Collage, Montage, & Assemblage

Das Undbild von Kurt Schwitters und die Philosophie des Und von Franz Rosenzweig stehen im Zentrum der hier vorgetragenen Überlegungen. Beide Arbeiten, die künstlerische wie die philosophische, entstanden unabhängig voneinander, jedoch im nämlichen Zeitraum (ca. 1920). Ohne voneinander zu wissen, haben Schwitters sowie Rosenzweig auf je verschiedene Weise die Konjunktion thematisiert. Diese eigenartige Koinzidenz markiert eine historische Situation, deren Charakteristika genauer zu betrachten sind. Künstlerisch betrachtet erweist sich das Und als epochales Grundwort für Collage und Montage. Philosophisch bedacht führt die Konjunktion auf eine sprachphilosophische Wende sowie auf eine radikale Kritik der Hegelschen Dialektik (lange vor aller postmodernen "Logik des Und"). Ziel des Vortrags ist es, Bild und Buch in wechselseitiger Verschränkung zu befragen.

A dialectic theory of montage in the digital age.
The article outlines a theory of montage between the two poles of jump cut and match frame (or match cut), i.e. the jump in time and the jump in space. These two basic principles are applied to a number of films that don't work with the conventional editing technique of the invisible cut and therefore invent a sort of event montage.

FIRST INTERNATIONAL DADA-FAIR-SATURNALIA OF ART The First International Dada-Fair developed the complexity of the oppositional Dionysian and Apollinian poles into an experiential realm, revealing the "terrible and dubious character of existence" (Nietzsche) as a social and cultural grotesque. With this fair, Berlin became the focal point of Dadaism from July 1 to August 25, 1920. In the announcements the vernissage was on June 30 (Berliner Lokal-Anzeiger, June 26, 1920). According to the entrance ticket of the critic E. F. in Deutsche Tageszeitung of August 4, 1920, it opened on July 1, 1920, for the public. The Dadaists had announced diverging dates; possibly the opening was postponed several times. From the sticker of the Dada-Fair, 1 we can assume it closed on August 25; this date approximately coincides with the period of the last critique by Kurt Bosdorff in Ostpreussische Zeitung (August 18, 1920). As a "first" exhibition, one can assume that something new would be shown and that second and third events would follow: strength was demonstrated. "First" also means "best": Berlin was supposed to become the center of international Dadaism, the fair its mirror and advertisement. The term "international" showed Dada's thrust against the patriotism of the European nations at war; in this realm Dada was provocative whenever possible. Thus the trilingual titles for the portfolio by Grosz God With Us (fig. 79.1-79.9), published in 1920 by Malik-Verlag and exhibited at the Dada-Fair, strongly contributed to the public outrage at Grosz's defamation of the German Reichswehr, as the lawsuit on April 20, 1921, would show. Already in the plan of an international Dadaist Weltatlas (world atlas), the Dadaco, which Huelsenbeck pursued from June 1919 to February 1920, the movement was to get a first summarizing documentation (fig. 165.1-165.4). But from the mostly German contributions to the fair in Berlin, it can be seen that it was somewhat euphoric in its claims. Only six artists (7%) with seventeen works (10%) came from foreign countries: Picabia (6) (France), Arp (5) and Serner (1) (Switzerland), Schmalhausen (4) (Belgium/Berlin), Hecht (2) (U.S.), Hans Citroën (4) (The Netherlands/Berlin). The cosmopolitan element of Dada was contained both in its enthusiasm for the American lifestyle and in its demand for an "international, revolutionary unification of all creative and intellectual people of the whole world rooted in radical communism." 2 It can be traced back to an appeal made by the new Russian government printed in Die Pleite, no. 1 in January 1919, which suggested an assembly of German and Russian artists leading to a world-convention of all revolutionary artists. For Grosz, Heartfield, Herzfelde, and at times also Hausmann, international solidarity was an indispensable part of the Dada-Fair, even though the communist movement did not honor them as trusted combatants. They were judged to be bourgeois and decadent because of their nihilism, and the Dadaists themselves revolted against the communists' dogmatic, punctilious concept of art. 3 The term "Dada-Fair" associates the art exhibit with a trade show, the quotation coming from the montage Universal-City (fig. 117), the title illustration of the catalog: the trade with Dada-Erzeugnisse (products) was supposed to be transnational. Dada pointed ironically to the numerous trade shows starting up after the war (

Developing an assemblage process predicated on a direct relationship to site, and within set parameters of small scale, found material and simple forms of photography, ‘Unmonumental’ is concerned with the production and installation of "diminutive structures that propose alternatives to the size and weight of traditional monuments" (Professor Chris Dorsett).

The project adopts the title of the New Museum's (New York) 2008 exhibition of contemporary collage but distinguishes itself from work included there by taking a more radically antithetical approach to monumental scale, statement and materials, and by focusing on site. 'Unmonumental' was developed as a practice-based project during three intensive artist's residencies at the Bundanon Trust, NSW, Australia; Studio Kura, Fukuoka, Japan and Union Scene, Drammen, Norway. In the project publication documentation of the work from these residencies is set within a broader contextual framework via texts by Professor Chris Dorsett of Northumbria University and Finnish experimental vocal and performance artist Meri Nikula.

This essay presents new insights into Henry Darger’s disturbing images of violence against children and his art's treatment of mass cultural ideals of innocence and deviance. It argues that his endangered heroines develop visual conventions already present in sensationalized representations of “missing girls” and “sex deviants” in national newspapers.  It also explores how his fictional “Child Protection Society” developed from accounts of American vigilante groups like the KKK that proclaimed themselves to be protecting children (especially girls and young women) from libidinous social outsiders.  Considering the social-historical context of his sources and his unique biography, I argue that the importance of his violent works is not that they illustrate pedophilic desire, as they have previously been interpreted. Rather, they highlight important questions about the use of images of vulnerable children (especially girls) in 20th c. American society to fan fears for socially marginal or atypical figures.

prologue, intro and afterword of book
Publication date: October 20, 2016
Abstract:
Restrictive border protection policies directed toward managing the flow of refugees coming into neoliberal democracies (and out of failing nation-states) are a defining feature of contemporary politics. In this book, Verónica Tello analyses how contemporary artists--such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green--negotiate their diverse subject positions while addressing and taking part in the production of images associated with refugee experiences and histories. Tello argues that their practices, which manifest across a range of contexts including Cuba, the United States, Australia and Europe, represent an emergent, global paradigm of contemporary art, 'counter-memorial aesthetics'.

Counter-memorial aesthetics, Tello argues, is characterized by its conjunction of heterogeneous signifiers and voices of many times and places, generating an experimental, non-teleological approach to the construction of contemporary history, which also takes into account the complex, disorienting spatial affects of globalization. Spanning performance art, experimental 'history painting', aftermath photography and video installation, counter-memorial aesthetics bring to the fore, Tello argues, how contemporary refugee flows and related traumatic events critically challenge and conflict with many existing, tired if not also stubborn notions of national identity, borders, history and memory.

Building on the writings of such thinkers as Michel Foucault and Jacques Rancière, this book offers a useful concept of 'counter-memory' for the twenty-first century. It shows how counter-memorial aesthetics is not only central to the nexus of contemporary art and refugee histories but also how it can offer a way of being critically present with many other, often interrelated, global crises in the contemporary era.

http://bloomsbury.com/us/counter-memorial-aesthetics-9781474252737/

This article analyses Henry Peach Robinson’s method of making composite photographs in the context of widespread belief that the photographer’s ‘mechanism’ was perceptible in the appearance of his prints. By examining Robinson’s preparatory and darkroom procedures, as well as the photographer’s extensive writing about his photographic practice, I suggest that composite photographs invited viewers to pay attention to process, and to take it into account in their evaluation of an image. This attitude challenged key tenets of academic art theory – the paradigm for nascent concepts of art in photography – by refusing to subordinate manual labour to that of the mind. While many nineteenth-century critics rejected Robinson’s approach, the debates engendered by composite techniques reveal a persistent fascination with making that advanced photographic practice as a marker of artistic value.

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1 On December 19, 1915, the Dobychina Gallery in Petrograd (now St. Petersburg) opened its doors for a new exhibition. Titled Zero-Ten (stylized as 0,10), The Last Futurist Exhibition of Painting, this show would be seminal for the avant-garde art practices of Soviet Russia. Among the fourteen artists presenting work stood out the names of Kazimir Malevich and Vladimir Tatlin. For both artists, by then outspoken rivals, this exhibition was an opportunity to consolidate their place in the avant-garde at a decisive point in their careers. The work they presented heralded a new direction in their work and in Russian art in general. The exhibition catalogue presented thirteen of Tatlin's reliefs, produced between 1914 and 1915. They defied traditional artistic formats, and were all untitled. The enmity between Malevich and Tatlin prompted both artists to produce brochures endorsing their pieces in the exhibition. Tatlin's booklet along with two photographs, are the only documentation we now have of his contribution to the show. The cover of the booklet shows one of the two corner counter-reliefs: a composition of iron and copper sheets, suspended in a corner by rigging affixed to the walls. In the existing photograph of this piece (fig , the walls appear covered with white paper, and another relief can be partially seen on the upperright. In the other photograph ( , another metal composition is suspended using wire; this corner is also covered with paper, and the catalogue number 133 and Tatlin's brochure accompany the piece.

Grown men do not play with paper dolls; or, at least, they are not supposed to. Nevertheless, self-taught Chicago artist Henry Darger (1892-1973) worked over many decades to create an elaborate world for paper-doll-like cutouts and tracings. This chapter examines a series of collage-paintings that Darger created at mid-century to consider the significance of paper dolls to his art. It argues that domestic space and girlish crafts offered Darger options for alternative forms of creativity and gender expression outside of social norms.

In short, this essay does for the concept of the assemblage what Deleuze and Giorgio Agamben did for Foucault in their essays on the dispositif: it extracts from a large body of work the core formal features of its operative methodology or logic.

Kurt Schwitters’ Merzbau, which took shape in Hannover, Germany, between 1923 and 1936, is one of the most problematical artworks of the 20th century. The Hannover Merzbau and its two lesser-known successors, constructed by Schwitters in exile, present an unusual challenge to art historians because so little remains of them: the first was destroyed in 1943, nothing survives of the second, constructed in Oslo, and the last, in Elterwater, England, was never completed. Despite the painstaking investigations of Werner Schmalenbach, Dietmar Elger and John Elderfield between the 1960s and 1980s, the Hannover Merzbau in particular has amassed so many myths and legends since Schwitters’ death in 1948 that the reception of the work may be said to have established a dynamic of its own. The combination of the lack of originals and a plethora of misunderstandings about the evolution of the Merzbauten has meant that these sculptural interiors are frequently misconstrued as essentially ludicrous, macabre or regressive works that are hardly to be taken seriously within the framework of the 20th century avant-garde.
  The main aim of this dissertation is to relocate the Merzbauten in their historical context by building on the often forgotten work of early researchers. It includes an examination and assessment of a selection of scholarly studies, a review of the evidence that draws on new archival discoveries, critical analyses of key sources such as Schwitters’ few published statements on his constructions, his personal correspondence and the visual material, and a revised chronology that not only calls into question many of the numerous anecdotes, legends surrounding the Merzbauten, but also most of the accepted art-historical theories. The concluding chapter examines various aspects of the complex interweaving of the public and private facets of the Merzbauten and suggests ways in which the revised chronology can alter our understanding of these works and in addition, redefine them as works of exile.

Publicado na revista Lugar Comum, nº 52:
http://uninomade.net/lugarcomum/52/

Imaginando  com  o  cinema  de  ficção  científica  um  cenário  de  expansão  da  precarização da  vida  humana  e  o  esgotamento  das  expectativas  de  transformação  desta  condição,  a bricolagem  se  apresenta  em  diversas  discussões  recentes  enquanto  uma  prática  de criação  de  novas  possibilidades  a  partir  de  situações  limites.  Este  ensaio  busca  traçar uma  imagem  do  pensamento  bricoleur,  mostrando  o  seu  modo  criativo  de  racionalidade e  interação  com  o  mundo.  Faço  aqui  uma  genealogia  do  conceito  de  bricolagem  a  partir da  arte,  passando  por  uma  leitura  de  textos  do  Lévi-Strauss  e  confrontando  esta  leitura com  textos  de  Eduardo  Viveiros  de  Castro  e  Isabelle  Stengers.  O  que  busco  propor  aqui é  um  conceito de  bricolagem  enquanto  prática  de  pensamento relacional com um  mundo em constante variação  e  um universo de  afecção  mútua  entre  seus componentes.

Marcel Duchamp, vue de Etant Donnés : 1 la chute d'eau 2 le gaz d'éclairage…, photographie de Marcel Duchamp extraite de la Notice de montage réalisée par l'artiste en 1966 et éditée en fac simile en 1987 par le Musée de Philadelphie, (Musée de Philadelphie). Tous les autres documents sur Marcel Duchamp sont extraits de ce même fac simile, sauf mention contraire. ETANT DONNÉS, LA RÉPLIQUE ET RICHARD BAQUIÉ : MORPHOGENÈSE DE LA REPRODUCTIBILITÉ Article publié dans la revue Ligeia, n°65-68, mars 2006. Pierre Baumann "La différence (dimensionnelle) entre 2 objets faits en série [sortis du même moule] est un infra mince quand le maximum de précision est obtenu." 1 Marcel Duchamp 1. Marcel Duchamp, Notes, Flammarion, Paris, (1980) 1999, p. 17.

Let's start with the poster and catalogue cover of the Tate's 'Kurt Schwitters in Britain' exhibition, which both feature Schwitters' 1947 collage En Morn. On each, the strip of white print running along the lower edge of the original is lacking. 'These are the things we are fighting for' it reads, in the manner of a caption. No doubt the curators had good grounds for the omission, but to find a complete, horizontal sentence in a Schwitters collage is unusualnot to say suspectso this one at least deserves special attention. Automatically we associate it with the dewy-eyed blonde on the right who is encircled by a somewhat forbidding jumble of elements dominated by the colours of the flag of Weimar Germany. Below her, an upturned photo of a respectable Victorian male, a piece of arrow-like frame and a red stain draw our attention to the irregular and comparatively nondescript grid of torn and crumpled papers on the left. Is the blonde gazing at a grubby bus ticket or into a blank future? Who might be fighting for what in 1947? And who does 'we' refer to? Artists? The British? Schwitters was of course German, if alienated from his homeland and on the brink of gaining British citizenship. Is he preaching, mocking, warning or just plain teasing? For a clue, we might look to another assemblage on show, which he has entitled As You Like It.

This monograph considers the phenomenon of the continued relevance of collage, a form established over a hundred years ago, to contemporary literature. It argues that collage is a perfect artistic vehicle to represent the crisis-ridden reality of the twenty-first-century. Being a mixture of fragmentary incompatible voices, collage embodies the chaos of the media-dominated world. Examining the artistic, sociopolitical and personal crises addressed in contemporary collage literature, the book argues that the 21st Century has brought a revival of collage-like novels and essays.

A modern paradigm of Oriental-Occidental translatio is presented by ... Andrés Claro ... in his comprehensive study “Montage as East-West Poetic Configuration. Ezra Pound’s Translation of Chinese Images”. The critic demonstrates that Ezra Pound’s principle of montage, developed at first in his early collection of translated Chinese poems called Cathay (1915) that contributed  to revolutionize English and Western poetry, is not only a re-orientation of euro-centred literature and of global translatio studii, but a reconfiguration of poetic form and representation as such. As a result, montage ‘formally’ emerged as “a hybrid figure of mixed origins”.
In order to illustrate the complexity of cultural transfer or translatio studii in the field of translation between Eastern and Western languages and literatures, Claro starts with the presentation of Pound’s iconical notice on the front cover of Cathay. This notice synoptically displays in the shape of an inverted cone the creative translation process leading to East-Western Cathay: it goes from the Chinese poems, many of them by Li Po (jap. Rihaku), to Ernest Fenollosa’s English translation and notes, via a Japanese sinologue – Pound’s professor, ignoring English – and via an auxiliary Japanese-English interpreter – up to Ezra Pound himself who, besides retranslating in Cathay Fenollosa’s cribs and paraphrases of Chinese poetry, was to edit Fenollosa’s essay The Chinese Character as a Medium for Poetry (1918) whose ideas had inspired his own translational poetry and poetics since he was handed over the manuscript in 1913, after the author’s death (1908).
In the first chapter on “East-West Poetic Figurations” Claro analyses the principles of Pound’s creative transpositions of the Chinese images into the English language, with constant reference to Fenollosa’s notes and with close comparisons between Fenollosa’s more prosaic and Pound’s more poetic translations. The basic principle is the English re-creation of Chinese imagery, rooted in the partly pictographic writing system and in the syntactic isolation, the asyndetic juxtaposition of discrete images stimulating a vivid dynamic between the imagistic figures in the reader’s mind. While Pound’s translations aim mainly, in accordance with the principle of phanopoeia, at an adequate, yet creative, verbovisual figuration, the ‘equivalence’ of Chinese and English melopoeia, i.e. phonic and rhythmic figuration, and of logopoeia, i.e. cultural and allusive figuration, is either reduced or completely left apart, due to historic and linguistic resistance or to the poet’s personal ignorance, as he declares himself.
Another principle of Chinese writing is the cosmic correspondence between nature and literature, firstly the word considered as a natural and moving thing, and secondly the verbovisual configuration of invisible cosmic correlations between things. Its symbolic matrix is the figure of Yin Yang that constitutes the dynamic parallelism of corresponding and complementary pairs of all kinds. In a series of lucid interpretations, Andrés Claro, so to speak, ‘carves the dragon’ by working out some subtle stylistic couplings or “dynamic imagistic arrangements” in classical Chinese poetry, namely in Li Po’s couplets, quatrains and octets, heteroglossically transfigured in Ezra Pound’s Cathay. Claro’s interpretation includes the philosophical value of imagistic figuration, where he notes, with reference to contemporary sinologues, the significant linkage between the Taoist principle of cosmic correspondence and the Chinese word wen that designates literature through the meaning of ‘pattern’, especially the stirring figure of parallelism. This goes along with a comparative analysis of Oriental and Occidental conceptions of cosmic and literary figures, of parallelism and metaphor.
In his second chapter “East-West Metaphysical Configurations: from ideological criticism to the transcendental revolution of montage”, the scholar looks at the more or less ‘discrete’ and ‘discreet’ modes of montage within the context of the work of Ezra Pound: the more ‘discreet’ and a bit less ‘discrete’ Cathay versus the more ‘discrete’ and less ‘discreet’ The Cantos. At the same time, he considers the modes of montage in the larger context of Western Modernism in the fields of literature, the arts and the media, with a focus on T.S. Eliot, on Picasso and on Sergei Eisenstein’s essay “The Cinematographic Principle and the Ideogram”. Since montage is substantially linked to the aspect of history, the scholar investigates the double connexions between the context of World War I in which Cathay is embedded and the topic of ancient history in Cathay, on the one hand, and on the other hand, the connexions between ancient and contemporary world history, including World War II, in and around The Cantos.
Against the background of Chinese ‘ideogrammaticality’, The Cantos induced a new form of representation in epic poetry where ideogrammic and idiomatic fragmentation and semantic polyvalence become overwhelming and eliminate intentional meaning and anticipatory historical sense, while staging it in an kaleidoscopic way. The performative and imagistic impact is predominant, very much like Walter Benjamin has stated in his Passagen-Werk regarding the phenomenon of Modernity. Both world views, the traditional Occidental dualism of two separate worlds with its static mode of metaphorical figuration and the dynamic ideogrammic figuration of correlated immanent worlds in Oriental poetry and Taoism are finally disconnected from Modernity. They are replaced by the poetic and ideogrammic figure of the interruptive and instantaneous event that generates flashes of impersonal meanings and multiple perspectives on a possible past and future, lacking both origo and telos.
Still, in the broken figures of montage there is also a partial re-membring of disiecta membra: the figure of interlingual and intermedial couplings of Chinese and European characters, of translational parallelisms in The Cantos. They are conceived as a multiple écart, semantic, phonic and graphic, operating erratically in praesentia and in absentia: a complex convergence and divergence of Eastern and Western idioms and ideas. 

A. Knauth (from "Configuration of the Book" - Introduction).

Dit overzicht is geen boek in de strikte zin van het woord: een doorlopende tekst gesteund door verschillende illustraties bij de respectievelijke inhoud.
Het is eerder een compilatie van diverse documenten, affiches, uitnodigingen, tekstfragmenten, enz. waar mogelijk aangevuld met foto’s en illustraties bij de verschillende hoofdstukken.
Een virtuele of digitale collage dus, een plakboek op de computer i.p.v. met schaar & lijm.

This study surveys recent research on print-era scrapbooks and contemporary social media to highlight commonalities between the two formats, both in terms of the practices they have historically promoted for users, and the methodological challenges they produce for researchers. It argues that scrapbooks and social media can be conceptualized as sites of personal media assemblage and personal media archives, a designation that highlights the simultaneously social and archival dimensions of each form. After discussing these formal similarities, the author identifies three shared functions: (1) documenting friendship, (2) navigating new media abundance, and (3) communicating taste and building cultural capital. By drawing functional and formal parallels between the two media, the goal is to observe how these ‘old’ and ‘new’ technologies might mutually shed light on each other’s neglected social and archival dimensions, offering scholars a wider range of angles from which to approach them as cultural and biographical texts.

PhD Thesis
Through the medium of artists books, this study explores the re-contextualisation and
repurposing of scientific images within visual narratives of freshwater places in Australia.
Aquatic fungi are featured in these visual stories as a representative for the more-thanhuman
inhabitants of these aquatic environments, that lie mysteriously, like the Bunyip,
beyond normal human perception. Appearing as apparitions, these natural recyclers
metaphorically de-compose the detritus of the colonial freshwater narratives to assert
the presence of the non-human. Many issues arose from the interdisciplinary work as
objectivity of science collided with subjectivity of a physical and metaphysical experience
of place. In this contested space, preconceptions of scientific knowledge and values
were challenged and then reconciled. In this work I was informed by Gaston Bachelard’s
deliberations in Poetics of Space and the concept of ‘science as cultural practice’ outlined
in the collected writings of Donna Haraway. Yet this was not a Consilience, as EO Wilson
would prefer, but a montage layering of intervention and flow within site-specific, placenarratives
of fresh water.
The study concludes that the visual montage and the narrative offer inclusive and
extended potential to deconstruct rigid structures and then recombine or hybridise these
elements into an unexpected diversity of ideas. Intentionally, the reader is not offered yet
another eco-political environmental narrative of water and rivers. These stories flow from
one site to another, from colonial perceptions of progress and production to a natural
recognition of absence and presence, and from scientific fact to mythical reality.

Dit overzicht is geen boek in de strikte zin van het woord: een doorlopende tekst gesteund door verschillende illustraties bij de respectievelijke inhoud.
Het is eerder een compilatie van diverse documenten, affiches, uitnodigingen, tekstfragmenten, enz. waar mogelijk aangevuld met foto’s en illustraties bij de verschillende hoofdstukken.
Een virtuele of digitale collage dus, een plakboek op de computer i.p.v. met schaar & lijm.

Selected for the Leonardo Abstracts Service LABS 2019, Best Thesis Abstracts in Art, Science, and Technology

This dissertation initiates a new cinematic language specific to immersive cinema—somatic montage. A language specific to immersive cinema is an area of cinema theory neglected up until now. Immersive and hyper-cinemas, because of their formal multivalency, occupy a post-cinematic critical space between film and media theory, art history, and art-science-technology. Somatic montage describes a conceptual approach to composing narrative structures in cinematic forms that occupy three and higher dimensions of space-time, examining the roles of proprioceptions, memory, and synaesthesia in experiencing a work of art. We propose a new montage syntax specific to immersive cinema that addresses cinema as a supra-dimensional, embodied construct. The four-dimensional tesseract provides a useful model-metaphor of a somatic montage for addressing concepts of space-time, spatial and temporal ambiguity, the faceting of perspective via multiple viewpoints or screens, and the subjective participation of the viewer in an unfolding narrative. ❧ The concept of somatic montage developed here begins with the impact on the arts of the turn of the 20th-century discoveries of hyperspace, non-Euclidean geometry, relativity theory, and quantum mechanics that established Modernism. We follow with a brief spatial history of montage from linear-temporal cinematic montage, multi-layered spatial montage in two dimensions, assemblage in three dimensions, and finally somatic montage, a montage in (4:n)-dimensions. Advances in neuroscience demonstrating the embodied, somatosensory conceptualization of multiple dimensions of information in the mind are brought to bear on developing a polysensory language for perceiving and composing supra-dimensional cinema. ❧ We demonstrate the relevance of somatic montage in contemporary and historical art forms, including giant screen and “hypercinemas,” video art, multi-projection media installations, panoramas, experimental film, stereoscopy, holography, and the frameless, immersive cinema formats of fulldome, 360° cinema, and virtual and augmented reality. A detailed analysis of the media installation “Ice-Time,” the praxis portion of this dissertation, concludes this research. “Ice-Time” is an immersive, multi-channel audiovisual installation whose formal structure exemplifies embodied, supra-dimensional cinema composition while demonstrating the significance of interdisciplinary art-science research.

The idea that is being pursued through all my artworks is the question of the influence of positive thoughts on our daily life. At various stages of making these artworks, I was thinking  how to be able to show you these messages, to be original, just mine (messages). By further work I realized that what is already visible and used is actually good and encouraging. I got different ideas and inspiration by studying other artworks and their authors.
"Many think that originality is sought in style, but the forcible finding of style can limit the person to a certain extent. Let's take Picasso, who had so many stages in his life, but still, for each of his styles, we still said it is his artworks, so unique and original "(Bilota, 2017). The first ideas can often be just a combination of the ones already seen, so I have elaborated my own idea of ​​splitting procedures and extreme divisions (mental mapping). I've gathered a collection of texts, photos, moments, writing the terms that are personal to me and put them all in one place - self-portrait. In addition, ideas are the basis for research and a kind of game in which we can make this idea exciting and entertaining in our personal way, meaning original. Even though I choose something that already exists (affirmative messages) I am still the author of these artworks because they are based on personal experiences and expressions. This makes them unique. By portraying myself, I introduce viewers to my intimate world. In the artworks, firstly I wanted to show the changing structure of life, made up of small things / people / events that should be our teachers because everything that we pass, makes our personality and everything, we should learn something and take what is  best for us.

While several studies have offered re-evaluations of Umberto Boccioni's sculptures and sculptural theories, scholars have generally failed to address systematically the specificities of the formal and technical choices that the Futurist artist made in his overall sculptural practice. This critical attitude (or lack thereof) is partly sustained by the general assumption that Boccioni's sculptures represent a coherent projection not only of his Futurist theories of art but also of his work in painting. Challenging this belief, the present article aims to reassess the role and function of Boccioni's use of plaster and plaster casts in the framework of his evolving sculptural practice and to highlight the contradictions and challenges that these works created within Futurist aesthetics.

Dit overzicht is geen boek in de strikte zin van het woord: een doorlopende tekst gesteund door verschillende illustraties bij de respectievelijke inhoud.
Het is eerder een compilatie van diverse documenten, affiches, uitnodigingen, tekstfragmenten, enz. waar mogelijk aangevuld met foto’s en illustraties bij de verschillende hoofdstukken.
Een virtuele of digitale collage dus, een plakboek op de computer i.p.v. met schaar & lijm.

Dada Berlijn bestond van 1918 tot en met 1920. De groep was klein, maar zeer actief, en stond aan de basis van enkele montagevormen die van grote invloed zouden zijn op de moderne kunst van de twintigste eeuw. Haar omarming van nieuwe materialen en methoden creëerde een omvangrijke artistieke erfenis, mede door de introductie van radicale strategieën als collage, montage, assemblage, de readymade, performances en de publieke actie. De dadaïsten wisten hun montagevormen in een buitengewoon tempo te ontwikkelen tot provocerende kunstmethoden die een groter beroep deden op de recipiënt. Wat toen radicaal was is inmiddels fundamenteel gebleken.
Collage- en montagetechnieken vragen een andere benadering van de lezer/beschouwer. Door triviaal materiaal te gebruiken en teksten en beelden op te knippen en te monteren, ontstaan breuken in o.a. betekenis, perspectief, tijd, ruimte, context en causaliteit - de perceptie wordt “veronzekerd”, zoals kunsttheoreticus Hanno Möbius het noemt. Door het polyvalente vertelperspectief moet de lezer zelf hypotheses vormen en de fragmenten ordenen.
In deze scriptie staat deze belangrijkere rol van de recipiënt centraal en wordt onderzocht hoe Dada Berlijn dit wist te bereiken, met een specifieke nadruk op de dadaïsten Raoul Hausmann en Johannes Baader. Hoe gaat het proces van betekenisvorming bijvoorbeeld in zijn werk bij hun montages? Wat waren de ideeën van de kunstenaars hierover? Op welke manier(en) brachten zij hun ideeën met deze technieken naar voren? Op welke wijze werd er gebruik gemaakt van triviaal materiaal en hoe werden deze fragmenten gecombineerd? Hoe werd er omgegaan met materiaal uit verschillende bronnen en hoe moest de lezer of beschouwer al deze combinaties interpreteren?

ATMOSPHERE 10 explores Fabrications. Fabrications implicate diverse artifacts and modes of making, together with the places, practices, contingencies and intentions that enable and contextualize making. In other words, this symposium will examine not simply what, how and why we make, but sites and situations of making. The aim is to explore how cultural and environmental circumstances become meaningful catalysts of design, building, teaching and research. This theme encompasses manifold concerns beyond the digital: complexities of urban and social fabrics; intricacies of environmental skins; potentials of building sites and workshops; as well as the stories and arguments through which we craft shared understandings of our fabricated world.

Abstracts due Nov 1, Symposium Feb 1-3, 2018 University of Manitoba, Winnipeg.

Keynote Speakers include: Brian MacKay-Lyons & Philip Beesley
http://umanitoba.ca/faculties/architecture/atmosphere/2018/brian-mackay-lyons.html
http://umanitoba.ca/faculties/architecture/atmosphere/2018/philip-beesley.html

Ces notes de travail accompagnent les "mobilographies", photos réalisées avec mon iphone, puis "montées" en dyptiques ou en tryptiques. Ce sont des réflexions théoriques ou prospectives sur ces expérimentations artistiques. Pour voir les photomobiles:
http://www.norbert-hillaire.com/?p=380