Random Order: Robert Rauschenberg and the Neo-Avant-Garde (review)

2005 ◽  
Vol 12 (2) ◽  
pp. 360-362
Author(s):  
Ales Erjavec
Keyword(s):  
Random Order ◽  
Avant Garde ◽  
Robert Rauschenberg

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

Taylor, Paul (1930–)

2018 ◽  
Author(s):  
Angela Kane
Keyword(s):  
Rich Source ◽  
Avant Garde ◽  
Robert Rauschenberg ◽  
Modes Of Representation ◽  
Visual Artist ◽  
The 1950S ◽  
Paul Taylor

American choreographer Paul Taylor has made important contributions to dance modernism and postmodernism. His early choreography aligned him ideologically with New York’s avant-garde, most particularly with visual artist Robert Rauschenberg who designed all but one of Taylor’s dances through the 1950s. The work was "objectivist" in that it privileged action over emotion and it presaged the more radical deconstructions of the Judson Church choreographers by almost a decade. Though some of his subsequent choreography used more traditional modes of representation, the majority of Taylor’s dance-making has been essentially non-narrative. He has created over 140 works across six decades, and his large active repertory is a rich source for rethinking definitions of dance "isms."

«Silentium: el silencio cósmico como imagen en la Edad Media y en la Modernidad»

1970 ◽  
Vol 27 ◽  
pp. 21-43
Author(s):  
Francisco Prado-Vilar
Keyword(s):  
20Th Century ◽  
Critical Examination ◽  
Lectio Divina ◽  
John Cage ◽  
Avant Garde ◽  
Medieval Manuscripts ◽  
Robert Rauschenberg ◽  
Fernand Leger ◽  
Multiple Meanings ◽  
Theoretical Reflection

Resumen: Este artículo presenta un estudio iconográfico, histórico y teórico de las ilustraciones del pasaje apocalíptico del «silencio en el cielo» (Apocalipsis 8:1) en un grupo de manuscritos del Comentario al Apocalipsis de Beato de Liébana datados entre los siglos X y XII. Se exponen las líneas de investigación fundamentales para una aproximación a esta iconografía analizando cómo hubiera podido ser el prototipo en la edición original perdida del Comentario de Beato, así como la evolución y condiciones de producción y recepción de estas imágenes en el contexto de la renovatio del monacato hispano y, concretamente, en el marco de la práctica de la lectio divina, donde el silencio adquiría significados complejos que nada tienen que ver con la concepción moderna del silencio como «la ausencia de sonido». Desarrollando un análisis comparativo entre estas miniaturas y las obras creadas por artistas de vanguardia como John Cage y Robert Rauschenberg en torno a la poética y los significados del silencio, se pone de manifiesto la sofisticación de los iluminadores medievales y su capacidad para crear una serie de obras maestras sin parangón en el arte occidental por su brillantez en la exploración del silencio como imagen y sus modalidades de materialización sobre el pergamino.Palabras clave: Silencio. Apocalipsis. Monacato. Modernidad. Vanguardia. Iconografía.Abstract: This essay focuses on the illustrations of the apocalyptic passage of “silence in heaven” (Revelation 8.1) in a group of medieval manuscripts of the Commentary on the Apocalypse by the Spanish monk Beatus of Liébana, dated from the 10th to the 12th centuries. These images present a fascinating variety of pictorial solutions that have been largely overlooked by art historians: the combination of abstract and symbolic patterns, the deconstruction of script, and the exploration of the materiality of the parchment as a theatrical milieu to make silence present and palpable. I begin by tracing the textual and visual origins of the motif, advancing a hypothesis on the probable existence of a pictorial archetype from Beatus’ own time (8th century), and continue by analyzing the conditions of production and reception of these images in the context of 10th-century Mozarabic monasticism and within practice of lectio divina, where the concept of silence acquired multiple meanings. To conclude, I develop a theoretical reflection on the problematics of the representation of silence, drawing analogies with several 20th-century artists such as John Cage and Robert Rauschenberg whose artistic experiments around this theme find their medieval counterparts in the productions of remarkable illuminators such as Ovecus and Petrus. Framing this essay is a critical examination of the results of the engagement of painters Fernand Léger and Roberto Matta with the illustrations of one of these manuscripts, the so-called Morgan Beatus, which had been famously introduced to them by Meyer Schapiro in the 1930’s, shedding light on the complexities of the dialogue between medieval and modern art.Keywords: Silence. Apocalypse. Monasticism. Modernity. Avant-Garde. Iconography.

Automated software supported versus manual aorto-iliac diameter measurements in CT angiography of patients with abdominal aortic aneurysms: Assessment of inter- and intraobserver variation

VASA ◽  
2005 ◽  
Vol 34 (4) ◽  
pp. 255-261 ◽  
Author(s):  
Diehm ◽  
Baumgartner ◽  
Silvestro ◽  
Herrmann ◽  
Triller ◽  
...  
Keyword(s):  
Ct Angiography ◽  
Iliac Artery ◽  
Automatic Measurement ◽  
Random Order ◽  
Aortic Aneurysms ◽  
Intraobserver Variability ◽  
Automatic Method ◽  
Left Common Iliac Artery ◽  
Abdominal Aortic ◽  
Intraobserver Variation

Background: Open surgical or endovascular abdominal aortic aneurysm (AAA) relies on precise preprocedual imaging. Purpose of this study was to assess inter- and intraobserver variation of software-supported automated and manual multi row detector CT angiography (MDCTA) in aortoiliac diameter measurements before AAA repair. Patients and methods: Thirty original MDCTA data sets (4 times 2mm collimation) of patients scheduled for endovascular AAA repair were studied on a dedicated software capable of creating two-dimensional reformatted planes orthogonal to the aortoiliac center-line. Measurements were performed twice with a four-week interval between readings. Data were analysed by two blinded readers at random order. Two different measurement methods were performed: reader-assisted freehand wall-to-wall measurement and semi-automatic measurement. Results: Aortoiliac diameters were significantly underestimated by the semi-automatic method as compared to reader-assisted measurements (p < 0.0031). Intraobserver variability of AAA diameter calculation was not significant (p > 0.15) for reader-assisted measurements except for the diameter of the left common iliac artery in reader 2 (p = 0.0045) and it was not significant (p > 0.14) using the semi-automatic method. Interobserver variability was not significant for AAA diameter measurements using the reader-assisted method and for proximal neck analysis with the semi-automatic method (p > 0.27). Relevant interobserver variation was observed for semi-automatic measurement of maximum AAA (p = 0.0007) and iliac artery diameters (p = 0.024). Conclusions: Dedicated MDCTA software provides a useful tool to minimize aortoiliac diameter measurement variation and to improve imaging precision before AAA repair. For reliable AAA diameter analysis the reader-assisted freehand measurement method is recommended to be applied to a set of reformatted CT data as provided by the software used in this study.

A New Technique to Measure the Level of Interest Using Heartbeat-Evoked Brain Potential

2021 ◽  
Vol 35 (1) ◽  
pp. 15-22
Author(s):  
Kohei Fuseda ◽  
Jun’ichi Katayama
Keyword(s):  
Brain Activity ◽  
Random Order ◽  
Overt Response ◽  
Brain Potential ◽  
Probe Technique ◽  
Dynamic Stimuli ◽  
Attentional Resources ◽  
Opposite Sex ◽  
A New Technique ◽  
Task Irrelevant

Abstract. Interest is a positive emotion related to attention. The event-related brain potential (ERP) probe technique is a useful method to evaluate the level of interest in dynamic stimuli. However, even in the irrelevant probe technique, the probe is presented as a physical stimulus and steals the observer’s attentional resources, although no overt response is required. Therefore, the probe might become a problematic distractor, preventing deep immersion of participants. Heartbeat-evoked brain potential (HEP) is a brain activity, time-locked to a cardiac event. No probe is required to obtain HEP data. Thus, we aimed to investigate whether the HEP can be used to evaluate the level of interest. Twenty-four participants (12 males and 12 females) watched attractive and unattractive individuals of the opposite sex in interesting and uninteresting videos (7 min each), respectively. We performed two techniques each for both the interesting and the uninteresting videos: the ERP probe and the HEP techniques. In the former, somatosensory stimuli were presented as task-irrelevant probes while participants watched videos: frequent (80%) and infrequent (20%) stimuli were presented at each wrist in random order. In the latter, participants watched videos without the probe. The P2 amplitude in response to the somatosensory probe was smaller and the positive wave amplitudes of HEP were larger while watching the videos of attractive individuals than while watching the videos of unattractive ones. These results indicate that the HEP technique is a useful method to evaluate the level of interest without an external probe stimulus.

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