Difference between revisions of "Central and Eastern Europe"
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* [[Video art in Slovakia (1960s-80s)]], [[Experimental film in Slovakia]], [[Video art in Slovakia (1990s-2000s)]] | * [[Video art in Slovakia (1960s-80s)]], [[Experimental film in Slovakia]], [[Video art in Slovakia (1990s-2000s)]] | ||
− | ==Multimedia environments | + | ==Multimedia environments== |
===People=== | ===People=== | ||
* 1950s-60s: [[Josef Svoboda]] (Prague), [[Jaroslav Frič]] (Prague), [[Lev Nusberg]] (Moscow), [[Francisco Infante]] (Moscow), [[Stano Filko]] (Bratislava), [[Edward Ihnatowicz]] (Poland/London) | * 1950s-60s: [[Josef Svoboda]] (Prague), [[Jaroslav Frič]] (Prague), [[Lev Nusberg]] (Moscow), [[Francisco Infante]] (Moscow), [[Stano Filko]] (Bratislava), [[Edward Ihnatowicz]] (Poland/London) | ||
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* [[Dvizheniye]], Moscow, 1960s | * [[Dvizheniye]], Moscow, 1960s | ||
===See also=== | ===See also=== | ||
− | * [[Czech Republic# | + | * [[Czech Republic#Multimedia environments]] |
* [[Hungary#Interactive_environments_and_installations]] | * [[Hungary#Interactive_environments_and_installations]] | ||
Revision as of 19:00, 19 June 2009
Contents
Constructivism
People
- 1910s-20s: Wassily Kandinsky (Moscow/Weimar), Kazimir Malevich (Moscow/St. Petersburg), Naum Gabo (Moscow/Berlin), Vladimir Tatlin (Moscow), Alexander Rodchenko (Moscow), Lajos Kassák (Budapest), Karel Teige (Prague), Wladyslaw Strzeminski (Warsaw/Lodz), Katarzyna Kobro (Warsaw/Lodz), Mieczyslaw Szczuka (Warsaw)
Networks
- Productivist Group and VkHUTEMAS, Moscow, 1920s
- Devětsil, Prague, 1920s
- Blok, Warsaw, 1920s; Praesens, Warsaw, late 1920s; a.r., Lodz, 1930s
Places
- Moscow, 1910s-20s
- Prague, 1920s
- Warsaw, 1920s, and Lodz, 1930s
Literature, literary theory, aesthetics
Terms
structuralism (1920s, Prague Linguistic Circle), linguistic functionalism (1920s, Prague Linguistic Circle), proletkult (1920s, international), Poetism (1920s, Teige and Nezval), factography (1920s, LEF), aesthetic object (1930s, Ingarden), phoneme (Jakobson), morphophonology (Trubetzkoy), genetic structuralism (1960s, Goldmann), communicative functions (1960s, Jakobson)
People
- 1910s-30s: Vladimir Mayakovsky (Moscow), Josip Brik (St. Petersburg/Moscow), Nikolai Trubetzkoy (Moscow/Vienna), Viktor Shklovsky (St. Petersburg/Berlin), Petr Bogatyrev (Moscow/Prague), Roman Jakobson (Moscow/Prague), Jan Mukařovský (Prague), Karel Teige (Prague), Vítězslav Nezval (Prague), Jaroslav Seifert (Prague), Bedřich Václavek (Prague), Roman Ingarden (Lwow), György Lukács (Berlin/Moscow/Budapest)
- 1960s: Lucien Goldmann (Bucharest/Paris), Felix Vodička (Prague)
Networks
- Russian Formalists, Moscow Linguistic Circle and OPOYEZ in St. Petersburg, 1910s-20s
- Prague Linguistic Circle, 1920s-30s
- Devětsil, Prague, 1920s
- LEF, Moscow, 1920s
Places
- Moscow, 1910s-20s
- Prague, 1920s-30s
Audiovisual compositions, synaesthesia
Summary
- There will be a day when a composer will compose music with a notation that will be conceived in terms of music and light… and that day, the artistic unity we were talking about will probably be closer to perfection.., Vladimir Baranoff-Rossiné, 1925.
- Specially designed (colour) pianos (or organs) were constructed by artists like Vladimir Baranoff-Rossiné, Alexander Scriabin, Zdeněk Pešánek and Erwin Schulhoff in an attempt to navigate between musical and visual realms. Scriabin imagined using a "Tastiera per Luce" (color piano) for the performance of his Promethée; Baranoff-Rossinés "piano optophonique", projected light through painted and rotating glass plates, whose colors and rhythms closely complemented the music (1916). With their "Spectrophon-Piano", Pešánek and Schulhoff attempted to create an audio-visual sculpture - an idea that has been revisited many times by more contemporary artists like Christian Marclay in his Video Quartet (2002) and Pierre Huyghe's Light Box (2002).
People
- 1910s-20s: A.N.Scriabin, Vladimir Baranoff-Rossiné, Arnošt Hošek, Zdeněk Pešánek, Erwín Schulhoff, Miroslav Ponc (Prague)
- 1960s-70s: Alois Piňos (Prague), Petr Kotík (Prague), Milan Grygar (Prague), Bulat Galeyev (Kazan)
Networks
- Prometei, Kazan, 1960s-2000s
See also
Experimental film and video art
Terms
montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), Cine-Eye (1920s, Vertov)
People
- 1920s-30s: Sergei Eisenstein (Moscow), Dziga Vertov (Moscow), Alexander Hammid (Prague)
- 1960s: Radúz Činčera (Prague)
- 1970s-80s: Gábor Bódy (Budapest/Berlin), Jozef Robakowski (Lodz), Miklós Erdély (Budapest), Vladimír Havrilla (Bratislava), Petr Skala (Prague)
- 1990s-2000s: Ryszard Kluszczynski (theorist, Lodz/Poznan), Lukasz Ronduda (theorist, Warsaw)
Events
Sub Voce exhibition (Budapest, 1991), Ex Oriente Lux (Bucharest, 1993), WRO Biennale (Wroclaw, since 1993)
Networks
- Balázs Béla Studio, Budapest, 1961-1980s
- Open Form, Lodz and Warsaw, 1960s-70s
- Workshop of Film Form, Lodz, 1970s
- Kinema Ikon, Arad, 1975-1990
- SKUC-Forum, Ljubljana, 1980s
- Necrorealist movement, St. Petersburg, mid 1980s
- Video Salon, Prague, late 1980s
- WRO, Wroclaw, 1990s-2000s
See also
- Hungary#Experimental film, avantgarde film, Hungary#Video art
- Poland#Experimental film, avantgarde film, Poland#Video art
- Czech Republic#Experimental film, avantgarde film, Czech Republic#Video art
- Video art in Slovakia (1960s-80s), Experimental film in Slovakia, Video art in Slovakia (1990s-2000s)
Multimedia environments
People
- 1950s-60s: Josef Svoboda (Prague), Jaroslav Frič (Prague), Lev Nusberg (Moscow), Francisco Infante (Moscow), Stano Filko (Bratislava), Edward Ihnatowicz (Poland/London)
Networks
- Dvizheniye, Moscow, 1960s
See also
Cybernetics
Electronic music
Summary
- Lev Termen, the patriarch of musical electronics, a talented physicist, created Aetherophone (later called the Theremin or Thereminovox) in 1920 - unsurpassed till now in the family of performing electronic instruments (owing to its keen sound control options).
- Other early instruments include Sonchromatoskop by Sándor László (1920), Sonar by N.Anan'yev (c1930), Ekvodin by V.A.Gurov (1931), Emiriton by A.Ivanov and A.Rimsky-Korsakov (1932). While in the United States, Termen also created Theremin Cello (electric Cello with no strings and no bow, using a plastic fingerboard, a handle for volume and two knobs for sound shaping, c1930), Theremin keyboard (a piano-like device, c1930), Rhythmicon (world's first drum machine, 1931), and Terpsitone (platform that converts dance movements into tones, 1932). In the 1930s, professor E.A.Sholpo established a laboratory for sound synthesis where he developed his Variophone (1932), a precursor of the synthesizers. A.A.Volodin, a scientist in the field of electronic sound synthesis, designed a whole series of new instruments.
- In Moscow, Eugene Murzin constructed one of the world's first synthesizers in 1955. He named his invention, ANS synthesizer, in honor of Alexander Nikolayevich Scriabin, as the ANS worked on the principle of the transformation of light waves into electronic soundings. The compositions created on the ANS in the Moscow Studio of Electronic Music since 1958 played the major role in the development of electronic music in USSR. In the 1960s, the ANS was the only synthesizer in the Union, and became the training ground of a great number of young composers, including one of the most dedicated experimenters in the field of electronic music, Edward Artemyev. Artemyev's compositions are characterized by a constant search for new sounds and by a desire to obtain maximum timbre modification from minimal sound material. In the music for A. Tarkovsky's film Solaris (1972), Artemyev discovered an entire realm of unusual (for that time) sound effects; he founded a new trend in electronic music that musicologists have named 'space music'. (In 1972 the studio acquired the module synthesizer "SYNTHI-100" of English company "Taylor".)
- Warsaw Autumn Festival initiated by Baird and Serocki presented since 1956 works by Berg, Schönberg, or Bartók; Stockhausen or Schaeffer visited. Polish Radio Experimental studio was founded by Patkowski in 1957.
- In Czechoslovakia, the first representative Seminar on Electronic Music, organized on the initiative of several Czech and Slovak composers, musicologists and sound technicians, was held at the Research Institute of Radio and Television in Pilsen in 1964. It appeared a miracle to many people interested in this kind of musical creativity. The seminar dealt seriously and manifestly with questions of electronic music, for the first time in Czechoslovak cultural context. The representative survey on electronic music written by Czech musicologist Vladimir Lebl and published in 1966 was the fundamental theoretical work, followed by his translation of the book "La Musique concrete" by Pierre Schaeffer. Several compositions by the classicists of concrete, tape and electronic music appeared in radio broadcasts in 1965 and the first LP with electronic music pieces by both inland and foreign composers was published as soon as in 1966. Followed by foundation of experimental music studios in Bratislava (1965) and Pilsen (1967).
- During 1950s-70s the number of composers visited New Music courses in Darmstadt (Kotonski, Piňos, Jeney, Sáry), studied and worked with studios WDR Cologne (Kotonski, Eötvös, Dubrovay), GRM Paris (Kotonski, Kabeláč, Piňos, Vidovszky), Munich (Piňos), STEM Utrecht (Kabeláč), or IRCAM Paris (Eötvös).
- Gorizont became known as some sort of Russian version of Kraftwerk, releasing an LP by the "Soviet State" record label Melodia.
Terms
musique concréte (1949, Schaeffer, Paris), elektronische Musik (1950, Eimert and Meyer-Eppler, Cologne), New Music, synthesizer (ANS synthesizer, 1955, Moscow; RCA Music synthesizer, 1955), white noise, vocoder, atonal music, serialism
Studios
Polish Radio Experimental Studio Warsaw (1957, Patkowski), Experimental studio of electronic music Moscow (1958, Murzin), Experimentalstudio für künstliche Klang- und Geräuscherzeugung Berlin (1962), Experimental Studio of Slovak Radio (1965, Kolman), Experimental Studio of Czech Radio Pilsen (1967-94), New Music Studio Budapest (1970), Electro-acoustic Music Studio at Academy of Music Krakow (1973, Patkowski), Electronic music studio Sofia (1974), Electroacoustic Music Studio of the Hungarian Radio Budapest (1975, Decsényi), Audiostudio of Czechoslovak Radio Prague (1990-94), Theremin Center Moscow (1992, Smirnov)
People
- mid-1950s-60s: Jozef Patkowski (Warsaw), Wlodzimierz Kotonski (Warsaw), Evgeny Murzin (engineer, Moscow), Edward Artemiev (Moscow), Peter Kolman (Bratislava), Miloslav Kabeláč (Pilsen), Vladimír Lébl (musicologist, Prague), Antonín Sychra (musicologist, Prague)
- 1970s: Péter Eötvös (Budapest), Zoltán Jeney (Budapest), László Vidovszky (Budapest), László Sáry (Budapest)
Places
- Warsaw, mid 1950s-60s
- Moscow, mid 1950s-60s
- Prague and Pilsen, 1960s
See also
- Electronic art music
- Audiovisual tools and instruments
- Poland#Electroacoustic and experimental music, sound art
- Electroacoustic music in Slovakia
- Czech Republic#Electroacoustic and experimental music, sound art
- Hungary#Electroacoustic and experimental music, sound art
- [1]
Computer art
Terms
new materials, information aesthetics (1960s, Bense and Moles)
People
- 1960s: Vladimir Bonačić (Zagreb)
- 1970s: Zdeněk Sýkora (Prague), Jozef Jankovič (Bratislava), Juraj Bartusz (Bratislava), Ryszard Winiarski (Warsaw)
- 1980s: Tamás Waliczky (Budapest)
- 1990s: Zoltán Szegedy-Maszák (Budapest)
Networks
- New Tendencies, Zagreb, 1960s-mid 70s
See also
- Czech Republic#Computer_and_computer-aided_art
- Early computer art in Slovakia (1970s-80s)
- Hungary#Computer_and_computer-aided_art
- Poland#Computer_and_computer-aided_art
Media theory
People
Vilém Flusser (Prague/Germany/Brazil)
Art theory, history, and criticism
People
Jindřich Chalupecký (Prague), Jiří Valoch (Prague), Tomáš Štrauss (Bratislava/Germany), Igor Zabel (Ljubljana), Boris Groys (Moscow/Berlin), Marina Grzinic (Ljubljana), Piotr Piotrowski (Poznan/Warsaw), Viktor Misiano (Moscow), Keiko Sei (Brno/Karlsruhe/Thailand), Tomáš Pospiszyl (Prague), Bojana Pejić (Belgrade/Berlin), IRWIN (Ljubljana), Boris Buden (Zagreb), Georg Schöllhammer (Vienna), Marian Mazzone, Reuben Fowkes, Gerald Raunig (Vienna), Inke Arns (Dortmund), Dmitry Vilensky (St. Petersburg)
International networks
Third Text, Springerin magazine (Vienna), Tranzit (Vienna), EIPCP (and Transversal journal, Vienna), Chto delat (St. Petersburg), SocialEast, Prelom magazine (Belgrade)
More
See also Media art