Download - Term Definitions for VISA 2B07
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Term definition review
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Accidental Poetry• Tristan Tzara• Instructions on how to do this are in his
“Manifesto of Feeble and Bitter Love” (1920)• Shows how chance is used to produce a text-
you’re not creating conciously/sub-conciously• The use of nonsense; artist as creator is an
obsolete idea, re-definition of what is art, rational, enlightened world that created a world can only be countered by the noise and chaos of dada
• More death of the author/artist as creative genius
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Optophonetical poetry
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Optophonetical poetry
• Haussmann’s invention• poetry that presented random sequences
of letters as phonetic sounds • Graphically it’s like a musical score-the
fonts and sizes chosen randomly though by an outside typesetter-death of authorship
• First ready-made poems for the above reason
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“The Art of Noises”
• Written in 1913 by Luigi Russolo
• Is a Futurist manifesto
• Six Categories of noise-sound: • 1) Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms
• 2) Whistling, Hissing, Puffing • 3) Whispers, Murmurs, Mumbling, Muttering, Gurgling • 4) Screeching, Creaking, Rustling, Buzzing, Crackling, Scraping • 5) Noises obtained by beating on metals, woods, skins, stones, pottery, etc.
• 6) Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs
• Sought to change music to reflect the reality of the machine age-something that the Futurists totally
supported
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Musique Concrete
• Sound being manipulated-looping, sampling, slowing down, sound collage
• Musique concrete begins with the concrete-the raw sound material, and uses the above techniques, and turned into a composition
• Not using traditional instruments, following traditional rules for music
• Acousmatic situation: listen to something without the knowledge of where it’s coming from, or what produced it (instruments/perfomers)
• “Pure acoustic world”-beyond our habits and conventions
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“I am sitting in a room”
• Alvin Lucier, 1970• Opens up the domain of conceptual art
(where the idea is more important than the end product)
• The room is playing the role of an instrument; the architecture of the room is a type of technology
• Interaction of the words he’s saying (text) and the room (space)
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Psychoacoustics: or what is sound if no one hears it?
• The listener’s body completes the work
• We have a subjective response to everything that we hear; what we hear depends on how it’s presented to us
• What is the relationship between what we hear (sound), what our brain does with what we hear and how we psychologically deal with what we hear
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Plunderphonics
• John Oswald• Hyper-sampling• Culture-jamming• Appropriate not only sounds but their
contexts-so he’s playing with everything you’ll remember when you hear a particular song, using those memories as artistic media
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Paranoic-critical method• Dali’s own words for his own technique• A concrete image of a completely irrational
reality; painting with precision (as if it were real…) something that you actually dreamed
• Materializing concrete irrationality
• Subconcious appears just like the exterior (normal) world does
• Make the subconcious world just as real/valuable/important as the rest of the world