Account Options Sign in. Avant-garde Film. Alexander Graf , Dietrich Scheunemann. This volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. Contenido II. Derechos de autor. This movement spread over Europe and was sustained for the greatest part by modern painters who, in their own field, had broken away from the conventional: Eggeling, Le'ger, Duchamp, Man Ray, Picabia, Ruttman, Brugiere, Len Lye, Cocteau, myself,
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Account Options Sign in. Sara Pankenier Weld. An Ecology of the Russian Avant-Garde Picturebook takes a new approach to interpreting s and s picturebooks by prominent Russian writers, artists, and intellectuals by examining them within the ecological environment that, first, made them possible and, then, led to their demise. It argues that naturalistic models of the complex interactions of dynamic systems offer effective tools for understanding the fraught interrelations of art and censorship in the early Soviet period. Through illustrative case studies, it mounts a close analysis of word and image and their synergistic interplay in avant-garde picturebooks, while also recontextualizing them within the ecology of their original environment where extraordinary countervailing forces played out a drama of which these books survive as telling artifacts.
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An exploration of avant-garde games that builds upon the formal and political modes of contemporary and historical art movements. The avant-garde challenges or leads culture; it opens up or redefines art forms and our perception of the way the world works. In this book, Brian Schrank describes the ways that the avant-garde emerges through videogames. Just as impressionism or cubism created alternative ways of making and viewing paintings, Schrank argues, avant-garde videogames create alternate ways of making and playing games. A mainstream game channels players into a tightly closed circuit of play; an avant-garde game opens up that circuit, revealing and reveling in its own nature as a game. We can evaluate the avant-garde, Schrank argues, according to how it opens up the experience of games formal art or the experience of being in the world political art. He shows that different artists use different strategies to achieve an avant-garde perspective. Some fixate on form, others on politics; some take radical positions, others more complicit ones. Schrank examines these strategies and the artists who deploy them, looking closely at four varieties of avant-garde games: radical formal, which breaks up the flow of the game so players can engage with its materiality, sensuality, and conventionality; radical political, which plays with art and politics as well as fictions and everyday life; complicit formal, which treats videogames as a resource like any other art medium for contemporary art; and complicit political, which uses populist methods to blend life, art, play, and reality—as in alternate reality games, which adapt Situationist strategies for a mass audience.
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