Download E-books Dictionary of the Avant-Gardes PDF

By Richard Kostelanetz

This interdisciplinary advisor covers the main influential avant garde paintings routine of the prior a hundred and fifty years, starting from futurism to free-jazz. it's been up-to-date and revised to incorporate higher assurance of girls artists, and the web and different rising applied sciences.

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HEARTFIELD, John (1891-1968; b. Helmut Herzfelde). The son of a socialist poet, he angli­ cized his names as a protest opposed to his pressured army provider in international struggle I. A founding member of Berlin Dada (<-), Heartfield differed from his colleagues through truly becoming a member of the Com­ munist get together. An early adventurer in Photomon­ tage (*), he really good in cut-ups that ridiculed Fascist politicians. those have been released as automobile­ toons, posters, e-book covers, and illustrations— at any place he may well, in his aspiration to be a well-liked political artist. Heartfield's most famed picture is A dolf Der Ubermench: Schluckt Gold und redet Blech (1932), depicting Hitler swal­ lowing huge cash and spewing junk. as soon as Hit­ ler took energy, Heartfield fled to Prague after which to London (while his brother, Wieland Herzfelde, a fashionable writer, escaped to New York). After settling in East Germany in 1950, Heartfield got all of the advantages and privileges a Communist country may provide. Heartfield. John. Photomontages of the Nazi interval. new york: Universe, 1977. Siepmann, Eckhard. Montage: John Heartfield. Berlin, Germany: Elefanten. 1977. HECKERT, Matt (1957). one of many merits provided via amplification is making track loud, not just to unfold its sound but additionally, through l. a. Monte younger (*) between others, to bare over­ tones that will no longer be on hand at reduce vol­ umes. The relevant innovation of Matt Heckerfs self-constructed unamplified tools is a loudness formerly unknown. In his Mechani­ cal Sound Orchestra are “Oscillating earrings” that generate rhythmic whirring sounds whose pitch varies with pace, “Resonators” made of disemboweled water warmers whose membranes thunder whilst tickled at their such a lot resonant frequencies, and the “Boxer,” an inverted wok that bounces round a metal desk. Scarcely a technophobe, Heckert “conducts” his instru­ ments via a working laptop or computer that sends instructions to the electrical cars that strength his band. This evidently epitomizes what Luigi Russolo (*■) had in brain for The artwork of Noise yet didn't understand how to do. Heckert needs to be noticeable to be heard; no recording can trap the bodily overwhelming presence of his “natural” sound. Dery, Mark. “The artwork of Crash, Hum. and Hiss. ” ny occasions (15 March 1992). HEIDSIECK, Bernard (1928). A pioneering sound poet, whose spoken paintings has a propulsive sound immediately identifiable as his, Heidsieck has because the early Fifties pursued a unique course, dedicated to French language and French background, often with identifiable matters, generating many tapes HEISSENBÜTTEL > HELMS and documents in addition to books that incorporates seveninch files or even movies. He coined the epi­ thets “poésie sonore” in 1955 and “poésie motion” in 1962, the 1st an approximation of sound poetry (*), the second one of functionality poetry. He started to paintings with audiotape recorders as early as 1959. Heidsieck is without doubt one of the few writers pointed out during this ebook who has received a big prize from his personal govt (in his case, the Grand Prix nationwide de los angeles Poésie [1991]); the tale is that the judges, divided over extra con­ servative applicants, picked Heidsieck to take revenge on each other.

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