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7 Feb 2021 00:59:46 UTC
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69217
Author: Kathleen Coessens
File Type: pdf
Multidisciplinary analysis of experimentalism in music and the wider arts todayExperimental Encounters in Music and Beyondopens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term experimental, this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces, and spaces, revealing what experimentalism in music and the wider arts entails today. With perspectives from a range of disciplinesfrom choreography through composition to philosophy and beyondthe different experiences and artistic projects documented and discussed explore the complexity of experimentation in a way that is all the richer for being never-ending.bContributors bRichard Barrett (Institute of Sonology, The Hague), Sebastian Berweck (pianist and performer), Kathleen Coessens (Orpheus Institute, Ghent), Frederik Croene (pianist and composer, Belgium), Chaya Czernowin (Harvard University, Cambridge), Anne Douglas (Grays School of Art, Robert Gordon University, Aberdeen), Bob Gilmore(Orpheus Institute, Ghent), Valentin Gloor (Orpheus Institute, Ghent), David Gorton (Royal Academy of Music, University of London), David Horne (Royal Northern College of Music, Manchester), Efva Lilja (Dansehallerne, Copenhagen), Svetlana Maras (independent music professional, Radio Belgrade, Electronic Studio), Melinda Maxwell (Royal Northern College of Music, Manchester), Christopher Redgate (Royal Academy of Music, University of London), Jan C. Schacher (Royal Conservatoire, Artesis Plantijn University College, Antwerp, and Zurich University of the Arts), Reto Stadelmann (composer and musician, Germany), Steve Tromans (Middlesex University, UK), Penelope Turner (singer, musician, and performer, UK and Belgium)
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4 months ago
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application/pdf
English
37674
Author: J. M. Coetzee
File Type: mobi
From Publishers WeeklyStarred Review. Nobel laureate and two-time Booker-winner Coetzee has been shortlisted for the third time for this powerful novel, a semisequel to the fictionalized memoirs Boyhood and Youth that takes the form of a young biographers interviews with colleagues of the late author John Coetzee. To Dr. Julia Frankl, who briefly sought in Coetzee deliverance from her husband, he was not fully human to his cousin, Margot Jonker, he is boring, ridiculous and misguided and to Sophie Denoel, an expert in African literature, Coetzee is an underwhelming writer with no original insight into the human condition. The harshest characterizationand also the best of the interviewscomes from Adriana Nascimento, a Brazilian emigrant who met Coetzee when both were teachers in Cape Town she was repulsed by the intellectuals attempts at courtship. He is nothing, she says, was nothing... an embarrassment. The biographers efforts to describe his subject ultimately result in an examination that reaches through fiction and memoir to grasp what the traditional record leaves out. (Jan.) Reed Business Information, a division of Reed Elsevier Inc. ReviewThis is the third instalment of a life so reserved, so repressed, so seething with polite rage and restrained despair that it could only be approached through a third-person voice... it is wonderful stuff. But then, Coetzee is wonderful edgy, black, remorselessly human, witty, and often outright funny... Summertime is offbeat and deliberate, elusive and truthful. --_Irish Times _The cumulative effect of Coetzees unblinking honesty and his never-wavering seriousness, is an understanding of the creation of a great writer. --_Sunday Telegraph_ Beautifully reflective... reveal a strangely sincere, self-critical and romantic man... an intense outstanding and very enjoyable talent. --Scotland on Sunday Both an elegant request that the sum of Coetzees existence as a public figure be looked for only in his writing, and ample evidence, once again, why that request should be honoured. --_Observer_ From the Trade Paperback edition. A young English biographer is working on a book about the late writer, John Coetzee. He plans to focus on the years from 1972u1977 when Coetzee, in his thirties, is sharing a run-down cottage in the suburbs of Cape Town with his widowed father. This, the biographer senses, is the period when he was finding his feet as a writer. Never having met Coetzee, he embarks on a series of interviews with people who were important to him u a married woman with whom he had an affair, his favourite cousin Margot, a Brazilian dancer whose daughter had English lessons with him, former friends and colleagues. From their testimony emerges a portrait of the young Coetzee as an awkward, bookish individual with little talent for opening himself to others. Within the family he is regarded as an outsider, someone who tried to flee the tribe and has now returned, chastened. His insistence on doing manual work, his long hair and beard, rumours that he writes poetry evoke nothing but suspicion in the South Africa of the time.
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Created
4 months ago
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application/x-mobipocket-ebook
English
149772
Author: Jean Clottes
File Type: pdf
Was it a trick of the light that drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the heads of lions, likenesses of bison, horses, and aurochs in the reliefs of the walls, as they flickered by firelight? Or was it something deepera creative impulse, a spiritual dawn, a shamanistic conception of the world efflorescing in the dark, dank spaces beneath the surface of the earth where the spirits were literally at hand? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to this why of Paleolithic art. While other books focus on particular sites and surveys, Clottess work is a contemplative journey across the world, a personal reflection on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meantwhat function they may have servedfor their artists. Steeped in Clottess shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottess work lifts us from the darkness of our Paleolithic origins to reveal, by firelight, how we think, why we create, why we believe, and who we are. **Review It is shamanism that, according to Clottes, is the key to understanding the Paleolithic practices of what he calls Homo spiritualis, who chose to descend into the underworld, seek a trance state, and enter into contact with spirits. (Le Monde, on the French edition) What gives this art its power, Clottes says, is that it makes us dream. (New York Times) The deep understanding, love, and empathy that Clottes has for the art, imagination, and spiritual world of our Ice Age ancestors is so great that this book is a must-read. (Lawrence Guy Strauss, University of New Mexico Journal of Anthropological Research, on the French edition) Clottes is the leading Paleolithic archaeologist and perhaps the most famous archaeologist in the world. This alone makes What Is Paleolithic Art? noteworthy. But the topic is also one that generates interest beyond the archaeological profession, especially inasmuch as his expansive discussion emphasizes shamanism as the likely origin for this art, and partly bases this conclusion on comparisons and analogies with ethnographic cases. . . . Very readable and appealing. (David S. Whitley, author of Cave Paintings and the Human Spirit The Origin of Creativity and Belief) Clottes has probably seen more rock art around the world than anyone else, and this gives him an unusually broad perspective on the questions raised by the prehistoric cave art of his native France. Not everyone agrees with the shamanistic interpretations toward which he leans, but this very accessible discussion of both French cave art specifically and of rock art in general is wide-ranging, and his is certainly a point of view which anyone interested in Paleolithic art should know about. (Ian Tattersall, author of The Strange Case of the Rickety Cossack and Other Cautionary Tales from Human Evolution) About the Author Jean Clottes is a prominent French archaeologist and former general inspector for archaeology and scientific advisor for prehistoric art at the French Ministry of Culture. He is the author of Cave Art, among other books. Oliver Y. Martin is a lecturer in the Department of Environmental Systems Science at ETH Zurich, Switzerland. Robert D. Martin is curator emeritus in the Integrative Research Center at the Field Museum, Chicago.
Transaction
Created
4 months ago
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application/pdf
English