22 Φεβρουαρίου 2013

Από Τα τραγούδια Της Αμαρτίας (έργο 50), ανολοκλήρωτο.
Το έργο αυτό απασχόλησε τον Μάνο Χατζιδάκι τα τρία τελευταία χρόνια της ζωής του. Με τον ενδεικτικό υπότιτλο «Η αμαρτία είναι βυζαντινή και ο έρωτας αρχαίος», περιέχει δεκαπέντε μουσικά ποιήματα ερμηνευμένα με λαϊκή καθαρότητα από τον Ανδρέα Καρακότα. Στο πιάνο η Ντόρα Μπακοπούλου.
Το έργο είναι «αφιερωμένο» από τον Μάνο Χατζιδάκι σε όσους ακόμη μπορούν να διαβρωθούν από την μουσική και το τραγούδι.

Το ποίημα είναι του Ντίνου Χριστιανόπουλου

Αδέσποτο στους δρόμους τριγυρνάει
ένα μικρό γαϊδούρι μοναχό,
κανένα χορταράκι μασουλάει
γιατί `ναι πεινασμένο το φτωχό

Κοιτάει τ’ αυτοκίνητα θλιμμένο
και σκύβει το κεφάλι καταγής,
κι εκείνα σταματούνε να περάσει
σα λείψανο μιας άλλης εποχής

Καημένο γαϊδουράκι, που διαβαίνεις
χωρίς ποτέ να χάρηκες στοργή,
ποιος ξέρει σε ποιο δρόμο κάποια μέρα
μια ρόδα θα σου πάρει τη ζωή

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20 Φεβρουαρίου 2013

Filed under: Notes — admin @ 14:42

http://video.mit.edu/watch/new-methods-new-markets-for-independent-film-cms-colloquium-13404/

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Filed under: Notes — admin @ 13:12

Interdisciplinary crossovers between art history and psychoanalysis have a long, rich and productive history. Since Freud, many analysts have incorporated the study of visual art into their work, and art historians and theorists frequently incorporate concepts, methods and frameworks from psychoanalysis into theirs. However, while there can be no doubt that these exchanges have been incredibly fruitful, they also throw up significant methodological issues. What happens when ideas migrate from the analytic context into an artistic one and back again? What differences are there between the analytic situation and the artistic context? How can we incorporate modes of artistic experience into psychoanalytic frameworks? Do psychoanalytic concepts sometimes get lost in translation?

Despite the sheer volume of studies which have encountered these issues, it is rare that analysts and art historians come together to discuss them. This series aims to fill this gap by bringing together lecturers, practitioners and postgraduates from both disciplines who are interested in thinking around this divide. The events will be practical workshops, focussed around methodological questions in current research. Each session will include a number of short presentations (around 10 minutes) from researchers who are currently dealing with issues in either the use of visual art in the psychoanalytic context or the use of psychoanalysis in art history/theory. Rather than presenting the results of research, each presentation should open up a question for discussion, providing an opportunity to consider methodological issues with a larger group and to share skills and ideas between disciplines. Possible issues include, but are not limited to:

The migration of concepts from psychoanalysis into the study of visual art.
The study of artists who are themselves influenced by psychoanalysis.
Similarities/differences between art and the analytic situation.
The role of the object in psychoanalytic studies of visual art.
The role of the viewer in psychoanalytic studies of visual art.
Combining psychoanalytic ideas with other forms of interpretation.
Psychoanalysis and the artist-viewer relationship.
The role of aesthetic experience in psychoanalysis.
The critique of particular studies which explore artworks psychoanalytically.
The psychoanalytic interpretation of technical processes of artistic production.
The relation between visual art and unconscious phantasy (Kleinian) or fantasy (Lacan,
Zizek).
The use of psychoanalytic ideas/thinkers that have generally been overlooked in art history (e.g. Bion, Winnicott, Laplanche, Milner).

Abstracts of no more than 200 words should be sent to artandpsychoanalysis@essex.ac.ukby Friday March 15th.

For more information, please contact organisers David Hodge, Natasha Adamou and Matt Ffytche at the above address.

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Filed under: Uncategorized — admin @ 10:15

Ένα ενδιαφέρον vintage video για το design και τη χρηστικότητα του..

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Filed under: Notes — admin @ 01:31

academic program. ACT as an academic program continues the work of its predecessor, the Visual Arts Program (VAP) founded in 1989 by artist Ed Levine, and resides within the Department of Architecture. The Architecture Department oversees ACT, including faculty appointments and promotions, the administration of the graduate program and the graduate admissions process. ACT also supports the undergraduate education curriculum of the Institute, offering GIR classes in art, HASS required and elective subjects in art, and offering a HASS Concentration and Minor. The program also offers electives for the Master of Architecture (MArch) program and conducts its own highly selective graduate program, the Master of Science in Art, Culture and Technology (previously SMVisS degree).

act courses have a strong focus on:

Dialogues in art, architecture, urbanism, and the production of space
Interventions in public spaces and the development of anti-monuments and new instruments of collective memory
Interrogative design, body wear and nomadic devices
Interfaces between visual art practices, the performative and the sonic
Experiments with truth – using photographic and time-based media to blur conventional boundaries between documentary and fiction
Art and Science / Science and Art – research-based artistic practices

Courses are t

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Filed under: Notes — admin @ 01:27