The essays of the volume range between different art forms (literature, film, music, visual art, performance) and bridge the same contested cultural divides – high and low, ideology and form, art and everyday life – that were once challenged by the avant-garde. Ranging in topics from the Beach Boys to Herbert Eimert, from Scandinavian forests to Warhol’s Factory, the perspectives established and the operations performed in Media and Materiality in the Neo-Avant-Garde thus traverse a network of art and technology that has been crucial for more than half a century, and still is today.
Åke Törnkvist: Strange crossing 133
132 torben sangIld literature: Anders, Günther, Die Antiquirtheit des Menschen, Vol. 1, München,1956. Barthes, Roland, Mythologies, Paris: Editions du Seuil, 1957. Borio, Gianmario, “New Technology, New Techniques: The Aesthetics of Electronic Music in the 1950’s”, Interface, 22 (1993), 77–87. Decroupet, Pascal and Ungeheuer, Elena, “Through the Sensory Looking-Glass: The Aes- thetic and Serial Foundations of Gesang der Jünglinge”, in T. Licata (ed.), Electro- acoustic Music – Analytical Perspectives, Westport: Greenwood Press, 2002, 1–39. Eimert, Herbert, “Notizen zum Epitaph und den sechs Studien (record booklet notes)”, Baden-Baden: Wergo, 1962. Emmerson, Simon and Smalley, Dennis, “Electroacoustic Music, 3. Acousmatic Mu- sic”, www.grovemusic.com. Lapp, Ralph E., The Voyage of the Lucky Dragon, New York: Harper & Brothers, 1957–8. Meyer-Eppler, Werner, Elektrische Klangerzeugungen – Elektronische Musik und syn- tetische Sprache, Bonn: F. Dümmler, 1949. Sangild, Torben, Objektiv sensibilitet, Copenhagen: Multivers, 2010. – “Elektronisk avantgarde – Stockhausens Gesang der Jünglinge”, in T. Ørum, C. Engberg, and M. Huang (eds.), En tradition af opbrud, Copenhagen: Spring, 2005, 192–203. Sutherland, Roger, New Perspectives in Music, London: Sun Tavern Fields, 1994. 133 the pornoGraphy of art “I’m afraid we get a great deal of our exposure to art through magazines and through slides, and I think this is dreadful, this is anti-art because art is a direct experience with something in the world and photography is just a rumor, a kind of pornography of art.” (Carl Andre 1968)1 “… Dr Nathan studied the elegant and mysterious advertisements which had appeared that afternoon in...
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