Difference between revisions of "Central and Eastern Europe"

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==Experimental film==
 
==Experimental film==
 
===Terms===
 
===Terms===
−
montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), Cine-Eye (1920s, Vertov), [[Open Form]] (1950s-60s, Hansen), [[antifilm]] (1962, Pansini)
+
montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), cinema club, Cine-Eye (1920s, Vertov), [[Open Form]] (1950s-60s, Hansen), [[antifilm]] (1962, Pansini)
  
 
===People===
 
===People===

Revision as of 18:55, 9 October 2011

Constructivists, Futurists

Terms

formism (1910s, Chwistek, Czyżewski), Pure Form (1920s, Witkiewicz), strefism (1920s, Chwistek), mechano-faktura (1920s, Berlewi), unism (1920s, Strzemiński), photogenism (1920s, Funke), robot (1920s, Čapek)

People

Networks, Journals

Events

Literature

  • Douglas Macagy, The Russian Desert: A Note on our State of Knowledge, in: Aspen 5+6 (1967), [3]
  • Susan Compton, Review: The Tradition of Constructivism. by Stephen Bann, in: Slavic Review, Vol. 34, No. 3 (Sep., 1975), pp. 662-663 [4]
  • Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990). [5]
  • Stephen Bann, Traditions of Constructivism, 1990, [6]
  • George Rickey, Constructivism: Origins and Evolution, 1995, [7]
  • Susanne Anna (ed.), Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, Hatje Cantz Verlag, 1997. [8] [9]
  • "The Romanian Avant-Garde", Plural Magazine 3, 1999. [10]
  • Timothy O. Benson, Éva Forgács (eds.), Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, Los Angeles County Museum of Art, 2002. [11]
  • Dubravka Đurić and Miško Šuvaković (eds.), Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, MIT Press, 2003. [12]
  • Peter Weibel, "On the Origins of Hungarian Constructivism in Vienna: MA 1920-25. The Only Instance of Modernism Between the Wars", in: Beyond Art: A Third Culture, 2005, pp 57-71. [13] [14]
  • Viktoras Liutkus, "Lithuanian Art and the Avant-Garde of the 1920s: Vytautas Kairiūkštis and the New Art Exhibition in Vilnius", Lituanus, 2008. [15]

See also

Avant-garde in Hungary, Poland, Czech Republic, Slovakia, Croatia, Serbia, Slovenia, Romania, Estonia, Latvia, Lithuania. Further bibliography.

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

Audiovisual compositions, Synaesthesia

People

Networks

Colour organs

  • 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.
  • (Colour) pianos (or organs) were constructed by the likes of Alexander Scriabin (with Preston Millar), Vladimir Baranoff-Rossiné, Alexander László, and Zdeněk Pešánek (with Erwin Schulhoff) in an attempt to navigate between musical and visual realms.
  • Scriabin composed a color-music piece Prometheus: The Poem of Fire (1911) and contracted Preston Millar to build an instrument to produce colors along to the music, named Chromola (Clavier à lumières; tastiéra per luce; keyboard with lights).
  • Futurist painter Baranoff-Rossiné's instrument introduced patterns and shapes into a color organ, built upon a modern piano, thus called the Optophonic Piano (Piano optophonique). The piano projected light through painted and rotating glass plates, whose colors, shapes and rhythms closely complemented the music (1916, developed since 1912); it was presented in the Theatre of Vsevolod Meyerhold, at his exhibition in Kristiana in Oslo (1916), and in the Bolshoi Theater in Moscow (1924). Baranoff-Rossiné performed until the late 1920s, but his work was displayed in several museums in Europe and the US from 1966 to 1975.
  • Alexander László, a Hungarian raised in Germany, a pianist and orchestra conductor, composed and performed music for various silent films in 1900s-10s. Arguing for a relation between the film and the music, he wrote a theoretical text on color-light-music, "Farblichtmusik" (1925). The theories were brought into practice in a series of performances across Europe. His device, Sonchromatoscope, consisted of a few switches above his piano, controlling a few projection lights and a slide projector lightning the stage above the piano. When the first reviews arrived, the main remark was that the projections were too simple. It was in a completely different league than the Chopin-like complexity of the piano music. In those days Oskar Fischinger was experimenting with abstract films. László contacted him to help improve his performance. Multiple extra slide projectors and overlapping projection lights were added to increase the complexity and the number of possible colors. This resulted in a a visual spectacle which completely turned the reviews over. Both László and Fischinger have toured with the show. [16]
  • With their Spectrophon-Piano (1928), Pešánek and Schulhoff attempted to create an audio-visual sculpture. The piano enabled the dynamic synthesis of music and coloured light in performances in big concert halls.

Events

Literature

  • Jörg Jewanski, "Color Organs", [18]
  • Teun Lucassen, "Color Organs", [19]
  • "Bibliography: Synesthesia in Art and Science", compiled by Crétien van Campen (editor), Greta Berman, Anton V. Sidoroff-Dorso and Bulat Galeyev, Leonardo. [20]

See also

Experimental film

Terms

montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), cinema club, Cine-Eye (1920s, Vertov), Open Form (1950s-60s, Hansen), antifilm (1962, Pansini)

People

Events

GEFF festival (Zagreb, 1963-70), MAFAF festival (Pula, 1965-90), 8 mm (Novi Sad), Alternative Film Festival (Split), April Meetings festival (Belgrade, 1972-77), Alternative Film & Video Festival (Belgrade, *1982), This Is All Film! Experimental Film in Yugoslavia 1951-1991 exhibition (Ljubljana, 2010)

Networks

Literature

  • Lukasz Ronduda (eds.), 1,2,3 -- avant-gardes : film, art between experiment and archive, Centre for Contemporary Art, Warsaw ; Berlin ; New York : Sternberg, 2007.
  • Ana Janevski (ed.): As Soon as I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s, Museum of Modern Art, Warsaw, 2010. With essays by Ana Janevski (on experimental art and film in Yugoslavia), Stevan Vuković (on political upheaval in 1968 in Belgrade), and Łukasz Ronduda (on contacts between Yugoslav and Polish artists in the 1970s). [21] Interview with Ana Janevski, June 2011
  • Bojana Piškur et al (eds.), This Is All Film: Experimental Film in Yugoslavia 1951-1991 [Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991], catalogue, Museum of Modern Art, Ljubljana, 2010. 154 pages. ISBN: 9789612060909

See also

Experimental film in Hungary, Poland, Czech Republic, Slovakia, Croatia, Serbia, Slovenia, Bosnia and Herzegovina, Romania, Estonia, Lithuania. Further bibliography.

Cybernetics

See also

Electroacoustic 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 Ost-Berlin (1953 or 1962?), Experimental Studio of Slovak Radio (1965, Kolman), Experimental Studio of Czech Radio Pilsen (1967-94), New Music Studio Budapest (1970), Electronic Studio of Radio Belgrade (1972, Radovanovic), 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), Studio for Electronic Music Dresden (1984, Wissmann), Audiostudio of Czechoslovak Radio Prague (1990-94), Theremin Center Moscow (1992, Smirnov), more

People

Events

Places

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

Resources

See also

Multimedia environments

People

Networks

See also

Dynamic objects, Cybernetic sculpture

Computer art

Terms

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

People

Networks

Works

See also

Video

Terms

new art practices (1970s)

People

Events

April Meetings festival (Belgrade, 1972-77), Video CD biennial (Ljubljana, 1983-89), WRO Biennale (Wroclaw, since 1989), Sub Voce exhibition (Budapest, 1991), French-Baltic-Nordic Video and New Media Festival (Riga/Vilnius/Tallinn, *1992), Ex Oriente Lux exhibition (Bucharest, 1993), Videomedeja festival (Novi Sad, *1996), New Video, New Europe exhibition (Chicago, 2004), E.U. Positive exhibition (Berlin, 2004), Instant Europe (Udine, 2005)

Networks

Archives

See also

Video in Hungary, Poland, Czech Republic, Slovakia, Croatia, Serbia, Slovenia, Romania, Bulgaria, Estonia, Latvia, Lithuania. Further bibliography.

Electronic music

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, vvvvv, SuperCollider, online social network

People

Events

The Media Are With Us conference (Budapest, 1990), 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), LEAF conference (Liverpool, 1997), 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, [25]. Review by Andreas Broeckmann
  • Syndicate Publication Series
    • Inke Arns (ed.) 1996 V2_East Meeting. Syndicate Publication Series 000. [26]
    • 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. [27]
    • Inke Arns (ed.) Junction Skopje: The 1997 - 1998 Edition. Syndicate Publication Series 002. [28]
  • ZKP series 1-6, 1996-2001, [29]
    • ZKP1. Amsterdam, January 1996 [30]
    • ZKP2. Madrid June 1996. [31]
    • ZKP3. Budapest, October 1996. [32]
    • ZKP3.2.1. Ljubljana, November 1996. [33]
    • (ZKP4) Pit Schultz, Diana McCarty, Geert Lovink, Vuk Cosic (eds.), The Beauty and the East. Ljubljana, May 1997. [34]
    • (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. [35]
    • (NKP6) Net.art Per Me. Catalogue of the Slovenian Pavillion. Venice Biennale 2001. [36]
  • Rossitza Daskalova, "The ground for net.art in the former Eastern Block (Central and Eastern Europe)", 2001, [37]
  • Rossitza Daskalova, "Web projects" reviews, 2001, [38]
  • Inke Arns and Andreas Broeckmann, "Small Media Normality for the East", Jun 1997. [39], (German version)

See also

Media theory

People

Vilém Flusser (Prague/Germany/Brazil)

Events

The Media Are With Us (Budapest, 1990), 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 (Budapest), Gerald Raunig (Vienna), Inke Arns (Dortmund), Dmitry Vilensky (St. Petersburg)

Networks

Third Text, Springerin magazine (Vienna), Tranzit (Vienna), EIPCP (and Transversal journal, Vienna), Chto delat (St. Petersburg), SocialEast, Prelom magazine (Belgrade)

More

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