Difference between revisions of "Central and Eastern Europe"

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==Multimedia environments and installations==
 
==Multimedia environments and installations==
 
===People===
 
===People===
−
* 1950s-60s: [[Josef Svoboda]] (Prague), [[Jaroslav Frič]] (Prague), [[Lev Nusberg]] (Moscow), [[Francisco Infante]] (Moscow), [[Stano Filko]] (Bratislava), [[Edward Ihnatowicz]] (Poland/London), [[Attila Kováts]] (Budapest)
+
* 1950s-60s: [[Josef Svoboda]] (Prague), [[Jaroslav Frič]] (Prague), [[Lev Nusberg]] (Moscow), [[Francisco Infante]] (Moscow), [[Stano Filko]] (Bratislava), [[Edward Ihnatowicz]] (Poland/London)
 +
* 1970s: [[Attila Kováts]] (Cologne/Budapest)
 +
 
 
===Networks===
 
===Networks===
 
* [[Dvizheniye]], Moscow, 1960s
 
* [[Dvizheniye]], Moscow, 1960s

Revision as of 12:20, 24 November 2009

Constructivism

People

Networks

Places

Moscow, 1910s-20s
Prague, 1920s
Warsaw, 1920s, and Lodz, 1930s

Literature

  • George Rickey, Constructivism: Origins and Evolution, 1995, [1]
  • Stephen Bann, Traditions of Constructivism, 1990, [2]
  • MoMA, "Art Terms: Constructivism", [3]
  • Douglas Macagy, The Russian Desert: A Note on our State of Knowledge, in: Aspen 5+6 (1967), [4]
  • Susan Compton, Review: The Tradition of Constructivism. by Stephen Bann, in: Slavic Review, Vol. 34, No. 3 (Sep., 1975), pp. 662-663 [5]

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

Networks

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, Sándor László, 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-Rossiné's "piano optophonique" projected light through painted and rotating glass plates, whose colors and rhythms closely complemented the music (1916, dev since 1912); it was presented in the Theatre of Vsevolod Meyerhold and in 1924 in the Bolshoi Theater in Moscow. Later it culminated in the colour organ, "clavilux": this synthetic instrument could spread sounds and coloured light at the same time, because every note played corresponded to one colour disc, projected by a light beam onto the screen. 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). Like the instruments of the Hungarian László (Sonchromatoskop, 1920), this piano enabled the dynamic synthesis of music and coloured light in performances in big concert halls.

People

Networks

See also

Experimental film and video art

Terms

montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), Cine-Eye (1920s, Vertov), Open Form (1950s-60s, Hansen)

People

Events

Sub Voce exhibition (Budapest, 1991), Ex Oriente Lux (Bucharest, 1993), WRO Biennale (Wroclaw, since 1993)

Networks

See also

Multimedia environments and installations

People

Networks

See also

Cybernetics

See also

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

Events

Places

Warsaw, mid 1950s-60s
Moscow, mid 1950s-60s
Prague and Pilsen, 1960s

See also

Computer art

Terms

new materials, information aesthetics (1960s, Bense and Moles)

People

Networks

Works

See also

New media art, Media culture

Terms

mailing list, discussion forum, media lab (1990s-2000s), net art (1990s), streaming, tactical media, hacker culture, audiovisual performance, digital signal processing (DSP), Pure Data, Max/MSP, online social network

People

Events

Ostranenie (Dessau, 1993/95/97/99), Orbis Fictus exhibition (Prague, 1994), Hi-tech/Art exhibition and symposium series (Brno, 1994-97), MetaForum conferences (Budapest, 1994-96), Butterfly Effect (Budapest, 1996), Dawn of the Magicians? (Prague, 1996-97), Beauty and the East Nettime conference (Ljubljana, 1997), Communication Front (Plovdiv, 1999-2001), Media Forum (Moscow, *2000), Enter Multimediale festival (Prague, 2000/05/07/09), Multiplace festival (Bratislava/Prague/Brno/international, *2002), FM@dia (Prague, 2004), Trans european Picnic (Novi Sad, 2004)

Networks

Literature

  • Stephen Kovats (ed.), Media Revolution. Electronic Media in the Transformation Process of Eastern and Central Europe. (German title: Ost-West Internet.) Edition Bauhaus 6, Campus Verlag, Frankfurt/M. and New York, 1999. 381 pp., illus. (All texts Engl. and German.) ISBN: 3-593-36365-8. With CD-Rom: Ostranenie 93 - 95 - 97. Bauhaus Dessau Foundation, Dessau, 1999. Mac & PC. ISBN: 3-910022-30-8, [7]. Review by Andreas Broeckmann
  • Syndicate Publication Series
    • Inke Arns (ed.) 1996 V2_East Meeting. Syndicate Publication Series 000. [8]
    • Inke Arns and Andreas Broeckmann (eds.) Deep Europe: The 1996 - 97 edition. Selected texts from the V2_East / Syndicate mailing list (143 pp.), Syndicate Publication Series 001, Berlin, October 1997. [9]
    • Inke Arns (ed.) Junction Skopje: The 1997 - 1998 Edition. Syndicate Publication Series 002. [10]
  • ZKP series 1-6, 1996-2001, [11]
    • ZKP1. Amsterdam, January 1996 [12]
    • ZKP2. Madrid June 1996. [13]
    • ZKP3. Budapest, October 1996. [14]
    • ZKP3.2.1. Ljubljana, November 1996. [15]
    • (ZKP4) Pit Schultz, Diana McCarty, Geert Lovink, Vuk Cosic (eds.), The Beauty and the East. Ljubljana, May 1997. [16]
    • (ZKP5) Josephine Bosma, Pauline van Mourik Broekman, Ted Byfield, Matthew Fuller, Geert Lovink, Diana McCarty, Pit Schultz, Felix Stadler, McKenzie Wark, Faith Wilding (editors). README! Filtered by NETTIME: ASCII Culture and the Revenge of Knowledge. New York: Autonomedia, February 1999. 556 pages. ISBN: 1570270899. [17]
    • (NKP6) Net.art Per Me. Catalogue of the Slovenian Pavillion. Venice Biennale 2001. [18]
  • Rossitza Daskalova, "The ground for net.art in the former Eastern Block (Central and Eastern Europe)", 2001, [19]
  • Rossitza Daskalova, "Web projects" reviews, 2001, [20]

See also

Media theory

People

Vilém Flusser (Prague/Germany/Brazil)

Events

Prague Media Symposium (Prague, 1991-98), MetaForum (Budapest, 1994-96), Mutamorphosis (Prague, 2007)

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

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