Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Fluxus
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Możliwości interpretacji sztuki akcyjne

100%
Morganová P.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2017
|
vol. 23
70-101
EN
Pavlína Morganová Ways of interpreting action-art Based on the publication by three outstanding Czech theorists: Jindřich Chalupecký (1910-1990), Petr Rezek (1948) and František Šmejkal (1937- 1988), Morganova describes three different ways of interpreting action art. She analyzed art pieces from 1966, 1977 and 1981, referring to the early and mature stages of action art in the Czechia. The presented study brings together significant examples of Czech action artist, for example Vladimir Boudnik the precursor, and Milan Knížák, a younger follower. There are also references to the international context (for example the Fluxus movement), philosophy (phenomenology) and psychology (Carl Gustav Jung’s theories). Morganova draws readers’ attention to difficulties in unequivocally explaining and commenting on action art. The final reflections are aimed at resolving the question of whether and to what extent that kind of art belongs to postmodernism.
2
Publication available in full text mode
Content available

Uchwycić ulotne: Analiza For a Drummer George’a Brechta oczami wykonawcy

99%
Olchowik M.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 2(45)
87-108
EN
The main purpose of the article is to present an individual approach of analysing and reperforming For a Drummer by George Brecht, a legendary composer and a member of Fluxus. The text is divided into several parts. The first half of the article is dedicated to the history and definition of performance art, the second one focuses on a performer persona and their artistic abilities. The latter leads to an actual analysis of a creative process, starting with a short biographical background of Brecht, followed by reading and understanding of the event score with a culmination found in the author’s re-performance.
3
Publication available in full text mode
Content available

Capturing Ephemerality: George Brecht’s For a Drummer from the Perspective of a Performer

99%
Olchowik M.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 2(45) ENG
85-104
EN
The main purpose of the article is to present an individual approach of analysing and reperforming For a Drummer by George Brecht, a legendary composer and a member of Fluxus. The text is divided into several parts. The first half of the article is dedicated to the history and definition of performance art, the second one focuses on a performer persona and their artistic abilities. The latter leads to an actual analysis of a creative process, starting with a short biographical background of Brecht, followed by reading and understanding of the event score with a culmination found in the author’s re-performance.
4

Od elektronicznej muzyki do elektronicznego obrazu. Exposition of Music – Electronic Television Nam June Paika

99%
Zając M.
Kwartalnik Młodych Muzykologów UJ
|
2016
|
issue 4(31)
100-117
EN
Nam June Paik (1932–2006) is now considered to be the most influential creator in visual arts. He is said to be the first artist who presented television as a source of artistic experience. However, nowadays many people forget about his musical beginnings. Starting as a musician, he was inspired by, for example, John Cage, whose philosophical way of thinking had a positive impact on Paik’s future experiments with music and objects. Exposition of Music – Electronic Television (1963, Wuppertal) was artist’s symbolic transfer from music to visual arts, presenting prepared pianos together with prepared TV’s. The article presents the exhibition as well as the environment created by Paik, showing the equality, importance and impact of two not so different kinds of art.
5
Publication available in full text mode
Content available

John Cage, Fluxus and the Musicality of Nam June Paik

98%
Ballengee O.
Roczniki Humanistyczne
|
2020
|
vol. 68
|
issue 12
155-164
EN
In this paper, I offer an analysis of the performance art of Nam June Paik that suggests his works, especially those from the 1960s, are essentially “musical” when viewed through the influence of John Cage’s notion of music-as-action. In Paik’s work aural, visual, and theatrical elements are integrated such that performance becomes a unifying and meaning-generating force. I conclude by suggesting that Cage’s influence set the tone for Paik’s expansion into the experiments with television and video that would occupy him for the remainder of his career.
PL
John Cage, Fluxus i muzykalność Nam June Paika Niniejszy artykuł poświęcony jest analizie performance’u Nam June Paika. Autorka sugeruje, iż twórczość Paika, szczególnie po roku 1960, można uznać za wyjątkowo „muzyczną,” jeżeli spojrzy się na nią przez pryzmat Cage’owskiej muzyki-jako-działania. U Paika elementy słuchowe, wizualne i teatralne są zespolone w taki sposób, że performance staje się siłą jednoczącą i nadającą znaczenie. Autorka kończy artykuł argumentem, iż wpływ Cage’a był kluczowy, jeśli chodzi o rozwój dorobku twórczego Paika, skierowany w stronę eksperymentów w zakresie telewizji i wideo.
6
Publication available in full text mode
Content available

Humor i sztuka. Uwagi typ(k)ologiczne.

85%
Kostołowski A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2015
|
vol. 19
6-24
EN
In different historic periods, artists used the element of humor in their works of art and the results of their interest can be considered as aesthetic category. Humor was often combined with irony, self-irony, satire etc. Also, it was used as independent form. In popular and not necessarily in artistic work, humor played rather secondary role in the culture. Immanuel Kant and many later authors did not consider, however, humor-art as art-form. The Dadaists and other artists active after the 1960’s did not follow those gloomy ideas of their predecessors. As the result of that change, humor gained a new meaning. Today, the art forms which gained originality and significance because of humoristic content, are considered as important manifestations of art. Among them, special attention should be paid to art-form which gained strength because of their humor. Hence, we might say, as did Marcel Duchamp, paradoxically, that humor contributed to the seriousness of art. Also, we might highlight the role of practical joke.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.