Stereo Headphones : an occasional magazine of new poetries

FREQUENCY: Irregular PUBLICATION DATE: Vol. 1, no. 1 (spring 1969)- Ceased with no. 8-9-10 (1982)? Number 8-9-10 includes Stereo Headphones Record Number One: Chopin: Le temps aujord\u27hui ; Heidsieck: Canal Street Readings (7 inch record) LOCAL NOTE Library had Deluxe Edition, numbered in pencil on back cover, 12/15, signed by Nicholas Zurbrugg. The Deluxe Edition includes two prints by Barry McCallion and ? and an altered color illustration with the Arc de Triomphe cutout of the image by Lourdes Castro. Gift of Estera Milman, RISD Class of 1970. Estera Milman (RISD BFA Painting/Printmaking and Film, 1970) scholar of post-World War II avant-garde art. Founded Alternative Traditions in Contemporary Art (ATCA) at the University of Iowa, 1982, and served as its director until 2000. She is the author of many books, articles, interviews, and exhibition catalogs on Fluxus and No!art. In December 2018 she donated a selection books from her library to the Fleet Library at RISD. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.https://digitalcommons.risd.edu/specialcollections_books_arthistory/1003/thumbnail.jp

Samuel Beckett’s Krapp’s Last Tape: Remembering Kant, Forgetting Proust

This article draws on Samuel Beckett’s recently published letters and archival scholarship to consider the place of Immanuel Kant’s critical epistemology within Beckett’s early thinking and his subsequent works. Beginning from Beckett’s engagement with Kant’s Critique of Pure Reason, demonstrated by notes taken from Wilhelm Windelband’s A History of Philosophy between 1932 and 1933, excerpts from Jules de Gaultier’s From Kant to Nietzsche in the “Whoroscope” Notebook, and Beckett’s acquisition of Immanuel Kants Werke in 1938, I offer a close analysis of the philosophical underpinnings of Beckett’s parody of Proust’s À la recherche du temps perdu in Krapp’s Last Tape. The larger purpose of this article is to argue that a critique of metaphysical thought can be found in Beckett’s work and to demonstrate that Kant’s influence as a philosophical source of this critique has been largely overlooked in Beckett criticism

Art sonore, art radio et performance post-radio en Australie

En 1935, l’écrivain dadaïste Raoul Hausmann fit une lecture publique d’extraits tirés de son roman. C’était un texte surchargé de détails minutieusement décrits, de révélations prolixes, chaque phrase emplie de richesses baroques. L’importance de l’élément acoustique, et cette cascade écumante de mots, anticipaient sur toute une littérature du disque et de la radio — non reconnue encore, mais en cours de création. (László Moholy-Nagy) Comme le suggère László Moholy-Nagy dans Vision in Motion ..

Entretien avec Brion Gysin

— Qu’est-ce qui vous a incité à travailler avec le magnétophone ? Vous voulez dire : travailler ou jouer avec ? « I don’t work, you dig », comme je dis dans mon poème-permutation : « I work, I don’t dig you ! ». Enregistrer les sons de quelqu’un d’autre, c’est du travail. C’est en 1950, au Maroc, que je pensai pour la première fois utiliser un magnétophone afin d’enregistrer des musiques médiévales, mais je ne le fis jamais systématiquement, parce que j’avais remarqué qu’on n’entend pas vraim..

Critical vices : the myths of postmodern theory/ Zurbrugg

257 hal.; 24 cm

Critical vices : the myths of postmodern theory/ Zurbrugg

257 hal.; 24 cm

The Parameters Of Postmodernism.

xvi,183 hlm.;bib.;indek