Walter Ruttmann Ruttmann was born in Frankfurt am Main; he studied architecture and painting and worked as a graphic designer. His film career began in the early 1920s. His first abstract short films, "Lichtspiel: Opus I" (1921) and "Opus II" (1923), were experiments with new forms of film expression, and the influence of these early abstract films can be seen in some of the early work of Oskar Fischinger. Ruttmann and his colleagues of the avant garde movement enriched the language of film as a medium with new form techniques. Ruttmann was a prominent exponent of both avant-garde art and music. During the Nazi period he worked as an assistant to director Leni Riefenstahl on Triumph of the Will (1935). Select Filmography[edit] Lichtspiel Opus I (1921) Lichtspiel Opus II (1922) External links[edit]
Nam June Paik Un article de Wikipédia, l'encyclopédie libre. Nam June Paik est un artiste sud-coréen né à Séoul le et mort à Miami le . Il a employé différents médias dans son travail et est considéré comme le premier artiste du mouvement d'art vidéo[1]. Il est notamment lauréat du Prix de la culture asiatique de Fukuoka en 1995 et du Prix de Kyoto en 1998. Biographie[modifier | modifier le code] Nam June Paik est né en Corée, à Séoul, en 1932. La même année, il décide de poursuivre ses études en Allemagne. Durant cette période, Nam June Paik côtoie John Cage et de nombreux artistes de l'époque. En 2006, Paik meurt d'une crise cardiaque à Miami en Floride. Son œuvre[modifier | modifier le code] Fluxus[modifier | modifier le code] Durant la fin des années 50, Nam June Paik rejoint le groupe artistique Fluxus, inspiré par le compositeur John Cage et son usage de bruits et sons ordinaires pour créer sa musique. Entre 1962 et 1967, il réalise plusieurs films pour Fluxus : les Fluxfilms.
Secondary Currents (1983/Peter Rose) More From the retrospective "La Pellicule du Chaos" Secondary Currents (1983/Peter Rose/USA) 16' +++ "I'm an escape artist. I aspire to travel in the fifth dimension, to speakunknown languages, to discover the next stage in the evolution of thought. A strange narrator speaks an imaginary language, an unidentified voiceover subtitled in English on a black screen. An interesting reflexion on the operational mode of the soundtrack and our ambiguous relation to the onscreen information dephased or not with the audio content. Sample The other video clips on the site look great! (s) ++ (w) +++ (m) 0 (i) +++ (c) ++
Résultats Google Recherche d'images correspondant à images Site Web pour cette image ANEMIC CINEMA - Marcel Duchamp trafikandar.overblog.com Recherche par imageImages similaires Les images peuvent être soumises à des droits d'auteur. Random Access Random Access is a theme Paik addressed frequently throughout his practice. As early as 1963, when Paik presented his groundbreaking Exposition of Music Electronic Television, the concept of Random Access was present throughout and was even the title of one of the works. Of the many works Paik presented that were innovative in the way they questioned how viewers could engage with art as well as with information in general, Random Access and Record Shashlick were the most direct presentations of this ambition for a paradigm shift in information retrieval that was led by the viewer and yet arbitrary. “Human beings have not really learned how to structure time-based information in recording and retrieval very well, because it is new.
Man Ray Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself.[1] Life and career[edit] Background and early life[edit] During his career as an artist, Man Ray allowed few details of his early life or family background to be known to the public. Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. First artistic endeavors[edit] The Misunderstood (1938), collection of the Man Ray Estate Man Ray displayed artistic and mechanical abilities during childhood.
Du cheval à Christo et autres écrits by Nam June Paik: Lebeer Hossmann, Bruxelles Hamburg Paris Broché, jaquette imprimée, Edition originale - Librairie-Galerie Emmanuel Hutin Bookseller: Librairie-Galerie Emmanuel Hutin Address: Paris, ., France Ratings History Terms of Sale: LIBRAIRIE GALERIE EMMANUEL HUTIN 5 RUE D'ARGENSON 75008 PARIS FRANCE - TEL. + 33 (0)1 42 66 38 10 - MAIL: tranco@club-internet.fr - Prix nets - Port à la charge du destinataire - Expédition après reception du règlement Shipping Terms: - Les commandes sont généralement expédiées sous deux jours. Store Description: Librairie Galerie Emmanuel Hutin 5 rue d'Argenson 75008 Paris FRANCE - Tel. + 33 (0)1 42 66 38 10 - Mail: tranco@club-internet.fr - Librairie-Galerie spécialisée dans la littérature et les beaux-arts du XX° siècle.
Left and Right: A Non-Euclidean Perspective (Robert Anton Wilson Our esteemed editor, Bob Banner, has invited me to contribute an article on whether my politics are “left” or “right,” evidently because some flatlanders insist on classifying me as Leftist and others, equally Euclidean, argue that I am obviously some variety of Rightist. Naturally, this debate intrigues me. The Poet prayed that some power “would the giftie gie us to see ourselves as others see us”; but every published writer has that dubious privilege. I have been called a “sexist” (by Arlene Meyers) and a “male feminist ... a simpering pussy-whipped wimp” (by L.A. I can only conclude that I am indeed like a visitor from non-Euclidean dimensions whose outlines are perplexing to the Euclidean inhabitants of various dogmatic Flatlands. Actually, it was once easy to classify me in simple Euclidean topology. When I moved on to Brooklyn Technical High School, I encountered many bright, likable kids who were not Catholics and not at all right-wing in any respect.
Résultats Google Recherche d'images correspondant à images Site Web pour cette image Créer des rythmes colorés upopi.ciclic.fr Recherche par imageImages similaires Les images peuvent être soumises à des droits d'auteur. " Random access " René Clair Early life[edit] René Clair was born and grew up in Paris in the district of Les Halles, whose lively and picturesque character made a lasting impression on him.[1] His father was a soap merchant; he had an elder brother, Henri Chomette (born 1896). He attended the Lycée Montaigne and the Lycée Louis-le-Grand. In 1914 he was studying philosophy; his friends at that time included Raymond Payelle who became the actor and writer Philippe Hériat.[2] In 1917, at the age of 18, he served as an ambulance driver in World War I, before being invalided out with a spinal injury. He was deeply affected by the horrors of war that he witnessed and gave expression to this in writing a volume of poetry called La Tête de l'homme (which remained unpublished). Back in Paris after the war, he started a career as a journalist at the left-wing newspaper L'Intransigeant.[3] Film career[edit] 1924–1934[edit] 1935–1946[edit] 1947–1965[edit] Writing and later work[edit] Adams. Clair also ventured into other media.
The Robert Anton Wilson Website Anemic cinéma