Nicolas Donin, Bernard Stiegler (eds.): Révolutions industrielles de la musique (2004) [French]

11 June 2009, dusan

“Si les pratiques musicales du XIXe siècle ont été largement structurées par la standardisation de l’orchestre symphonique et le saut – qualitatif et quantitatif – du piano vers l’universel, le XXe siècle n’est-il pas celui d’une nouvelle révolution industrielle de la musique ? Cette dernière passerait à la fois par l’adoption, dans la diffusion puis la création musicales, des techniques et technologies nouvelles que sont la radiodiffusion, l’enregistrement sonore ou la synthèse des sons par ordinateur ; et par la gestation d’un nouveau système fonctionnel de la musique, désormais enjeu majeur des industries culturelles, mais aussi arme politique et économique émancipée de ses anciennes fonctions militaires, religieuses et familiales. Depuis une dizaine d’années, enfin, une nouvelle époque de cette organologie semble advenir : c’est pour essayer de la comprendre que nous avons interrogé les bouleversements, parfois encore sous-estimés, qu’ont subis instruments et dispositifs musicaux au siècle dernier.”

Nicolas Donin et Bernard Stiegler (éd.), Révolutions industrielles de la musique : Cahiers de Médiologie, n° 18, 2004.

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Gene Ray: Terror and the Sublime in Art and Critical Theory: From Auschwitz to Hiroshima to September 11 (2005)

10 June 2009, dusan

Filed under book | Tags: · art history, critical theory, military, war on terror

The eleven interconnected essays of this book penetrate the dense historical knots binding terror, power, and the aesthetic sublime and bring the results to bear on the trauma of September 11 and the subsequent “war on terror.” Through rigorous critical studies of major works of post- 1945 and contemporary culture, the book traces transformations in art and critical theory in the aftermath of Auschwitz and Hiroshima. Critically engaging with the work of continental philosophers Theodor W Adorno, Jacques Derrida, and Jean-Francois Lyotard and of contemporary artists Joeph Beuys, Damien Hirst, and Boaz Arad, the book confronts the shared cultural conditions that made Auschwitz and Hiroshima possible and offers searching meditations on the structure and meaning of the traumatic historical “event.” Ray argues that globalization cannot be separated from the collective tasks of working through historical genocide. He provocatively concludes that the curent US-led “war on terror” must be grasped as a globalized inability to mourn.

Contents:
Introduction: The Hit * Reading the Lisbon Earthquake: Adorno, Lyotard, and the Contemporary Sublime * Joseph Beuys and the “After-Auschwitz” Sublime * Ground Zero: Hiroshima Haunts 9/11 * Mirroring Evil: Auschwitz, Art, and the “War on Terror” * Little Glass House of Horror: Taking Damien Hirst Seriously * Blasted Moments: Remarking a Hiroshima Image * Installing a “New Cosmopolitics”: Derrida and the Writers * The Trauerspiel in the Age of Its Global Reproducibility: Boaz Arad’s Hitler Videos * Listening with the Third Ear: Echoes from Ground Zero * Conditioning Adorno: “After Auschwitz” Now

Published by Palgrave Macmillan, 2005
ISBN 140396940X, 9781403969408
188 pages

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Radical Software (1970-1974)

10 June 2009, dusan

Filed under magazine | Tags: · art, computer art, electromagnetism, software, technology, television, video, video art

The historic video magazine Radical Software was started by Beryl Korot, Phyllis Gershuny, and Ira Schneider and first appeared in Spring of 1970, soon after low-cost portable video equipment became available to artists and other potential videomakers. Though scholarly works on video art history often refer to Radical Software, there are few places where scholars can review its contents. Individual copies are rare, and few complete collections exist.

Radical Software was an important voice of the American video community in the early 70s; the only periodical devoted exclusively to independent video and video art at the time when those subjects were still being invented. Issues included contributions by Nam June Paik, Douglas Davis, Paul Ryan, Frank Gillette, Beryl Korot, Charles Bensinger, Ira Schneider, Ann Tyng, R. Buckminster Fuller, Gregory Bateson, Gene Youngblood, Parry Teasdale, Ant Farm, and many others.

Eleven issues of Radical Software were published from 1970 to 1974, first by the Raindance Corporation and then by the Raindance Foundation with Gordon and Breach Publishers.

Radical Software, Volume I, Number 1
The Alternate Television Movement,
Spring 1970
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