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Die Reihe was a German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen between 1955 and 1962. An English edition was published, under the original German title, between 1957 and 1968.
“The journal, whose title means “The Row” or “The Series”, owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers. The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio’s educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication.”
Contributors included György Ligeti, Mauricio Kagel, John Cage, Pierre Boulez, and others.
Reviews: Dika Newlin (of 1st DE issue, Notes, 1956), Dika Newlin (of 1st EN issue, Notes, 1958), Dika Newlin (of 2nd EN issue, Notes, 1959), Dika Newlin (of 3rd EN issue, Notes, 1960), George Perle (of 3rd EN issue, J Music Theory, 1960), Dika Newlin (of 5th EN issue, Notes, 1962).
Commentary: John Backus, “Die Reihe—A Scientific Evaluation” (Perspectives of New Music, 1962).
Tables of contents of German edition
Edited by Herbert Eimert and Karlheinz Stockhausen
Publisher Theodore Presser, Bryn Mawr, PA, with Universal Edition, London, 1957-68.
Each of the eight issues was dedicated to a different theme, announced in a subtitle (with links to sections in PDF):
Electronic Music, 1957, vi+62 pp
Anton Webern, 1958, vii+100 pp
Musical Craftsmanship, 1959, 88 pp
Young Composers, 1960, 135 pp
Reports—Analyses, 1961, 121 pp
Speech and Music, 1964, 95 pp
Form—Space, 1964, 87 pp
Retrospective, 1968, 98 pp
All 8 issues in single PDF (17 MB, no OCR)
“In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts (the title comes from a dictum by Rainer’s one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film-frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America.
Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962, hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and antiwar causes in the 1970s and 1980s. Rainer writes about how she constructed her dances—including The Mind Is a Muscle and its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan—and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life.”
Publisher MIT Press, 2006
Writing Art series
ISBN 9780262182515, 0262182513
PDF (62 MB, no OCR)
“Ute Holl explores cinema as a cultural technique of trance, unconsciously transforming everyday spatio-temporal perception. The archaeology of experimental and anthropological cinema leads into psycho-physiological laboratories of the 19th century. Through personal and systematic catenations, avant-garde filmmaking is closely linked to the emerging aesthetics of feedback in cybernetic models of the mind developed at the same time. Holl analyses three major fields of experimental and anthropological filmmaking: the Soviet avant-garde with Dziga Vertov and his background in Russian psycho-reflexology and theory of trance; Jean Rouch and his theory of cine-trance and the feed-back; and the New American Cinema with Maya Deren and Gregory Bateson conceptualising the organisation of time, space, movement and feedback trance in anthropological filmmaking.”
First published as Kino, Trance und Kybernetik, Brinkmann & Bose, Berlin, 2002.
Translated by Daniel Hendrickson
Publisher Amsterdam University Press
Creative Commons BY-NC 4.0 License
ISBN 9789089646682, 908964668X
“In this illustrated, interview-format volume, 16 women artists address the volatile issues of male domination, feminism, race and denial. Among the modern warriors here are Diamanda Galas, a composer of ritualistic ‘plague masses’ about AIDS who refuses to tolerate pity or weakness; Lydia Lunch, a self-described ‘instigator’ who explains that her graphic portrayals of exploitation stem from her victimization as a child; and Wanda Coleman, a poet who rages against racism and ignorance. Goddess worshipper and former porn star Annie Sprinkle enthusiastically promotes positive sexual attitudes; bell hooks discusses societal power structures in terms of race and gender; Holly Hughes, Sapphire and Susie Bright expound on lesbianism and oppression; pro-choice advocates Suzy Kerr and Dianne Malley describe their struggles for reproductive rights.”
Interviews with Kathy Acker, Susie Bright, Wanda Coleman, Valie Export, Karen Finley, Diamanda Galás, Bell Hooks, Holly Hughes, Lydia Lunch, Kerr & Malley, Linda Montano, Avital Ronell, Sapphire, Carolee Schneemann, and Annie Sprinkle.
The magazine was later translated into German, Chinese and Japanese.
Edited by Andrea Juno and V. Vale
Publisher Re/Search, San Francisco, 1991
PDF (138 MB)
A collective portrait of George Maciunas, the central, organizing figure and participant in Fluxus, based on personal anecdotes and reminiscences gathered by the artists Emmett Williams and Ay-O from more than eighty of Maciunas’s friends and Fluxus colleagues.
Edited by Emmett Williams and Ann Noël
Publisher Thames and Hudson, London, 1997
ISBN 0500974616, 9780500974612
Review: Elizabeth Beckman and Jonathan Applefield (Art J, 1999).
PDF (80 MB, no OCR)