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There were 19 results from your search for keyword(s): 'Dada'.
- "I shall not live long," he had said: "in no one of my dreams can I see myself old I shall not live long not more than 250 pages": he had said and (suddenly (dazzledly) as one rising from (is it the Seine this long blue laughing?) from the water's depth into shattering sunlight he (thrusting up through the perfume of some unknown woman's hair her body sweeter far than he) found himself) sitting there and:
Source: The Eater of Darkness, p. 134-135
- "I Zimbra"'s origin encodes Fear of Music's motifs in one other sense: the Dada movement itself was a response to "life during wartime." The european aftermath of the Great War seemed to dwarf all attempts at humane commemoration or remorse; trench warfare and mustard gas and shellshock were the language Hugo Ball and his fellow Dadaists sought to overwrite with their avant-gibberish.
Source: Fear of Music, p. 9
- "Wait here till I get the morning editions," said the stranger. They were full of all the details about the Nine Prominent Critics Die By X-Ray Bullet, and it went on to relate how reason shuddered when the city waked up today to find that such men as Harry Hansen, William Soskin, Heywood Broun, Bruce Gould, Waldo Frank, Henry Seidl Canby, Asa Huddleberry and James Thurber and George Jean Nathan were made the victims of a dastardly attack late last night and the police were hopelessly at sea because no motive could be imagined for the murders unless by the Communists from Moscow. The stranger looked worried. Then his brow cleared.
Source: The Eater of Darkness, p. 165-166
- Art today is simply this paradoxical confusion of the two [art and reality], and the aesthetic intoxication which ensues. Similarly, information is simply the paradoxical confusion of the event and the medium, and the political uncertainty which ensues. So, we have all become ready-mades...And just as Duchamp's acting-out opens on to the (generalized) zero degree of aesthetics, where any old item of rubbish can be taken as a work of art (which also means that any old work of art can be taken for rubbish), so this media acting-out opens on to a generalized virtuality which puts an end to the real by its promotion of every single instant.
Source: The Perfect Crime, p. 31
- As Coates had suggested in his own novel of the 1920s, The Eater of Darkness, the limits and limitations of avant-gardism were already recognizable within the extremes of avant-garde experience itself. These limits were in fact essential to movements like Dada, whose adherents vehemently, if playfully, rejected the "religious" notions of artistic autonomy and escapism that Cowley describes as conditions of the movement's death. Movements like Dada -- or like the American little magazines that were aware of their own brief life spans -- were provisional rather than static; they died at the moment their adherents invested in them the kind of faith Cowley describes as the makings of a "personal refuge."...Coates and West understood this effect of discouragement as an imperative, rather than as a flaw or telos within avant-gardism. "To avoid the danger of being solemn," Cowley writes of West, "he used to stick pins into his dearest illusions" (Introduction ii). To do otherwise would signify a decadent adherence to false beliefs.
Source: Anti-Menckenism: Nathanael West, Robert M. Coates, and the provisional avant-garde, p. 526-527
- Burke...resists the notion of purposive artistic content altogether. Rather than providing the "wholeness" of a universal principle within which American culture could integrate itself -- or, for that matter, purging the US cultural landscape of its false prophets, its boobs, and its charlatans -- his notion of "perception without obsession" situates the artist as the agent of formulation rather than transformation. The artist's "moral contribution," Burke writes, "consists in the element of grace which he adds to the conditions of life wherein he finds himself".
Source: Anti-Menckenism: Nathanael West, Robert M. Coates, and the provisional avant-garde, p. 529
- Dada and surrealism are the two currents which mark the end of modern art. They are contemporaries, though only in a relatively conscious manner, of the last great assault of the revolutionary proletarian movement; and the defeat of this movement, which left them imprisoned in the same artistic field whose decrepitude they had announced, is the basic reason for their immobilization. Dadaism and surrealism are at once historically related and opposed to each other. This opposition, which each of them considered to be its most important and radical contribution, reveals the internal inadequacy of their critique, which each developed one-sidedly. Dadaism wanted to suppress art without realizing it; surrealism wanted to realize art without suppressing it. The critical position later elaborated by the Situationists has shown that the suppression and the realization of art are inseparable aspects of a single supersession of art.
Source: Society of the Spectacle, p. 191
- EAR: But, you see, one gets used to one's own fatigue and to how death would be tempted to live; the magnificent emperor's death proves it; the importance of things diminishes -- each and every day -- a little...
Source: The Gas Heart, p. 37
- EYE: Eyes replaced by motionless belly buttons. Mr. My-God is an excellent journalist. Stiff and aquatic, a good-morning corpse floats in the air. What a sad season.
MOUTH: The conversation is getting boring, isn't it?
Source: The Gas Heart, p. 35
- EYEBROW: "Where?" "how much?" "why?" are monuments. Justice, for example. What a beautiful, regular functioning, almost a nervous tic or a religion.
Source: The Gas Heart, p. 40
- Hugo Ball's poem, by deflecting meaning, accumulated speculative-interpretive force, like a Rorschach blot. Dada -- European, coloristic, prone to manifestoes and provocation, to sneering at history -- made a fair bedfellow for punk. The song claimed a precursor in Dada's guttural and spasmodic presentation, and its freedom from conventional logic, but also its tendency to the regimented and doctrinaire. Hugo Ball's drill-sargeanty nonsense, and the immobile geometric armor he wore while presenting it onstage: these both satirized the human impulse to control human impulses, and exemplified the discipline needed to make that kind of artwork.
Source: Fear of Music, p. 6
- MOUTH: I don't understand anything about the noises of the next war.
Source: The Gas Heart, p. 47
- Talking Heads were meant to epitomize my opportunities to construct a cool that pointed away from "the street," and towards bookish things, but was still cool. I didn't need them glancing at Africa, with or without quotation marks...Into this confusion plopped the clue: Hugo Ball. Finding "I Zimbra" credited in part to the dead Dada poet, I could modulate my worries about this turn to the African, but only a little. My ears were still telling me something, still anxiously parsing this harbinger of the band's future (destined, of course, to consist of a series of collaborations with live black musicians, not dead Dada poets).
Source: Fear of Music, p. 4-5
- The day seems long past when a sorcerer could use art to confuse and destroy the enemy. Even when Brecht evokes the "house of Tar" to take on the Third Reich, we take it as mere metaphor. Poet at work, we say.
But what if this distinction between art and war is fatuous, that all along the science of war has been a misnomer, just like the distinction between metaphor and reality? How else to explain the frisson we feel when we come across an ancient Chinese manual of war such as that of Sun Tau, reeking of the magic of antiquity and Orientalism, and nod our heads in respect? For one of the strangest things about war whether ancient or postmodern is that as a pumped-out, puffed-up "science," it reeks of craft and witchcraft, accident and chance, as much as planning. Indeed the more "scientific" or "technological" it appears, the more arcane and mysterious, also. Guerrilla warfare makes this doubly so. Clausewitz is known on account of his equation of politics with war, but is not politics merely the tip of a submerged continent of power whose outlines we dimly discern and whose uncanny force we feel?
To combine a magician, a surrealist painter, and a zoologist, as in the British War Office, is pretty much the mind-set that any of us interested in brushing history against the grain might espouse. So how might one out-camouflage their camouflage? That was John Heartfield's strategy with photomontage in Berlin around the tie Brecht wrote his poem about the anxieties of the regime. Heartfelt was a pioneer in the art of photomontage, cutting up images, rearranging the parts, and adding some new ones and a caption so as to reverse the message or expose its hidden meanings. This would be to counteract the macabre artistry of "love beads," [note: on soldiers] themselves a sardonic transgression of transgression. It is also what Delouse and Guattari ["Treatise on Nomadology: The War Machine" from A Thousand Plateaus] were getting at with their labored notion of the war machine, a machine they saw as the anarchic special ops built into any army, yet antithetical to it....
Camouflaged soldiers bring into being a most curious amalgam of the allegedly utilitarian and the unacknowledged exotic. Blending with the animal world and the love of imitation therein, together with the aesthetic pleasure of theatrical disguise, the coloration we call camouflage illustrates how narrow is the view of the practical, workaday world if it does not admit that the most practical is also the most aesthetic when transplanted from the field to the battlefield.
To date the field of aesthetics has paid scant attention to its affinity with the animal and with war, just as it has fought shy of magic and conjuring. So-called primitive societies knew better. To open this doorway, as with the war machine, or with Tom Mitchell's pointed question, "What do pictures want?" is to recast the division between the aesthetic and the practical, a first step to understanding how truth now functions in the Terror of the war against terror.
Source: Zoology, Magic, and Surrealism in the War on Terror, p. S116
- The decadence against which Coates distinguishes West's novel, I contend, refers to the paradigmatic malaise of so-called lost generation writing as described by Coates's friend Cowley in Exile's Return, his 1934 memoir of the American avant-garde's experience in interwar Paris. Even before the economic collapse of October 1929, the American modernists had already encountered a spiritual collapse, the decay and failure of the cosmopolitan ideal, which found its epitome in the death of the poet Harry Crosby, who committed suicide with his mistress in December 1929. According to Cowley, this collapse derived from the artificially-inflated spiritual value of the European avant-garde; young American writers of the 1920s found in Paris a "religion of art" embodied by Dada that "failed when it tried to become a system of ethics, a way of life" (286). As Cowley explains,
During the 1920s all the extreme courses of action it [the religion of art] suggested had been tried once again, and all its paths had been retraced -- the way of dream, the way of escape, the ways of adventure, contemplation, and deliberate futility had all been followed toward the goal they promised of providing a personal refuge from bourgeois society, an individual paradise. But once more, and this time inescapably, it became evident that all those extreme courses were extreme only as ideals: in life there was always a sequel. (Exile's 286–87)
Source: Anti-Menckenism: Nathanael West, Robert M. Coates, and the provisional avant-garde, p. 525-526
- The most typical mode of terrorism discourse in the United States has been, indeed, one of Waiting for Terror...Now that we are told "nothing happened" during the period, Beckett's drama of aborted metaphysics and absurdity, with its intolerable emphasis on waiting turned into a kind of art, becomes an apt parable. That which captivates every mind is something so meaningless that it may never happen, yet we are forced to compulsively talk about it while awaiting its arrival. In the theater of the absurd, "non significance" becomes the only significance...When something does happen, after decades during which the absent horror has been omnipresent through the theater of waiting, the event becomes anecdotal evidence to corroborate what was intuited all along -- the by-now permanent catastrophe of autonomous Terror consisting of the waiting for terror.
Source: Terror and Taboo, p. 26
- This whole virtual technology media circus, this perpetual 'reality show', has an ancestor: the ready-made. Those who are plucked from their real lives to come and act out the psychodrama of their AIDS or their marital problems on TV have an ancestor in Duchamp's bottle-rack which that artist similarly plucked from the real world to confer on it elsewhere -- in a field we still agree to call art -- an undefinable hyperreality.
Source: The Perfect Crime, p. 30
- [About the opening track I Zimbra] For anyone demanding sense, or instructions on how to feel about the journey you've undertaken in dropping the phonograph's needle on this particular record, here's a Dada left hook to the jaw.
Source: Fear of Music, p. 2
- [From the introduction by the author in 1959] The young men of my generation looked forward to peace, to peace timeless, unhurried and indestructible; I would suggest that you pause for a moment, as I sometimes do, to think about that, and compare the basic outlook it suggests with the mixture of frustration, anxiety and downright fear that lies in the back of every man's mind nowadays when he picks up his morning paper or turns on the radio.
This fact, too, I think, had a great deal to do with creating the atmosphere of the period -- a mixture of optimism, enthusiasm and feverish activity...It was the Dada period, and for me Dada has always meant gaiety: the one artistic movement I know of whose main purpose was having fun.
Source: The Eater of Darkness, p. iii-iv