Dada

Making an Art of Creativity: The Cognitive Science of Duchamp and Dada

by Phillip Prager

forthcoming in Creativity Research Journal (accepted 27th Nov. 2011)

Dada is the infant terrible of art history, an anarchic movement that is typically referred to as nihilistic,... more Dada is the infant terrible of art history, an anarchic movement that is typically referred to as nihilistic, pathological, and firmly enshrined within the modernist paradigm and the context of WWI. Through the lens of classical, romantic, and psychoanalytic notions, it certainly appears almost antithetical to creativity. Yet from a cognitive point-of-view, Dada marks a watershed in the understanding of creativity, and articulates principles of creative cognition with surprising insight and precision many decades ahead of science.

The Daoist, the Frog and the Pipe

by Gestur Hilmarsson

Philosophical Daoism, taught by Günter Wohlfart at
University of Iceland in spring 2012

A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art. A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art.

The Daoist, the Frog and the Pipe

by Gestur Hilmarsson

Philosophical Daoism, taught by Günter Wohlfart at
University of Iceland in spring 2012

A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art. A short paper containing a few thoughts on self-referentiality in Daoist thought, Haiku and art.

Dada en Italie ou l’enfant mutilé du futurisme

by Tania Collani

« Dada en Italie ou l’enfant mutilé du futurisme », in Dada, circuit total, sous la direction de Henri Béhar et Catherine Dufour, Lausanne, L’Âge d’Homme, « Cahier H », 2005, p. 279-286, ISBN 2825119067

La naissance de Dada à Zurich est souvent considérée comme un surgissement ex nihilo. Toutefois, le dadaïsme de Tzara... more La naissance de Dada à Zurich est souvent considérée comme un surgissement ex nihilo. Toutefois, le dadaïsme de Tzara est redevable des expériences futuristes, surtout si l’on envisage le mouvement dans ses rapports avec l’Italie voisine, où les manifestations d’un pré-dadaïsme italien sont nombreuses, comme le démontrent plusieurs auteurs (Francesco Meriano, Julius Evola, Maria d’Arezzo et les futuristes) et plusieurs critiques littéraires et critiques d’art (Giovanni Lista, Enrico Crispolti, Francesco Flora, Luigi Baldacci, Fausto Curi). Dada en Italie maintient un double rapport avec le futurisme : un rapport de filiation et d’enrichissement, et un rapport de mutilation. Le premier cas nous permet de saisir des manifestations dada ante litteram parmi les rangs hétérogènes du futurisme et de constater les collaborations entre les deux mouvements. Le deuxième cas s’oppose à la pénétration de dada sur le territoire italien, un courant qui présente trop de ressemblances au champ d’action du maître de maison.

La prensa obrera ante el III Reich: El caso de AIIZ, en Poder polític i resistència periodística: Actes de les segones Jornades d'Història de la premsa, ed. Josep M. Figueres. Barcelona: Lexicon, Generalitat de Catalunya, 2009.

by Mª Soliña Barreiro

To quote: Barreiro, Mª Soliña. "La prensa obrera ante el III Reich: El caso de AIZ" en Poder polític i resistència periodística: Actes de les segones Jornades d'Història de la premsa, ed. Josep M. Figueres. Barcelona: Lexicon, Generalitat de Catalunya, 2009.

The Last Hope of Intuition: Francis Picabia, Erik Satie and René Clair’s Intermedial Project Relâche

by Christopher Townsend

A singularity of noise music in Africa and Asia.

by C-drík Kirdec

Written by C-drík Fermont, previously published in French by Les presses du réels in the book Le performentiel noise, edited by Sébastien Biset, 2010.
Text slightly reviewed and corrected.
http://www.lespressesdureel.com/EN/ouvrage.php?id=1919&menu=
cdrk@syrphe.com
http://www.syrphe.com
http://syrphe.com/african&asian_database.htm
English translation by Alpin César.

Ola Stockfelt points out in Adequate modes of Listening1 that today, most industrialized Western nations are sharing a... more Ola Stockfelt points out in Adequate modes of Listening1 that today, most industrialized Western nations are sharing a more or less homogeneous culture, which is musically dominated by "artistic music" from Europe and North America as well as Anglo-American pop music.

What about non-western nations, then ? Which culture(s) are they influenced by ? Are they still maintained under a post-colonial cultural yoke ? Is experimental music, and by extension noise music, a typically western kind of music ?

"Gazing Fixedly Upon Infinity: Joseph Cornell and Marcel Duchamp"

by Michael Yates

Published by Wave Composition
http://www.wavecomposition.com/

Comparison of Joseph Cornell and Marcel Duchamp:

“The black of the infinite and the blue of stellar... more Comparison of Joseph Cornell and Marcel Duchamp:

“The black of the infinite and the blue of stellar transition, heaven, the cosmic sea, are balanced in contrast by the white of the moon-sphere, the soap bubble pipe, and the ghostly border which both separates and connects the lower portion — the physical realm — to the stars above.”

Silence, Rupture, Theology. Towards a Post-Christian Interdisciplinarity

by Mattias Martinson

This chapter is included in Literature and Theology. New Interdsiciplinary Spaces, ed. Heather Walton, Ashgate, 2011. It adresses the question about a possible post-Christian theological vision, against the trend in recent political theolygy where strong concepts of the identity of the Church or Christian community have become poivotal for the theological reflection. The paper discusses several texts from the years after World War One, such  as Wittgensteins Tractatus, Dada-manifests, Barths commentary on the Romans and Benjamins histocial-political fragment etc. in order to exemplify how a  theological view on culture may release new insights and add to a broader debate on culture.

About the Anthology: Literature and Theology. New Interdisciplinary Spaces

This book explores current... more About the Anthology: Literature and Theology. New Interdisciplinary Spaces

This book explores current trends in the interdisciplinary study of literature and theology - an area of academic activity that has developed dramatically in the past twenty years. The field of study originated from the impetus to embrace the richness of imaginative resources in theological reflection and was stimulated by the re-emergence of the sacred in contemporary theory. Since the mid '90s critical theory has undergone a number of significant transformations, theology has become a subject of public concern and the boundaries between sacred and cultural texts have become increasingly unstable. This book brings together the work of leading scholars in the field with that of emerging voices. Offering an important resource for the growing number of postgraduate courses exploring the relation between religion and culture in the contemporary context, this book delineates current trends in interdisciplinary debate as well as tracing emerging configurations.

Contents: Introduction, Heather Walton; Interdisciplinarity in impossible times: studying religion through literature and the arts, David Jasper; Discipline beyond disciplines, Andrew W. Haas; When love is not true: literature and theology after romance, Heather Walton; Two (and two and two) towers: interdisciplinary borrowing and the limits of interpretation, Alana Vincent; Silence, rupture, theology. Towards a post-Christian interdisciplinarity, Mattias Martinson; Female genius: Jane Leade (1624–1704), Alison Jasper; Re-imagining the sacred in Caribbean literature, Fiona Darroch; Theological aesthetics and beauty as revelatory: an interdisciplinary assessment, John O'Connor; The sublime and the beautiful: intersections between theology and literature, Paul S. Fiddes; Touch and trembling: intimating interdisciplinary bodies, Mark Godin; A story of love and death: exploring space for the philosophical imaginary, Pamela Sue Anderson; The Devil in disciplines: the hermeneutic of Devil-hood in C.S. Lewis's The Screwtape Letters, Christine Hsi-Chin Chou; Interdisciplinary poetics: S.T. Coleridge and the possibility of symbol-making after the word, Kelly Van Andel; Inde

Dada Returns (Again)

by Gavin Keeney

Draft 2006

ABSTRACT

An essay on the innumerable returns of Dada and the impending arrival of Dada @ MoMA in 2006.... more ABSTRACT

An essay on the innumerable returns of Dada and the impending arrival of Dada @ MoMA in 2006.

I. Hugo Ball (A Brief, Catastrophic Sketch)
II. Tu m' - Dada Resurrected (Again)

Art, ideology, and everyday space: subversive tendencies from Dada to situationism

by alastair bonnett

Environment and Planning D: Society and Space, 1992, volumo 10, pagos 69-86

This is a paper about the transgression of the boundary between art and everyday
space. It traces the... more This is a paper about the transgression of the boundary between art and everyday
space. It traces the development of a practical and theoretical critique of this divide from
Dada and surrealism to situationism and postmodernism, whilst showing how these movements
have themselves often perpetuated a specialized notion of cultural production. The ultimate
failure of these movements, with the exception of situationism, to develop a coherent and
effective challenge to the dualism art—everyday space is related to their reliance upon the
artistic ideologies of antiart, indifference, and spontaneism.

Van dada tot surrealisme: Joodse avant-garde kunstenaars uit Roemenie

by Tessel Bauduin

Bauduin, T.M. ‘Van dada tot surrealisme: Joodse avant-garde kunstenaars uit Roemenië’. [exh.rev.] De Witte Raaf: Ondertussen 26, 152 (Jul-Aug 2011). 6-7.

Review of the exhibition 'From dada to surrealism: Jeweish avant-garde artists from Romania', at the Jewish Historical... more Review of the exhibition 'From dada to surrealism: Jeweish avant-garde artists from Romania', at the Jewish Historical Museum Amsterdam.

A Trial to Make Sense Michel Gondry’s Be Kind Rewind The New Myth Of Our Era: “Sweding”

by Pelin Aytemiz

Be Kind Rewind is a story of Mike and his crazy friend Jerrry (Jack Black) who has to look after a VHS rental Store... more Be Kind Rewind is a story of Mike and his crazy friend Jerrry (Jack Black) who has to look after a VHS rental Store owned by Mr Fletcher as Mr Fletcher went away to Spy on succseful DVD Rental stores in order to make money to repair his store. Unfortunately one day Jerry becomes magnetized in an attempt to sabotage an electrican station. When he gets in the VHS Store, he accidenatly erases all the VHS Tapes. Mike discovers the disaster and inorder to hide the the problem they recreate the movies the buyers want to rent. They uses their selves as actors and cheap special effects to remake movies like Ghost Busters, Rush Hour, 2001 Space Odyssy,Lion King etc. They call their version of homemade movies as sweded films.

This film is interesting as it started a cultural phenomena that is recently taking over the web. Sweding is the ficitonal word proposed by the film that is made up by Michel Gondry. Sweding indicated remaking films at home using everyday materials in an amateur way. ‘Sweding’ is described in wickipedia as follows.

“Is the practice of re-creating something from scratch using commonly available, everyday materials and technology. Items that are ‘Sweded’ look distinctively homemade, often bearing only the slightest resemblance to the original. While naïvely rendered, ‘Sweded’ items are usually charming and highly amusing”

What is interesting about this films is its introduction of the term “sweding” and its becoming a cultural phenomen of our time. It is weird to find a definition of a made up term in wikipedia and find several examples of sweded films in Youtube. Why is such a practice is adapted by masses of people and now find a place in the language can be asked.


Gondry while publizing along with the main actor Jack Black explains the word sweding and invite people to make their own version of the films they like. Even they starts a competition of sweded films that people are encouraged to upload their own sweded films on Youtube. Gondry himself makes a sweded version of his films trailer.

So, I am curious about the issue in this sweded films. Can we find subversive elements in those kind of homemade films. Can we suggest the process of sweding as a way of mythizing the myth of Hollywood films depending on Barthes concept of Myth

Tristan Tzara

by Stephen Forcer

The Literary Enyclopedia (2008).

"Surrealism, Dada and the Refusal of Work: Autonomy, Activism and Social Participation in the Radical Avant-Garde," The Oxford Art Journal, 34:1, 2011, pp.79-96.

by Gavin Grindon

In The Oxford Art Journal, 34:1, 2011, pp.79-96.

I rapporti internazionali del Futurismo dopo il 1919

by Maria Elena Versari

in "Il Futurismo nelle avanguardie. Atti del Convegno Internazionale di Milano del 4-6 febbraio 2010", Palazzo Reale, Sala delle Otto colonne, Comitato Nazionale per le celebrazioni del centenario della pubblicazione del Manifesto Futurista,
a cura di Walter Pedullà
Edizioni Ponte Sisto, Roma 2010, pp. 577-606

[Raoul Hausmann and Berlin Dadaism] Gegen den Bürger, für das (Er-)Leben. Raoul Hausmann und der Berliner Dadaismus gegen die “Weimarische Lebensauffassung”

by Riccardo Bavaj

German Studies Review 31 (2008), No. 3, 513-536

Hypermodern: Chess Theory and Avant Garde Art in the Early 20th Century

by Richard Mehlinger

Report on Arthur Coleman Danto, Hegel’s End of Art Thesis (2003)

by Peter Fettner

Reviews Danto's application of Hegel to contemporary art, develops criticisms of the "end of art" thesis,... more Reviews Danto's application of Hegel to contemporary art, develops criticisms of the "end of art" thesis, and returns to Hegel's "Aesthetics" in order to suggest alternative readings of art history and a better approach to philosophical aesthetics.

‘The art I love is the art of cowards’: Francis Picabia and René Clair’s Entr’acte and the Politics of Death and Remembrance in France after World War One.

by Christopher Townsend

Published in the journal 'Science as Culture', vol. 18, no. 3 (September 2009) "Technology, Death and the Cultural Imagination"

Francis Picabia and René Clair’s film Entr’acte (1924), shown within the context of the ballet Relâche, undertaken in... more Francis Picabia and René Clair’s film Entr’acte (1924), shown within the context of the ballet Relâche, undertaken in collaboration with the composer Eric Satie, is a critique by Picabia of the political and aesthetic effects of the call-to-order in France after the Great War (1914-18), with affinities to his critical position expressed in both paintings and writings. This critique is part of a wider project by Picabia engaged with the relation of the individual subject to technology and modernity, as manifestations of industrial capitalism and of new forms of governmentality that erase subjectivity. The project deliberately satirises the post-war cult of the dead, using a Keystone Cops like chase to mock the repatriation of the French war dead from battlefield cemeteries in the early 1920s. In their satire, however, both film and ballet also establish a distinctive critique of the technology of film itself as implicated in a modernity where the individual can be easily and indifferently annihilated by the demands of the state.