2,199 research outputs found
Beyond the Catholic-Protestant divide : religious and ethnic diversity in the North and South of Ireland
No full textPaper presented to the IBIS conference Old structures, new beliefs: religion, community and politics in contemporary Ireland, University College Dublin, 15 May 2003.This paper explores the challenges posed by the ethnic diversification of contemporary Irish society for conventional understandings of and responses to issues of religion, community and politics. It argues that the particularities of social and institutional histories and structures in the North and South have eclipsed wider considerations of both race and ethnicity and religious identity beyond the Catholic-Protestant divide. This has, in turn, served to obscure the many dynamic changes that such diversity has catalysed both within Irish civil society generally, and within the island’s traditional religious institutions themselves. The paper discusses the promises and potentials of conceptualising religion or religious identity and the relationships between religion and ethnicity within broader cultural and political fields, and their implications for the “new” (multicultural) Ireland.Not applicableti -TS 07.07.10
Author is part of the school of Sociolog
Dr. Sharon Feldman – Faculty Author Interview
No full textSharon Feldman, Professor of Spanish and Catalan Studies and Chair of the Department of Latin American and Iberian Studies discusses her new book, In the Eye of the Storm: Contemporary Theater in Barcelona. Barcelona is presently experiencing the most dynamic period in its modern theater history. This book describes some of the crucial moments and back stories, as well as some of the theatre companies and playwrights, that have shaped the theatrical life of the city of Barcelona in the aftermath of the Franco dictatorship
FOR PHILIP GUSTON DE MORTON FELDMAN: ENSAIOS E PERFORMANCE – OU COMO SOBREVIVER A QUATRO HORAS DE MÚSICA
No full textThis article focuses on the work “For Philip Guston” by American composer Morton Feldman, a four-hour piece which I performed in concert with percussionist Steven Schick and flutist Kathleen Gallagher. I discuss here some of the challenges that we faced, and my reflections on the strategies we used during rehearsals and on the experience of performing it. This paper relates the practical experience of rehearsals and performance of a unique 20th Century chamber piece, although the strategies discussed here can be applied to other contemporary works with similar challenges.
Keywords: Performance; Morton Feldman; Philip Guston; Contemporary music; American composers.Este artigo tem como objeto de estudo a obra For Philip Guston (1984) do compositor norte-americano Morton Feldman, uma peça de mais de quatro horas de duração que apresentei em recital com o percussionista Steven Schick e a flautista Kathleen Gallagher em 2004. Discuto aqui os desafios que enfrentamos, minhas reflexões sobre as estratégias de ensaios que utilizamos e sobre a experiência de performance. Este texto é um relato de uma experiência prática de ensaios e performance, o qual enfoca uma peça singular do repertório camerístico do século XX, entretanto as estratégias aqui apresentadas podem ser extrapoladas para outras obras do repertório contemporâneo com desafios semelhantes.
Palavras-chave: Performance; Morton Feldman; Philip Guston; Música contemporânea; compositores norte-americanos
Morton Feldman - piano
No full textRecordings of complete solo piano music by Morton Feldman plus substantial 12000 word liner note bookle
Morton Feldman und die Maler der New York School
No full textDas Schaffen des amerikanischen Komponisten Morton Feldman (1926-87) erfährt Anfang der 50er Jahre eine radikale Veränderung. Nicht nur die Einführung der graphischen Notation, sondern auch die Übertragung künstlerischer Strategien wie das 'All-over' der Malerei in seine Musik werden festgestellt. Um Begründungen für diese Veränderung zu suchen, soll das Leben in New York dargestellt werden, in dem Morton Feldman die Maler der New York School kennen lernt, die ihn nachweislich stark beeinflussten. Die Bedeutung des Komponisten Edgard Varèse für Morton Feldman soll zudem herausgearbeitet werden, wie auch die Parallelen zwischen Musik und Malerei der New York School.
Ein zentrales Thema der Diplomarbeit ist die Analyse ausgewählter Werke von Morton Feldman zwischen 1950 und 1984. Feldman wollte den Eindruck, den die 'nicht-relationale' Malerei beim Betrachter hinterlässt, in seine Musik übertragen. Dies erreicht er durch den unbestimmten Parameter der Tonhöhe in der graphischen Notation (Projections und Intesections) oder mit Hilfe der freigestellten Tondauern in der free-durational-Form (For Franz Kline und Piano Piece (To Philip Guston)). Im Spätwerk (Rothko Chapel und For Philip Guston) forderte Feldman den Zuhörer durch Werke, deren Länge die einer 'normalen' Komposition um ein mehrfaches überschreiten, heraus. Auch die Filmmusiken Jackson Pollock und De Kooning werden analysiert.
In Exkursen werden Positionen zu den Gattungsgrenzen diskutiert, darunter jene von Theodor W. Adorno, welcher in der Abstraktion die Annäherung der Gattungen sieht. Ergebnis der vorliegenden Diplomarbeit ist die Feststellung, dass der Transfer künstlerischer Strategien der Malerei in die Musik Morton Feldmans erst durch die Abstraktion generiert wird
Philip Auslander: Can we conserve performance?
No full textIn this conversation, Philip Auslander discusses the role of documentation for preserving and conserving performances, providing data, and accessibility. For him, conservation extends beyond archiving, involving embodied knowledge and the reactivation of performances. Retrospective documentation includes reenactment and modifying existing records, referencing past performances. A single iconic image can capture a performance, evoking the event beyond a static representation. Auslander also addresses the question of authorship in performance documentation, which has evolved over time, with photographers and videographers increasingly asserting their artistic authorship. Decisions about which performances are deemed significant and worth documenting and preserving shape the formation of a canon. Paradoxically, the complete vanishing of a performance is conceptually elusive since any evidence or traces of its occurrence will prevent its total disappearance. Even forgotten performances leave behind remnants that prevent their complete erasure. As the conversation evolves, we discuss how iterations shed new light on performance, enhancing its meaning
Diversity in Massively Multi-agent Systems: Concepts, Implementations, and Normal Accidents
No full textCoordination for Transportation as a Service (TaaS) can be implemented on a spectrum, ranging from independent agents communicating exclusively through market exchanges to hybrid market/hierarchy approaches fixed hierarchical control systems. An overview of each approach is described and a detailed description of recent work in simulating a hybrid solution is presented. The use of diversity as a potential approach to reduce the impact of catastrophic Normal Accidents is discussed
Towards ‘a beautiful land’: Compositional strategies and influences in Five Panels (no.5)
No full textFive Panels (no.5) is an experimental electronic composition that takes as its starting point the classic (post-1949) abstract paintings of Mark Rothko. As a result, and in contrast to my previous works, Five Panels (no.5) is more minimal regarding its gestural content and makes less use of teleologically oriented structuring processes. The work focuses more on the details within each sound and on subtle shifts in timbre and acoustic space. This article will cover the influence of Rothko and abstract expressionism more broadly on the work. The spiritual quality of Rothko’s paintings is also investigated. As essentially abstract works, I am keen to understand how Rothko’s works, and, as an extension to this, abstract music can communicate a sense of spirituality with specific reference to Five Panels (no.5). Finally, the immersive quality of Rothko’s classic paintings, due both to their size and the painters obsessive control over the conditions and placement of the paintings in galleries, is discussed in relation to the use of surround sound in Five Panels (no.5)
Morton Feldman-Morton Feldman, Morton Feldman Piano. Philip Thomas
No full text‘The scale of what is actually being represented, whether it be of the whole or of the part, is a phenomenon unto itself.’ Feldman’s words from his famous 1981 essay, ‘Crippled Symmetry’, echoed in my ears as I sat down to listen to Philip Thomas’s monumental new record of the composer’s piano music. It spans over four decades of the composer’s singular creative engagement with the instrument and has a total run-time of nearly six hours. The five-disc box set also contains a rich 52-page essay on Feldman’s piano music, which broaches a wide range of issues ranging from abstract, interpretative ideas regarding touch and decay to more practical discussions around notation
“Jedes akademische System folgt [...] seinen eigenen Regeln”– Feldman Fellows Revisited mit Philip Bockholt
No full textBenannt nach dem amerikanischen Historiker Gerald D. Feldman (1937–2007), ermöglichen die Feldman-Reisebeihilfen, Wissenschaftlerinnen und Wissenschaftlern bis zu drei Monate in den Gastländern der Institute der Max Weber Stiftung zu verbringen und Archive, Bibliotheken oder Sammlungen, die für ihre Forschung relevant sind, zu nutzen. In der Serie “Feldman Fellows Revisited” interviewen wir ehemalige Feldman-Stipendiaten und Stipendiatinnen zu ihren Erfahrungen und Forschungen in den Gastlän..
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