This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Agustín Espinosa (1897-1939) fut un auteur célèbre à son époque puis oublié sous le franquisme. Son œuvre s'adapte à tous les courants culturels de son temps : du modernisme de ses poèmes de jeunesse, aux avant-gardes espagnoles –inspirées par La déshumanisation de l'art d'Ortega y Gasset-, en passant par le surréalisme français et, enfin, par le style d'inspiration fasciste –durant la guerre civile-. Cette Thèse a récupéré toutes les collaborations d'Espinosa aux journaux phalangistes, qui n'avaient jamais été rééditées après sa mort, afin de les analyser au même titre que l'ensemble de ses articles d'avant-guerre, dans le but de démontrer que l'écriture d'Espinosa garde une véritable unicité. Certes, malgré un parcours éclectique, Espinosa fait preuve dans tous ces textes d'une grande inventivité stylistique et d'une érudition sans bornes. L'homogénéité de sa prose découle aussi des mythes qui inspirent Espinosa et des métamorphoses qu'il leur impose, créant ainsi un système littéraire qui véhicule sa vision du monde. L'on a donc étudié les mythes d'Espinosa et leurs métamorphoses par rapport à l'espace –contextes littéraire et géographique-, aux idéologies –« casticisme » et extrémismes politiques- et à la représentation des mythes littéraires –des animaux, des hommes et des femmes-. Ce schéma d'analyse se veut le plus exhaustif possible, tenant compte de la complexité d'Espinosa, un auteur radical et obscur, même si l'on a bien conscience de ne pas avoir pu résoudre toutes les énigmes que son œuvre continue de poser.

<p>The purpose of this essay is to investigate modern influence in the painting <em>Strömkarlen</em>, by Ernst Josephson. <em>Strömkarlen</em> was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ”common truth” that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois’ model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden. By combining visual and textual interpretation, using a historical context, it is possible to see modern influence in <em>Strömkarlen</em>. Ernst Josephson wanted free and subjective art and artists, in opposition to the state controlled art system that existed in Sweden in the end of 19th century. <em>Strömkarlen</em> and the articles can also be seen as a combined proclamation for a new, free and modern art and what it could look like in a Scandinavian context. </p>

The purpose of this essay is to investigate modern influence in the painting Strömkarlen, by Ernst Josephson. Strömkarlen was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ”common truth” that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois’ model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden. By combining visual and textual interpretation, using a historical context, it is possible to see modern influence in Strömkarlen. Ernst Josephson wanted free and subjective art and artists, in opposition to the state controlled art system that existed in Sweden in the end of 19th century. Strömkarlen and the articles can also be seen as a combined proclamation for a new, free and modern art and what it could look like in a Scandinavian context.

Diss. Göteborg : Göteborgs universitet, 2006. / Med sammanfattning på engelska.

Thesis (M.A.)--Dalhousie University, 1998. / Includes bibliographical references.

My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically). / Romance Languages and Literatures

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

“Trečio fronto” žurnalas (1930-1931 m.) ir jo leidėjų grupė yra susilaukusi plataus literatūrologų ir istorikų dėmesio. Visgi, galimos naujos tyrimų perspektyvos, leidžiančios sukonstruoti platesnį šios grupės veiklos kontekstą bei įvesti naujus personažus – aktorius ir menininkus. Dėl to pats reiškinys įvardijamas kaip revoliucinės kultūros eksperimentas, netolygiai vystęsis tarp 1927 ir 1935 m. Tyrimo objektu tapo apie dvidešimt herojų. Jų biogramų lyginamoji rekonstrukcija atskleidė išskirtinę draugystės ryšių įtaką politinių-socialinių pažiūrų tapsmui bei viešajai veiklai. Dauguma šios grupės narių mėgino tapti komunistų pakeleiviais. Lietuvos komunistų partijos vadovybė Maskvoje ir Lietuvoje nesutarė kaip vertinti šį šliejimąsi. Visgi nulėmė neigiamos nuostatos ir šliejimosi pastangos buvo sužlugdytos. Šis aspektas esamoje istoriografijoje nebuvo iki šiol atskleistas. Mažuma analizuojamos grupės aktyvistų tapo nemarksistinio socializmo šalininkais, o jų išskirtinai sunki veikla buvo paženklinta emigracijos ir kalėjimo bausmių. Egzistuojanti istoriografija pabrėžia trečiafrontininkų komunistinio pakeleiviavimo aspektą, bet šiame tyrime analizuojamų personažų atžvilgiu laikomasi platesnės kairėjimo perspektyvos. Taigi, iki šiol tyrinėtojų nepanaudotos archyvinės medžiagos gausa leido papildyti trečiafrontininkų istorijas naujais faktais, įvesti naujų personažų, išplėsti kontekstus bei siūlyti naujus jų veiklos vertinimus. / The “Trečias frontas” journal (1930-1931) and its group have a wide historiographical layer. Nevertheless, there is a possibility to recreate wider context of the group’s activities and analyse this in the connection with activities of some artists and theatre actors. Therefore, this phenomenon could be named as the “experiment of revolutionary culture” and dated between 1927 and 1935. About twenty persons became the object of this research. Reconstruction of group members’ biographies in comparative mode reveals close personal ties and communication networks which affected political-social visions and were the core of complex public activities. Majority of the group members’ tried to become communist fellow-travellers. The corpus of Lithuanian Communist party leadership has had diverse attitudes towards these attempts and that initiated internal conflicts. Nevertheless, prevailed negative position and attempts failed. Minority of these revolutionary culture sympathizers became nonmarxist socialism supporters and their activities were especially difficult because of emigration and imprisonments. Existing historiography emphasizes these group members’ connections with communists. The perspective of this research is more about the difficult path of going left. Untapped archival material and its abundance enabled to enrich the existing historical narrative with new facts, characters, wider contexts, different perspectives and fresh analysis of their activities.

The “Trečias frontas” journal (1930-1931) and its group have a wide historiographical layer. Nevertheless, there is a possibility to recreate wider context of the group’s activities and analyse this in the connection with activities of some artists and theatre actors. Therefore, this phenomenon could be named as the “experiment of revolutionary culture” and dated between 1927 and 1935. About twenty persons became the object of this research. Reconstruction of group members’ biographies in comparative mode reveals close personal ties and communication networks which affected political-social visions and were the core of complex public activities. Majority of the group members’ tried to become communist fellow-travellers. The corpus of Lithuanian Communist party leadership has had diverse attitudes towards these attempts and that initiated internal conflicts. Nevertheless, prevailed negative position and attempts failed. Minority of these revolutionary culture sympathizers became nonmarxist socialism supporters and their activities were especially difficult because of emigration and imprisonments. Existing historiography emphasizes these group members’ connections with communists. The perspective of this research is more about the difficult path of going left. Untapped archival material and its abundance enabled to enrich the existing historical narrative with new facts, characters, wider contexts, different perspectives and fresh analysis of their activities. / “Trečio fronto” žurnalas (1930-1931 m.) ir jo leidėjų grupė yra susilaukusi plataus literatūrologų ir istorikų dėmesio. Visgi, galimos naujos tyrimų perspektyvos, leidžiančios sukonstruoti platesnį šios grupės veiklos kontekstą bei įvesti naujus personažus – aktorius ir menininkus. Dėl to pats reiškinys įvardijamas kaip revoliucinės kultūros eksperimentas, netolygiai vystęsis tarp 1927 ir 1935 m. Tyrimo objektu tapo apie dvidešimt herojų. Jų biogramų lyginamoji rekonstrukcija atskleidė išskirtinę draugystės ryšių įtaką politinių-socialinių pažiūrų tapsmui bei viešajai veiklai. Dauguma šios grupės narių mėgino tapti komunistų pakeleiviais. Lietuvos komunistų partijos vadovybė Maskvoje ir Lietuvoje nesutarė kaip vertinti šį šliejimąsi. Visgi nulėmė neigiamos nuostatos ir šliejimosi pastangos buvo sužlugdytos. Šis aspektas esamoje istoriografijoje nebuvo iki šiol atskleistas. Mažuma analizuojamos grupės aktyvistų tapo nemarksistinio socializmo šalininkais, o jų išskirtinai sunki veikla buvo paženklinta emigracijos ir kalėjimo bausmių. Egzistuojanti istoriografija pabrėžia trečiafrontininkų komunistinio pakeleiviavimo aspektą, bet šiame tyrime analizuojamų personažų atžvilgiu laikomasi platesnės kairėjimo perspektyvos. Taigi, iki šiol tyrinėtojų nepanaudotos archyvinės medžiagos gausa leido papildyti trečiafrontininkų istorijas naujais faktais, įvesti naujų personažų, išplėsti kontekstus bei siūlyti naujus jų veiklos vertinimus.