Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

La danse, devenue art autonome au tournant du xxe siècle, confronte la pensée esthétique à ses propres limites ; elle remet en question le rapport moderne qui lie l’art et ses genres, et la prédominance du modèle de l’œuvre pour penser l’expérience artistique. La danse serait-elle le paradigme esthétique du xxe siècle, c’est-à-dire la voie incontournable pour accéder aux problèmes philosophiques que pose l’art dans son évolution ? L’émergence de la danse contemporaine est directement liée à la conquête d’un geste libre. Le geste dansé s’affranchit des formes conventionnelles qui s’imposaient à lui et le réglaient auparavant dans la tradition du ballet classique. L’improvisation est un moment crucial dans cette mutation, dans la mesure où elle n’est plus seulement une variation sur des schémas préexistants mais trouve désormais une valeur constituante. Le geste semble procéder de lui-même, ne provenir de rien, dans une sorte de miracle qu’il faut interroger. Le présent livre questionne la danse, sous sa forme contemporaine, dans une perspective non dogmatique. Il ne s’agit pas d’appliquer à la danse des catégories toutes faites et forgées en dehors d’elle, mais de construire les modalités d’un questionnement ancré sur les formes multiples et concrètes de son devenir. Le parcours théorique, qui réunit philosophes et artistes, envisage le geste dansé sous l’angle de son effectuation, de son expressivité, et de son rapport conflictuel à l’œuvre chorégraphique comme fixation paradoxale de l’éphémère.

art --- philosophie --- geste --- scène --- performance --- danse --- improvisation

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Dance practice is gaining just as much in importance in research as it is becoming a kind of research in itself. Choreography, improvisation and exploration are expanding conventional discursive methods of knowledge generation and transfer to incorporate aesthetic dimensions of movement, corporeality, sensuality and emotion. This volume, with its interdisciplinary structure, provides an insight into the multi-faceted trend of research approaches that have either developed directly from, or refer back to, dance practice. Using projects as concrete examples, the contributions in this volume present theoretical and methodological foundations and historical connections advances in knowledge.

Dance --- Artistic Research --- Practice-as-research --- Knowledge --- Improvisation --- Exploration --- Body --- Tanz --- Künstlerische Forschung --- Praxisgeleitete Forschung --- Wissen --- Improvisation --- Exploration --- Artistic Research --- Körper

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Um in komplexen und dynamischen Umwelten agieren und diese aktiv gestalten zu können, sind formalisierte Arbeitsabläufe und geronnene Strukturen oft nicht hilfreich. Wir benötigen ein performatives, fließendes Verständnis von Organisation und die Beherrschung agiler Prozesse: Das oft versteckte Erfahrungswissen (tacit knowing) wird zur Grundlage der heute benötigten »Kunst« der Improvisation. Die Beiträge zeigen: Implizites und intuitives, vorausschauendes Wissen und experimentierend-spielerisches Handeln sind die Grundlage für Innovation und agiles Lernen in Organisationen und sozialen Systemen. In der Analyse von »organizational patterns« und »musikalischem Denken« entsteht ein neues Verständnis flexibler und dynamischer Organisationen.

Sociology --- Improvisation --- Tacit Knowledge --- Agile Processing --- Society --- Sociology of Organizations --- Sociology

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

There are some strange stories heard in Viennese jazz scene. Already in the second half of the 1950s, two art students, who were in touch with painters like Arnulf Rainer, Friedensreich Hundertwasser and Ernst Fuchs, experimented with free improvisation – years before this music had a name even in the country of its origin, in the USA. Already in 1961, they did their first official concert – which might be not only the first Austrian free jazz concert, but one of the first performances of this music in whole Europe. While running an own gallery between 1959 and 1965 and hosting the whole Viennese art scene, they continued to develop their music. It wasn’t until 1966 that they had their first Viennese concert as “Masters of Unorthodox Jazz” (MoUJ), and, finally, the year 1969 brought a (modest) breaktrough with a scandalized appearance at the Austrian jazz festival at Vienna Konzerthaus and the release of their first record “Overground” – with cover art by Arnulf Rainer. The art scene remained the main audience until the end of the MoUJ in 1975: There were concerts at the Viennese “Museum of 20th century”, there was a second record with a provocative cover by Franz Ringel. Composers like Kurt Schwertsik and Otto M. Zykan showed interest in this unique free improvised music, Austria’s most famous photographer Franz Hubmann took photos, avantgarde filmmaker Kurt Kren used parts of his MoUJ concert-films for his experimental works. Another group, the “Reform Art Unit” (RAU) led by multi-instrumentalist Fritz Novotny until today, took over the torch. They came out of another non-music scene: the so-called “Freundeskreis” (circle of friends) around writer Rolf Schwendter. Partly in touch with the MoUJ, the RAU developed a completely different style of free improvisation, on the one hand inspired by contemporary Austrian composers (Giselher Smekal, Günther Rabl, Mia Zabelka), on the other hand by oriental music: The debut “Darjeeling” (1970) was recorded with Indian sitar player Ram Chandra Mistry. In later years they became aware of their personal connections to twelve-tone composer Josef Matthias Hauer, filling the term of “Viennese school of improvised music” with sonic contents. This work tries to point out the historic chronology of these two groundbreaking but internationally little known groups a) within the context of Austrian jazz history and b) within the context of European free jazz, which is called the movement of double liberation, due to the fact that many improvisers of the Old World for the first time stopped imitating American musicians and became aware of their own cultural roots. So this book reveals an unusual perspective on Austrian cultural history after 1945.

Vienna --- Jazz --- Reform Art Unit --- Masters of Unorthodox Jazz --- Avantgarde --- Jazz --- Free Jazz --- Avantgarde Jazz --- Avantgarde in Vienna --- Avantgarde in Austria --- Jazz in Austria --- Masters of Unorthodox Jazz --- Reform Art Unit --- Free Improvisation --- Free Improvised Music