Intermedia Art and the Future
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Intermedia Art and the Future
By Fang Di
The article mainly talking about the conception of “intermedia”,and how’s the arts going on in the future.Dick Higgins important concept of “intermedia”stated in 1965,is a direct outgrowth of Cage’s ideas.Higgins and contemporary experiments in theatre and tue visual arts are arts that “Fall between media.”Some artist’s practices that prompted this shift in art making were Marcel Duchamp,Allan Kaprow,Merce Cunningham,Otto Muehl,and so on..The all encompassing medium of “expanded cinema” or “expanded consciousness” was a process of becoming,the ongoing drive of the human to manifest his/her consciousness outside of the mind and in front of the eyes.The medium is the medium and these artistic practices at best make visual and physical a philosophy,a period of time,an object,a question,a movement,a space,a material,and for us a manifesto of the future.
The first class we have is talking about Laban Movement Analysis,we also practice the movement in the class. the system which devised by Rudolf Laban is talking about understanding, observing, describing and notating all forms of movement. While the Body category primarily develops connections within the body and the body/space intent, the way the body changes shape during movement is further experienced and analyzed through the Shape category. It is important to remember that all categories are related, and Shape is often an integrating factor for combining the categories into meaningful movement.About the space, Laban’s movement always move in a cube. The space have Direct and Indirect.Sometimes we Bound by the cube,sometimes we are free.All the action happen in a sudden.
After Laban,another dancer,Merce Cunningham who found out a new way to describe the movement.I think is belong by people’s physical experience.When I saw Merce Cunningham’s works,body and soul would be pleasure.This kind of pleasure is come from the form of the dance.The dance is not deliberately arranged.The focused on investigation and active performances.In Merce Cunningham’s art works.they have contact improvisation. Contact improvisation and improvisation difference is that it must be subscribed by at least two people in order to coustitute.Through human interaction,exchange of focus,continuous movements and contacts,the body’s natural movements emerged.
The other principle that Cunningham and Cage shared was the use of chance procedures in the composition of their works. Cage carried them through to the process of realizing a work in performance, while Cunningham has preferred to use chance not in the performance of his choreography but in its composition. Even so, there are those who believe that the dancers toss coins in the wings before going on stage, where they improvise. Nothing could be further from the truth. By the time the choreography is given to the dancers in rehearsal, Cunningham has largely worked it out, using chance methods to determine the sequence of movements, where in the space they will be performed, and by how many dancers. His dances are not lacking in structure, but the structure is organic, not preconceived.
Anyway,talking about the contemporary dance in the intermedia.There is a person call Oskar Schlemmer we need to find out and understand.He was a German painter, sculptor and designer associated with the Bauhaus school. In 1923 he was hired as Master of Form at the Bauhaus theatre workshop, after working some time at the workshop of sculpture. His most famous work is "Triadisches Ballett," in which the actors are transfigured from the normal to geometrical shapes. Also in Slat Dance and Treppenwitz, the performers' costumes make them into living sculpture, as if part of the scenery.
We also talk about the (E.A.T.) in intermedia. Experiments in Art and Technology (E.A.T.) was a non-profit and tax-exempt organization established to develop collaborations between artists and engineers. E.A.T. initiated and carried out projects that expanded the role of the artist in contemporary society and helped eliminate the separation of the individual from technological change. E.A.T. was never a concrete channel that formalized an art-science interchange in some elaborate bureaucratic institution. Rather it served to facilitate person-to-person contacts between artists and engineers.It was officially launched in 1967 by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman. These men had previously collaborated, most notably in 1966 when they together organized 9 Evenings: Theatre and Engineering, a series of performance art presentations that united artists and engineers. The performances were held in New York City's 69th Regiment Armory, Such collaborations continued to break down barriers between the arts and scientists in the 60’s, 70’s, and 80’s, and indirectly launched and supported the experimental sound artist John Cage, dancer Merce Cunningham, and pop artist Andy Warhol.The pinnacle of E.A.T. activity is generally considered to be the Pepsi Pavilion at Expo '70 at Osaka Japan where E.A.T. artists and engineers collaborated to design and program an immersive dome.Twenty-eight regional E.A.T. chapters were established throughout the U.S. in the late 1960s to promote collaborations between artists and engineers and expand the artist’s role in social developments related to new technologies. In 2002 the University of Washington hosted a reunion to celebrate the history of these regional liaisons and consider the legacy of E.A.T. for artists working with new technologies in the twenty-first century.
We also talk about Allan Kaprow in the class.he was an American painter, assemblagist and a pioneer in establishing the concepts of performance art. He helped to develop the "Environment" and "Happening" in the late 1950s and 1960s, as well as their theory. His Happenings - some 200 of them - evolved over the years. Eventually Kaprow shifted his practice into what he called "Activities", intimately-scaled pieces for one or several players and devoted to the examination of everyday behaviors and habits in a way nearly indistinguishable from ordinary life. Fluxus, Performance art, and Installation art was, in turn, influenced by his work..
In my opinion,intermedia was inter-disciplinary activities that occur between genres that became prevalent in the 1960s. Thus, the areas such as those between drawing and poetry, or between painting and theater could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry or performance art.)
Higgins described the tendency of the most interesting and best in the new art to cross the boundaries of recognized media or even to fuse the boundaries of art with media that had not previously been considered art forms, including computers.The art in the future may use much of high-tech.Just like Merce Cunningham.He use the computer to design and edit his dance art.
Intermedia may radically affect the future of all the arts. The changes likely will unfold slowly over decades or even centuries of time. These new influences may redefine the nature and meaning of the arts in important ways. At the same time, increasingly larger numbers of us will have more frequent access to the fine arts. Hopefully the 21st century will be a time when the arts can become readily available not just to people in the richer countries, but also to all people throughout the world.
blog: http://touchmetal.blog.163.com/
By Fang Di
The article mainly talking about the conception of “intermedia”,and how’s the arts going on in the future.Dick Higgins important concept of “intermedia”stated in 1965,is a direct outgrowth of Cage’s ideas.Higgins and contemporary experiments in theatre and tue visual arts are arts that “Fall between media.”Some artist’s practices that prompted this shift in art making were Marcel Duchamp,Allan Kaprow,Merce Cunningham,Otto Muehl,and so on..The all encompassing medium of “expanded cinema” or “expanded consciousness” was a process of becoming,the ongoing drive of the human to manifest his/her consciousness outside of the mind and in front of the eyes.The medium is the medium and these artistic practices at best make visual and physical a philosophy,a period of time,an object,a question,a movement,a space,a material,and for us a manifesto of the future.
The first class we have is talking about Laban Movement Analysis,we also practice the movement in the class. the system which devised by Rudolf Laban is talking about understanding, observing, describing and notating all forms of movement. While the Body category primarily develops connections within the body and the body/space intent, the way the body changes shape during movement is further experienced and analyzed through the Shape category. It is important to remember that all categories are related, and Shape is often an integrating factor for combining the categories into meaningful movement.About the space, Laban’s movement always move in a cube. The space have Direct and Indirect.Sometimes we Bound by the cube,sometimes we are free.All the action happen in a sudden.
After Laban,another dancer,Merce Cunningham who found out a new way to describe the movement.I think is belong by people’s physical experience.When I saw Merce Cunningham’s works,body and soul would be pleasure.This kind of pleasure is come from the form of the dance.The dance is not deliberately arranged.The focused on investigation and active performances.In Merce Cunningham’s art works.they have contact improvisation. Contact improvisation and improvisation difference is that it must be subscribed by at least two people in order to coustitute.Through human interaction,exchange of focus,continuous movements and contacts,the body’s natural movements emerged.
The other principle that Cunningham and Cage shared was the use of chance procedures in the composition of their works. Cage carried them through to the process of realizing a work in performance, while Cunningham has preferred to use chance not in the performance of his choreography but in its composition. Even so, there are those who believe that the dancers toss coins in the wings before going on stage, where they improvise. Nothing could be further from the truth. By the time the choreography is given to the dancers in rehearsal, Cunningham has largely worked it out, using chance methods to determine the sequence of movements, where in the space they will be performed, and by how many dancers. His dances are not lacking in structure, but the structure is organic, not preconceived.
Anyway,talking about the contemporary dance in the intermedia.There is a person call Oskar Schlemmer we need to find out and understand.He was a German painter, sculptor and designer associated with the Bauhaus school. In 1923 he was hired as Master of Form at the Bauhaus theatre workshop, after working some time at the workshop of sculpture. His most famous work is "Triadisches Ballett," in which the actors are transfigured from the normal to geometrical shapes. Also in Slat Dance and Treppenwitz, the performers' costumes make them into living sculpture, as if part of the scenery.
We also talk about the (E.A.T.) in intermedia. Experiments in Art and Technology (E.A.T.) was a non-profit and tax-exempt organization established to develop collaborations between artists and engineers. E.A.T. initiated and carried out projects that expanded the role of the artist in contemporary society and helped eliminate the separation of the individual from technological change. E.A.T. was never a concrete channel that formalized an art-science interchange in some elaborate bureaucratic institution. Rather it served to facilitate person-to-person contacts between artists and engineers.It was officially launched in 1967 by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman. These men had previously collaborated, most notably in 1966 when they together organized 9 Evenings: Theatre and Engineering, a series of performance art presentations that united artists and engineers. The performances were held in New York City's 69th Regiment Armory, Such collaborations continued to break down barriers between the arts and scientists in the 60’s, 70’s, and 80’s, and indirectly launched and supported the experimental sound artist John Cage, dancer Merce Cunningham, and pop artist Andy Warhol.The pinnacle of E.A.T. activity is generally considered to be the Pepsi Pavilion at Expo '70 at Osaka Japan where E.A.T. artists and engineers collaborated to design and program an immersive dome.Twenty-eight regional E.A.T. chapters were established throughout the U.S. in the late 1960s to promote collaborations between artists and engineers and expand the artist’s role in social developments related to new technologies. In 2002 the University of Washington hosted a reunion to celebrate the history of these regional liaisons and consider the legacy of E.A.T. for artists working with new technologies in the twenty-first century.
We also talk about Allan Kaprow in the class.he was an American painter, assemblagist and a pioneer in establishing the concepts of performance art. He helped to develop the "Environment" and "Happening" in the late 1950s and 1960s, as well as their theory. His Happenings - some 200 of them - evolved over the years. Eventually Kaprow shifted his practice into what he called "Activities", intimately-scaled pieces for one or several players and devoted to the examination of everyday behaviors and habits in a way nearly indistinguishable from ordinary life. Fluxus, Performance art, and Installation art was, in turn, influenced by his work..
In my opinion,intermedia was inter-disciplinary activities that occur between genres that became prevalent in the 1960s. Thus, the areas such as those between drawing and poetry, or between painting and theater could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry or performance art.)
Higgins described the tendency of the most interesting and best in the new art to cross the boundaries of recognized media or even to fuse the boundaries of art with media that had not previously been considered art forms, including computers.The art in the future may use much of high-tech.Just like Merce Cunningham.He use the computer to design and edit his dance art.
Intermedia may radically affect the future of all the arts. The changes likely will unfold slowly over decades or even centuries of time. These new influences may redefine the nature and meaning of the arts in important ways. At the same time, increasingly larger numbers of us will have more frequent access to the fine arts. Hopefully the 21st century will be a time when the arts can become readily available not just to people in the richer countries, but also to all people throughout the world.
blog: http://touchmetal.blog.163.com/
nice~
顶～～～估唔到系呢度都见到你～～～～～～～
vvv
