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Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA トリシャ・ブラウンのダンスにおける床・壁・天井と身体

著者: 實渊洋次
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.70-83, 2009-12-31 (Released:2017-05-22)

This paper examines Trisha Brown's dance in the early 1970s. In the field of dance, Judson Dance Theater was launched in New York in the early 1960s. As one of the members of it, Brown created experimental dance works which broke down the preconceived ideas of dance. The focus of her pieces in the early 1970s, such as Walking on the Wall and Floor of the Forest, is on the relation of body to space. In Walking on the Wall, the performers, suspended in special harnesses from a ceiling, moved at right angles along the vertical wall-face of a gallery; in Floor of the Forest, two people put on clothes which were densely threaded with ropes, while hanging by them in midair. In such pieces, the performers' soles touch the wall, or the ropes are used as ceiling. This changes the relation of body to floor, from vertical to horizontal. In the simple and yet radical transposition, the performers find themselves sensing different kinesthetic movements in each part of the body than usual. Regulating the caused kinesthesia enables them to create new body movements.

2021-01-27 16:17:00
1 はてなブックマーク

1 0 0 0 OA 「正統なるファッション」とは : 『ゴーディズ・レディズ・ブック』のファッション・プレートをめぐる言説(1)

著者: 平芳裕子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.60, no.2, pp.84-97, 2009-12-31 (Released:2017-05-22)

The women's magazine Godey's Lady's Book was launched in Philadelphia in 1837 by Louis A. Godey. Although it enjoyed great popularity due to its original fashion plates, the fact that they were a topic of intense discussion is largely unknown. In this paper, I attempt to shed light on how the magazine legitimized the plates by researching distinctive fashion imagery and engaging in ongoing discussions over a ten-year period. In studying the magazine's editorial notes, I discovered that some readers had actually been quite critical of the plates. To counter those who were against fashion, however, the magazine printed positive comments from female readers, and stories depicting virtuous women who remained unaffected by trends. Moreover, as the magazine emphasized the decorative nature of the plates, fashion came to be connected to ornamentation; and as such, an appropriate part of a woman's role as a homemaker. In this era prior to the advent of the fashion magazine in the U.S., by promoting the plates as "authentic fashion," Godey's Lady's Book established the position of the fashion plate in women's magazines.

2021-01-27 16:17:00
1 はてなブックマーク