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Contemporary Music Review, 2001
Reference and allusion, present in Kurtag's music from his Op. 1, reflect the discourses of modernism as clearly as the desire to avoid all extra-musical reference in the music of the post-war avant-garde. Kurtag's music is discussed in relation to two sets of ideas: Adorno's concept of musical material, and the “sedimentation” of historical elements ...
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Reference and allusion, present in Kurtag's music from his Op. 1, reflect the discourses of modernism as clearly as the desire to avoid all extra-musical reference in the music of the post-war avant-garde. Kurtag's music is discussed in relation to two sets of ideas: Adorno's concept of musical material, and the “sedimentation” of historical elements ...
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2010
›Die Moderne‹ mag vielleicht als »bewildering and disturbing term«1 gelten — doch wer sich darauf einlast, die historische Entwicklung des semantischen Feldes von ›modern/Moderne‹ zu skizzieren, darf sich nicht damit aufhalten, die »Uferlosig-keit verbindlicher Definitionsversuche«2 oder gar die Unmoglichkeit des Unterfangens3 zu beklagen.
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›Die Moderne‹ mag vielleicht als »bewildering and disturbing term«1 gelten — doch wer sich darauf einlast, die historische Entwicklung des semantischen Feldes von ›modern/Moderne‹ zu skizzieren, darf sich nicht damit aufhalten, die »Uferlosig-keit verbindlicher Definitionsversuche«2 oder gar die Unmoglichkeit des Unterfangens3 zu beklagen.
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Modernity at Large: Cultural Dimensions of Globalization
, 1996A. Appadurai
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The Journal of the Association of Teachers of Japanese, 1988
Robert M. Torrance, Donald Keene
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Robert M. Torrance, Donald Keene
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Video, Modernity and Modernism
1993A woman picks an apple. She picks it again. She puts it back on its branch, then there are two of her, mirrored across the video screen. Each picks and replaces apples, out of phase. The colour bleaches out of the image, from rich greens to harsh, grainy black and white, until the image becomes a kind of Rorschach blob, an illegible, symmetrical tangle
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