ensemble started inviting Jarman to collaborate with them. He joined the Art Ensemble in 1969, just as the group was planning a voyage to Paris.Less
Chapter 2 chronicles the early years of the Association for Creative Musicians (AACM). Malachi Favors, Joseph Jarman, and Roscoe Mitchell joined the Association at its founding in 1965, enlisting in a nationwide movement of African American organizations working to achieve social change through the arts. By 1966, the preeminent bands in the AACM were Jarman’s quartet and Mitchell’s Art Ensemble, which featured Favors on bass and a new arrival from St. Louis, trumpeter Lester Bowie. The two groups were developing distinct yet compatible approaches to improvisation, composition, intermedia, and instrumentation (multi-instrumentalism, little instruments), and the members of the Art Ensemble started inviting Jarman to collaborate with them. He joined the Art Ensemble in 1969, just as the group was planning a voyage to Paris.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0005
- Subject:
- Music, Ethnomusicology, World Music
Chapter 4 examines A Jackson in Your House, the first of fifteen albums the Art Ensemble of Chicago recorded in Europe. A Jackson in Your House brilliantly illustrates the band’s innovations in ...
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Chapter 4 examines A Jackson in Your House, the first of fifteen albums the Art Ensemble of Chicago recorded in Europe. A Jackson in Your House brilliantly illustrates the band’s innovations in intermedia performance. On the album’s A-side, the musicians use verbal commentary and dramatic scenarios to address a number of political and cultural issues—notably the reception of black experimental music, including their own. However, on the B-side, they take a different approach, blending music with poetry and theater to create the kinds of vibrant soundscapes that Paris audiences found so compelling.Less
Chapter 4 examines A Jackson in Your House, the first of fifteen albums the Art Ensemble of Chicago recorded in Europe. A Jackson in Your House brilliantly illustrates the band’s innovations in intermedia performance. On the album’s A-side, the musicians use verbal commentary and dramatic scenarios to address a number of political and cultural issues—notably the reception of black experimental music, including their own. However, on the B-side, they take a different approach, blending music with poetry and theater to create the kinds of vibrant soundscapes that Paris audiences found so compelling.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0009
- Subject:
- Music, Ethnomusicology, World Music
Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad ...
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Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad and at home. In the United States, the musicians’ mastery of intermedia allowed them to break into the performing-arts scene, while the success of their ECM albums earned them a prominent place in the jazz community, which was contending with the rise of a powerful traditionalist movement headed by Wynton Marsalis. This movement attracted many opponents, including the members of the Art Ensemble, who resisted traditionalism by proposing an alternative aesthetic, expressed in their evocative slogan “Great Black Music, Ancient to the Future.”Less
Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad and at home. In the United States, the musicians’ mastery of intermedia allowed them to break into the performing-arts scene, while the success of their ECM albums earned them a prominent place in the jazz community, which was contending with the rise of a powerful traditionalist movement headed by Wynton Marsalis. This movement attracted many opponents, including the members of the Art Ensemble, who resisted traditionalism by proposing an alternative aesthetic, expressed in their evocative slogan “Great Black Music, Ancient to the Future.”
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0010
- Subject:
- Music, Ethnomusicology, World Music
Chapter 9 concentrates on Live from the Jazz Showcase, a video recording that captures all the sounds and sights of an Art Ensemble performance. In this concert, the band plays pieces inspired by the ...
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Chapter 9 concentrates on Live from the Jazz Showcase, a video recording that captures all the sounds and sights of an Art Ensemble performance. In this concert, the band plays pieces inspired by the African diaspora, from Nigeria, Mali, and Morocco to New Orleans and New York. As the music unfolds, the group members’ onstage movements turn the performance into an immersive intermedia experience. Live from the Jazz Showcase is a ritual, a community celebration, and a captivating sonic and visual narrative about the meaning of Great Black Music.Less
Chapter 9 concentrates on Live from the Jazz Showcase, a video recording that captures all the sounds and sights of an Art Ensemble performance. In this concert, the band plays pieces inspired by the African diaspora, from Nigeria, Mali, and Morocco to New Orleans and New York. As the music unfolds, the group members’ onstage movements turn the performance into an immersive intermedia experience. Live from the Jazz Showcase is a ritual, a community celebration, and a captivating sonic and visual narrative about the meaning of Great Black Music.
André Gaudreault and Philippe Marion
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231173575
- eISBN:
- 9780231539388
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173575.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter explains how the media universe is like an ecosystem, an ensemble of interconnected “components” interacting in a series of exchanges out of which emerges a new phenomenon. Cinema has ...
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This chapter explains how the media universe is like an ecosystem, an ensemble of interconnected “components” interacting in a series of exchanges out of which emerges a new phenomenon. Cinema has its own place in this fragile homeostasis, commonly known as the media culture of an era. Like any system, the “intermedia” system must manage information and feedback loops. Such feedback is negative if it does not modify the system; but if it radically affects the system and the foundation of its identity, it is seen as positive. The actions of the digital within the media system is seen as generating explosive feedback—as is the case with “audio-scripto-vision” media. The top to bottom digitalization of the new millennium thus fits into what media scholars call an irreversible ratchet; once it has ratcheted high enough, it is impossible to go back. This is the case with digital media, to the point that predigital media now seem like a distant continent.Less
This chapter explains how the media universe is like an ecosystem, an ensemble of interconnected “components” interacting in a series of exchanges out of which emerges a new phenomenon. Cinema has its own place in this fragile homeostasis, commonly known as the media culture of an era. Like any system, the “intermedia” system must manage information and feedback loops. Such feedback is negative if it does not modify the system; but if it radically affects the system and the foundation of its identity, it is seen as positive. The actions of the digital within the media system is seen as generating explosive feedback—as is the case with “audio-scripto-vision” media. The top to bottom digitalization of the new millennium thus fits into what media scholars call an irreversible ratchet; once it has ratcheted high enough, it is impossible to go back. This is the case with digital media, to the point that predigital media now seem like a distant continent.
Peter Barry
- Published in print:
- 2007
- Published Online:
- June 2013
- ISBN:
- 9781846310737
- eISBN:
- 9781846314476
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846314476.020
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter examines changes in the Liverpool context of Liverpool poetry. It considers ‘intermedia poetry’, which refers to poetry that works in tandem with other arts, such as music, art, ...
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This chapter examines changes in the Liverpool context of Liverpool poetry. It considers ‘intermedia poetry’, which refers to poetry that works in tandem with other arts, such as music, art, photography, genre fiction, or film. The analysis covers works such as ‘We Meet at Last’ by Matt Simpson, Deryn Rees-Jones' Quiver, Adrian Henri' Lowlands Away, and the poems of Paul Farley and Sean O'Brien.Less
This chapter examines changes in the Liverpool context of Liverpool poetry. It considers ‘intermedia poetry’, which refers to poetry that works in tandem with other arts, such as music, art, photography, genre fiction, or film. The analysis covers works such as ‘We Meet at Last’ by Matt Simpson, Deryn Rees-Jones' Quiver, Adrian Henri' Lowlands Away, and the poems of Paul Farley and Sean O'Brien.
Chris Thompson
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816653546
- eISBN:
- 9781452946184
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816653546.003.0002
- Subject:
- Art, Art History
This chapter examines the human and spatial dimensions of Fluxus, as embodied in the “interhuman intermedia”—a dense network of interactions and innovations created between individuals living and ...
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This chapter examines the human and spatial dimensions of Fluxus, as embodied in the “interhuman intermedia”—a dense network of interactions and innovations created between individuals living and working together despite racial, political, and religious differences, as well as the various arguments therein and the critiques against Fluxus ideals. The interhuman intermedia is a cohesion of several variegated forces, all coming together into a harmonious whole. And as a movement, Fluxusis an advocate of peace and harmony, as seen in its appropriation of Buddhist ideals (i.e. the “awakeness to the precariousness of the other”) and practices, its sense of internationalism that expands on localized humanism, and even in its lighthearted delivery of political ideals and “unthought.” Proponents of Fluxus, in the end, seek that ever-elusive “art of peace”.Less
This chapter examines the human and spatial dimensions of Fluxus, as embodied in the “interhuman intermedia”—a dense network of interactions and innovations created between individuals living and working together despite racial, political, and religious differences, as well as the various arguments therein and the critiques against Fluxus ideals. The interhuman intermedia is a cohesion of several variegated forces, all coming together into a harmonious whole. And as a movement, Fluxusis an advocate of peace and harmony, as seen in its appropriation of Buddhist ideals (i.e. the “awakeness to the precariousness of the other”) and practices, its sense of internationalism that expands on localized humanism, and even in its lighthearted delivery of political ideals and “unthought.” Proponents of Fluxus, in the end, seek that ever-elusive “art of peace”.
Richard H. Brown
- Published in print:
- 2019
- Published Online:
- January 2019
- ISBN:
- 9780190628079
- eISBN:
- 9780190628116
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190628079.003.0005
- Subject:
- Music, History, American
This chapter converges on the sound-in-film/sound-on-film dichotomy, when Cage revised his aesthetic stance on multimedia sound-system assemblages in the 1960s. Framed around a conference panel in ...
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This chapter converges on the sound-in-film/sound-on-film dichotomy, when Cage revised his aesthetic stance on multimedia sound-system assemblages in the 1960s. Framed around a conference panel in 1967 at the University of Cincinnati, Cinema Now, in which Cage discussed the current state of Underground Cinema in the United States, this chapter outlines Cage’s interaction with the “two Stans,” Stan Brakhage and Stan VanDerBeek, culminating in a detailed critique of Cage’s 1965 immersive interactive multimedia work, Variations V. The chapter begins with a detailed reading of the fundamental tenets of Cage’s negative aesthetic set forth in his seminal publication, Silence (1961), exploring its implications for multimedia and intermedia theories in the 1960s. Two competing poles of interpretation of Cage’s theories surrounding chance and indeterminacy emerged from the first post-Cage generation. The first sought out a reduction of the artwork to its base materials in an act of contraction, whereas the second reached for the opposite, a total expansion of individual medium-specific artworks in a monumental Gesamtkunstwerk, epitomized by Stan VanDerBeek’s theories of expanded cinema and intermedia.Less
This chapter converges on the sound-in-film/sound-on-film dichotomy, when Cage revised his aesthetic stance on multimedia sound-system assemblages in the 1960s. Framed around a conference panel in 1967 at the University of Cincinnati, Cinema Now, in which Cage discussed the current state of Underground Cinema in the United States, this chapter outlines Cage’s interaction with the “two Stans,” Stan Brakhage and Stan VanDerBeek, culminating in a detailed critique of Cage’s 1965 immersive interactive multimedia work, Variations V. The chapter begins with a detailed reading of the fundamental tenets of Cage’s negative aesthetic set forth in his seminal publication, Silence (1961), exploring its implications for multimedia and intermedia theories in the 1960s. Two competing poles of interpretation of Cage’s theories surrounding chance and indeterminacy emerged from the first post-Cage generation. The first sought out a reduction of the artwork to its base materials in an act of contraction, whereas the second reached for the opposite, a total expansion of individual medium-specific artworks in a monumental Gesamtkunstwerk, epitomized by Stan VanDerBeek’s theories of expanded cinema and intermedia.
Paul Hegarty
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780190469894
- eISBN:
- 9780190469931
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190469894.003.0008
- Subject:
- Music, History, Western
Chantal Akerman’s work of the 1970s is a sustained dissection of the connections and separations between sound and visual tracks within film. Indexicality comes under intense pressure, but is never ...
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Chantal Akerman’s work of the 1970s is a sustained dissection of the connections and separations between sound and visual tracks within film. Indexicality comes under intense pressure, but is never dismissed, and the question of diegetic sound is permanently in play, as Akerman undermines easy distinctions between what is inside or beyond the accepted conventions of a film’s visual borders. This chapter argues that sound becomes a mode of structuring events and their perception, allowing a rigorous formalism to suggest not only meaning but also its fractalisation. Hearing underneath the visual and political strategies of Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and News from Home (1976) via Saute ma ville (1968), Je tu il elle (1974) and Les rendez-vous d’Anna (1978), we can sense a pulsing of meaning that expands the film event into intermediality.Less
Chantal Akerman’s work of the 1970s is a sustained dissection of the connections and separations between sound and visual tracks within film. Indexicality comes under intense pressure, but is never dismissed, and the question of diegetic sound is permanently in play, as Akerman undermines easy distinctions between what is inside or beyond the accepted conventions of a film’s visual borders. This chapter argues that sound becomes a mode of structuring events and their perception, allowing a rigorous formalism to suggest not only meaning but also its fractalisation. Hearing underneath the visual and political strategies of Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and News from Home (1976) via Saute ma ville (1968), Je tu il elle (1974) and Les rendez-vous d’Anna (1978), we can sense a pulsing of meaning that expands the film event into intermediality.
Peter Krapp
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816676248
- eISBN:
- 9781452947792
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816676248.003.0001
- Subject:
- Society and Culture, Media Studies
This chapter explores hypertext as a popular form of computer-mediated communication that has raised perhaps the highest expectations for a transformation of culture. It considers how the widespread ...
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This chapter explores hypertext as a popular form of computer-mediated communication that has raised perhaps the highest expectations for a transformation of culture. It considers how the widespread aestheticization of digital forms of expression, which distinguishes between hypermedia and intermedia, separates fiction from interactive art, etc., fails to account for the fundamental question raised by hypertext: how to explain the anachronism of claiming precursors and forefathers while presenting a radical departure. It argues that plurivocal hypertext may have seemed like a radical shift but in fact grew out of the historical logic of the archive and the database. It also examines the convergence hypothesis and some of its proponents, including George Landow, and their claim that Roland Barthes anticipated hypertext. Finally, it looks at a number of twentieth-century thinkers who relied extensively on index cards, such as media theorist Harold Innis.Less
This chapter explores hypertext as a popular form of computer-mediated communication that has raised perhaps the highest expectations for a transformation of culture. It considers how the widespread aestheticization of digital forms of expression, which distinguishes between hypermedia and intermedia, separates fiction from interactive art, etc., fails to account for the fundamental question raised by hypertext: how to explain the anachronism of claiming precursors and forefathers while presenting a radical departure. It argues that plurivocal hypertext may have seemed like a radical shift but in fact grew out of the historical logic of the archive and the database. It also examines the convergence hypothesis and some of its proponents, including George Landow, and their claim that Roland Barthes anticipated hypertext. Finally, it looks at a number of twentieth-century thinkers who relied extensively on index cards, such as media theorist Harold Innis.
Rens Vliegenthart and Stefaan Walgrave
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780198835332
- eISBN:
- 9780191872945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198835332.003.0028
- Subject:
- Political Science, Comparative Politics
This chapter discusses what role the media agenda has played in (comparative) agenda research. Studies into the characteristics of the media agenda demonstrate that, compared to other agendas, the ...
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This chapter discusses what role the media agenda has played in (comparative) agenda research. Studies into the characteristics of the media agenda demonstrate that, compared to other agendas, the media agenda is characterized by high levels of responsiveness and volatility and that various outlets that jointly constitute the agenda strongly influence each other. In recent years, a vast amount of research has considered the impact of the media agenda on the parliamentary agenda (political agenda-setting) and how the size of this impact depends on a wide variety of contingent factors. Our empirical example uncovers considerable overlap in media agendas across various Western European countries, reflecting the importance of the international context in the construction of news.Less
This chapter discusses what role the media agenda has played in (comparative) agenda research. Studies into the characteristics of the media agenda demonstrate that, compared to other agendas, the media agenda is characterized by high levels of responsiveness and volatility and that various outlets that jointly constitute the agenda strongly influence each other. In recent years, a vast amount of research has considered the impact of the media agenda on the parliamentary agenda (political agenda-setting) and how the size of this impact depends on a wide variety of contingent factors. Our empirical example uncovers considerable overlap in media agendas across various Western European countries, reflecting the importance of the international context in the construction of news.
Øyvind Eide
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780199664139
- eISBN:
- 9780191809743
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199664139.003.0013
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter explores differences between maps and verbal texts which have consequences not only for how things are said, but also for what can be said in each of the two media. It expands on the ...
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This chapter explores differences between maps and verbal texts which have consequences not only for how things are said, but also for what can be said in each of the two media. It expands on the claim that Herodotus’ contribution can serve as a critique of cartographic reason, linking up with a discussion of the consequences of the ongoing spatial turn in the humanities. Mapping is compared to modelling in digital humanities and is seen as a process of coming to know stable maps and models. The chapter also shows how the studies of the sister arts of poetry and painting, the Ut pictura poesis tradition leading up to intermedia studies, are relevant for the relationship between narrative texts and geographical maps in general. This diachronic approach can help us better understand the problems of representing space, in antiquity as well as today.Less
This chapter explores differences between maps and verbal texts which have consequences not only for how things are said, but also for what can be said in each of the two media. It expands on the claim that Herodotus’ contribution can serve as a critique of cartographic reason, linking up with a discussion of the consequences of the ongoing spatial turn in the humanities. Mapping is compared to modelling in digital humanities and is seen as a process of coming to know stable maps and models. The chapter also shows how the studies of the sister arts of poetry and painting, the Ut pictura poesis tradition leading up to intermedia studies, are relevant for the relationship between narrative texts and geographical maps in general. This diachronic approach can help us better understand the problems of representing space, in antiquity as well as today.
