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It is said that the manufacturing of the sword that was found would have been substantially different from the manufacturing of the iron sword of a later date.
The iron sword would have needed forging and therefore would have required a Smith to hammer the red hot metal into the shape needed the bronze swords on the other hand were made by melting the bronze metal into liquid and pouring it into a mold.
The sword that was found was not the best example. The ladder method Jerry reported to Radio Prague International. They were obviously trying their best, but the quality of the casting was actually pretty low.
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Close menu. Wintering The Gift Shop. Gift Card. Greeting Cards. Gift Wrap. Paper Goods. Shop All. In this section, innovative work trips up its originators and entangles them in the hands of their enemies.
By trying to change the established terms, vanguardists studied here inadvertently help to create a new status quo. War is a major site of innovation.
Communication technologies, manufacturing processes, and social planning evolve in response to the changing needs of combat.
James Harding argues that war produced another kind of vanguard performance: espionage. They thus ignored the warning and sent crucial classified information directly to the Germans.
The British agents wound up as unwitting players in a performance out of their control. Their lesson appropriately begins this section: Vanguard performers can get so thoroughly caught up in their new ideas that they inadvertently aid their enemies.
The contemporary global market has definitively proven that innovation fuels conservative and neoliberal economies, as the market gobbles up every new idea and uses it to spur its own growth.
This is also the scene that brings us productions that attempt to rewrite, socially update, or redirect classical works from their sexist, racist, and otherwise biased roots.
Finally, Mike Sell steps back and surveys the field of avant-garde studies itself, noticing a disturbing reinscription of the pattern mapped in the previous three essays: Vanguardism is frequently taken up by mainstream scholars and institutions in a way that keeps subversive ideas officially on the margins, while surreptitiously adopting the more profitable ideas.
But if scholarship stops there, it fails to honor the intellectual rigor and engagement with divergent ideas that the academy espouses.
In doing so, our hope is that it opens up new questions concerning the historical avant-garde, vanguard acts, and the complex role of artistic innovation and live performance in global politics.
For studies in art and literature, see, for example, Matthew Affron and Mark Antliff, eds. For examples of fascist art discussed in other art fields, see studies on Ezra Pound and T.
Eliot, which proliferate. See Charles Ferrall, Modernist Writing and Reactionary Politics New York: Cambridge University Press, for a recent work in this vein.
In film, see Kriss Ravetto, The Unmaking of Fascist Aesthetics Minneapolis: University of Minnesota Press, Jonathan Steinberg New York: Berghahn Books, Just as surely, we should work to identify, assess, criticize and undermine those avant-gardes that intend to curtail justice, degrade the planetary ecosystem or enslave and exploit the power to imagine and enact a better tomorrow.
Mike Sell, Avant-Garde Performance and the Limits of Criticism Ann Arbor: University of Michigan Press, , I examine this tendency in regard to Antonin Artaud in Artaud and His Doubles Ann Arbor: University of Michigan Press, In short, performance is already excluded from the questions they have allowed themselves to ask.
Michel Foucault, Discipline and Punish New York: Vintage Books, , She enacted the inverse of this in her interpretation of Antonin Artaud, whose techniques she read in the light of her empathy for his suffering.
Quoted from the American denazification report in Steven Bach, Leni: The Life and Work of Leni Riefenstahl New York: Vintage, , Strobl, Swastika and Stage, James Harding demonstrates in Not the Other Avant-Garde that the historiography of the avant-garde itself is bound up in a Eurocentric and colonialist narrative that perceives history as a linear movement of expansion.
Rebecca Schneider, The Explicit Body in Performance New York: Routledge, , According to Sell, the avant-garde must challenge power, be a minority, and work within culture.
Discussed in Affron and Antliff, Fascist Visions, 6. Guy Debord, The Society of the Spectacle, trans. Donald Nicholson-Smith Cambridge, MA: MIT Press, These essays address both the public and the private performance spheres in which modernism offered radical solutions to artists whose worldviews had been utterly consumed and recast by the global wars of the twentieth century.
If, as Benjamin once remarked, every generation sees itself on the edge of an abyss, these are artists who, having crawled out of that abyss, sought to re-create it.
The historical moments included here share a valorization of violence and submission and an enhanced understanding of the process by which performance generates phenomenal reality and relays it to the distributed audiences of mass media.
We can trace that process throughout these essays. The famous incident in which he offered his Nobel Prize medal to be melted into war material is one of the points at which artistic reflection becomes gestural activism.
The gesture is symbolic, but the result is not. Literature can envision but not enact; performance can enact but cannot transform. Pirandello took to the stage; Williamson strove to become a maker of events; and Mishima brought desire, power, and radical transformation together in a moment of totalizing performance in which he extinguished himself.
The vision of machine-death summoned out of the sky, and its compulsion to aesthetics, have been components of the modernist imagination ever since Percival Lowell announced that he saw canals on Mars in The development of the European avant-garde parallels the rapid developments in mass media at the end of the nineteenth century, and it can be plotted against the domestication of wireless communications and radio.
In the mid-nineteenth century, telegraphy opened up the commercial possibilities of remote communication: nationalism plus markets plus telegraphy equaled imperialism.
Telegraphy itself, prior to the invention of the wireless, was one of the formative conditions of modernism, roughly defined as the global era in which discourses of humanity and human subjectivity come to define the principles of economic and cultural traffic.
At the heart of modernity was the ability of mass communications to disseminate, mobilize, and silence social phenomena.
The rapid social acceptance of radio and the exponentially increasing sales of home wireless receivers brought about a radical transformation of North American culture that can only be compared in scale to the digital revolution of the late twentieth century.
The wireless revolution opened up new cultural forms, new aesthetics, new political movements, new religions, and new understandings of reception and audience.
Radio manufacturers started broadcast stations to sell radios; stations sought new sounds to broadcast to recruit listeners, and in the process discovered that radio frequencies could be owned, and that time itself is a market commodity.
In this world of industrial technology and political revolution, artistic vanguardism of which the now canonical avant-garde that Schechner traces was but one trajectory was not a property of any one political community.
Piscator had been doing with theater exactly what Goebbels had been doing with radio. In both cases, electric technology transmitted somatic affect through performance distributed across multiplied bodies and summoned social pluralities in its reception.
For Piscator, live performance took place in a theater machine that integrated new media, and for Goebbels who, like Mussolini, dabbled in playwriting , the live audience and remote listeners were conjoined in one acoustic space.
This was a discovery that was instrumental for the vanguardist movements that had access to radio transmission. From his apartment, Richard Schechner watched the towers fall and thought of avantgarde catastrophic fantasy and Artaud.
The essays in this part all address similar moments when art envisioned and welcomed the abyss. Several of these essays invoke the idea of the sublime, of the totality that negates individuation in a vaster ontology.
The irony of that desire is that the modernist sublime materializes as a machine: a radio, a megaphone, a film camera, an airplane over a city, a robot drone over a desert.
Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin Cambridge, MA: Belknap Press of Harvard University Press, , You have people who are that focused on a performance and then 5, [sic] people are dispatched to the afterlife, in a single moment.
By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world.
And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.
Of what value is such a designation? Here are a few exemplary quotations, roughly decade by decade, from a large repertory: , from F.
There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.
We want to demolish museums and libraries. For art can only be violence, cruelty, injustice. Preparing to put an end to mourning, and to replace tears by sirens spreading from one continent to another.
All real progress has clearly been suspended until the revolutionary solution of the present multiform crisis.
Violent manifestos made real by actual explosions continued to be issued by groups such as the Weather Underground, not by artists.
Why did artists move away from advocating violence? I have no definite answer. Possibly, the realization that Soviet Communism failed to deliver the goods soured the taste for revolution.
This did not stop teachers and artists from honoring the futurists, dadaists, surrealists, and situationists.
The theater must give us everything that is in crime, love, war, or madness, if it wants to recover its necessity. Destroy the current order.
Create a new order, or anarchy. Are these manifestos mere ineffectual fantasies of powerless artists? Indeed, so-called high art and pop have merged just as news has melded into entertainment.
Additionally, at least since , when Chris Burden had a friend shoot him in the arm, many performance artists have wounded themselves, opened their veins as art, suspended themselves from hooks, slaughtered animals, and in manifold ways used real violence in the arts.
Popular culture is full of tattoos, piercings, and cosmetic surgeries, which, whatever their psychological and sociological meanings, enact the desire to be beautiful.
Aestheticizing and ritualizing violence, not as representations as in the visual arts, theater, or other media but as actual acts performed in the here and now, are widespread.
But is this really so? First of all, beautification by means of intrusive body alteration is practiced all over the world.
Second, al-Qaeda and other jihadists are not averse to using those aspects of Western culture they find helpful.
Bin Laden and his allies have taken advantage of the media and advanced technology, from the Internet to hijacked jets.
The technological sophistication of the jihadists debunks the ruling myth that they are primitive cave dwellers living in tribal areas.
In fact, no location is outside the global net, not even northeast Pakistan and Afghanistan; and no tribe or group of people is absolutely other.
Paradoxically, the West and the jihadists occupy very separate spheres from the point of view of values while sharing the same global system from the point of view of techniques.
In the media, where any mention is better than absence, jihadists and the warriors against terror compete for imagination space on the global stage.
Representations of the attacks are paradigmatic of the accelerating conflation of news and entertainment, and not only in the United States.
In Yueqing, a newly industrialized city southwest of Shanghai, videos showing the attacks were for sale by September In larger cities, these videos probably were on the market even sooner.
As Peter Hessler reported from China: They stocked them on the same racks as the Hollywood movies. Bush, and the burning Twin Towers.
On the back, a small icon noted that it had been rated R, for violence and language. That is, the news is given in small temporal units, and after two or three items there is another temporal unit, a commercial break.
This format of program content and advertising running sequentially is the same for news, sports, drama, and various contestant shows quiz shows, American Idol, etc.
Internet sites such as YouTube and its many Internet cognates further blur the boundaries between the real and the fictional.
There was also much pathos. It all went under the overall official rubric of the war on terror. This series included many subplots. Reporters were embedded with the troops on the ground.
There were daily suicide bombings and attacks of what the government and media called insurgents.
Civilians were slaughtered in these bombings and also by the allied military. Bush was gussied up in a flight suit though he was a passenger, not the pilot.
Bush or a Tom Cruise impersonator? For performance theorists and historians, the collapse of aesthetic categories was already familiar from Marcel Duchamp and Andy Warhol.
But today most of the art world and the real world live in between these extremes. It is, to many Americans, simply the City, quintessentially American and foreign simultaneously.
If the planes had crashed into the towers three hours later, many more people would have died. If the two planes hit simultaneously or nearly so, the media would not have seen the collision, only the aftermath.
I believe the jihadists timed their hijackings as a one-two punch for maximum spectacular effect, synchronized to the morning news cycle in New York and midday in Europe.
Their intention was not to kill as many people as possible but to reach as large a spectatorship in the West as possible. And what kind of imaginary is that?
Regardless of who carried out the massacre, this violence is the legitimate daughter of the culture of violence, hunger and inhumane exploitation.
At present, I return to the question of art and of what kind. This leads me to the sublime as expounded by Immanuel Kant in It is a greatness comparable to itself alone.
Hence it comes that the sublime is not to be looked for in things of nature, but only in our own ideas. Can the horrible even as it is unfolding be experienced as art?
Even before Kant, in , Edmund Burke tackled this question in his treatise On the Sublime and Beautiful. And, of course, political and military action is still another.
Most of what we today call art carries an ideological or religious message. In the West, before the Renaissance and the advent of capitalism, there was no category of fine art as such.
At present, most art remains bound to forces outside itself and is not independent or disinterested. Most art is good or bad in an ethical-moral-political way in terms of values operating beyond or despite the work itself.
In other words, there may be some agreement universally about what is art and what is not, what is sublime and what is not, but there is no such agreement, nor can I foresee a time when there will be, about what is ethically-morally-politically good or bad.
Because Fo was not talking about art. And art is not as serious as politics; art is play, secondary, a representation. However, from the perspective of performance studies, the attack on the World Trade Center was a performance: planned, rehearsed, staged, and intended both to wound the United States materially and to affect and infect the imagination.
The destruction of two iconic buildings, and the murder of so many people in one fell swoop, was intended to deliver a very specific message about the boldness of the jihad and the vulnerability of the United States.
A performance, surely, but art? I believe that the attack can be understood as the actualization of key ideas and impulses driving the avant-garde.
Thierry de Duve writes: It is as if the history of the avant-gardes were a dialectical history cast off by the contradictions of art and non-art, the history of a prohibition and of its transgression.
This is a duty and not a right. It was illegal art from the point of view of international law because it targeted civilians. But it was avant-garde art from the point of view of the tradition I am discussing.
Is this kind of analysis perverse, not only doing dishonor to the dead and injured but also soiling what art is or ought to be?
Does such a designation grant the jihadists much more than they deserve? And does it help us understand better the world we are living in?
Stockhausen was actually envious of the jihadists. What other art act has done that? Having just written this, I confess that I am very uncomfortable.
I have reasoned my way into a position that I ethically reject. Maybe my way out is to assert that art requires artists who consciously choose to make art and spectators who willingly observe art.
This, surely, is the modern humanist tradition. Medicinal herbs. Hallucinating herbs. Happy Caps E. Mescaline Cactus.
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