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This suggestion concentrates on the idea of allegory and appropriation. In Biro's paper 'Allegorical Modernism: Carl Einstein on Otto Dix', Biro reveals a critique of modernist painting as essentially, "appropriationist" [82] and "represententational" which is, needless to say, on an opposing platform to formalism. Biro's paper is specific to the history of the Weimar Republic in the 1920's and 30's and thus differs from Krauss in this respect. Krauss maps her Repressed Modernism across the twentieth century and the conclusion of 'Formless: A User's Guide' suggests how the informe might operate in current art. Biro's project, not being as extensive, leaves us with the task of applying his Allegorical Modernism to more recent practice. Nevertheless, Biro's methodology is similar to Krauss in that, through his analysis of Einstein's article on Dix, he has identified an alternative to formalist critique, not from a post-modern point of view but, like Krauss, from within modernist discourse during the 1920's and 30's. What is interesting here is that Bataille and Einstein were editors and main contributors to the short lived Parisian journal Documents, published during 1929 to 1930, the significance of which is of current concern.
hal-a-fuckin-lu-ya
Once hailed as a beacon of rebirth in the aftermath of the Sept. 11 terror attacks, the Freedom Tower's patriotic name has been swapped out for the more marketable One World Trade Center, officials at the Port Authority conceded today.thx drat
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Discovering this album in a thrift-store was one of the most startling experiences of my record-hunting life. Hearing good ol' Johann Sebastian performed on the likes of snare drums, woodblocks and tom-toms had me completely bewildered. The New York Percussion Ensemble didn't cheat by using melodic percussion instruments like xylophones or marimbas - the list of instruments on the back include, apart from the ones I just mentioned, tambourines, cymbals, maracas, castanets, bongos, claves, triangle, cowbell, tympani, boobams, and sleigh bells.
The sound lies closer to traditional African music then to classical. To quote a Time magazine review: "The result has the effect of an X-ray photograph of a flower — barely recognizable, eerie and oddly fascinating." We make available three of the album's four cuts - the first track, a version of "Toccata and Fugue in D Minor," had a nasty gouge in it, but don't worry, it wasn't as good as the other three tracks.
This was no joke. Arranger John Klein's credits on the back cover are extensive - an early classical training, numerous classical and pop credits, and authorship of a "monumental two-volume work entitled 'The First Four Centuries of Music.'" I have no idea what this means, though: "Mr. Klein has composed music for no less then 137 dramas for the United States Treasury Department NBC Transcription Series..."