Intermedia
Intermedia is an
Characteristics
The areas such as those between drawing and poetry, or between painting and theatre could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry, performance art); historically, an example is haiga, which combined brush painting and haiku into one composition.[6]
Dick Higgins described the tendency of what he thought was the most interesting and best in the new art to cross boundaries of recognized media or even to fuse the boundaries of art with media[7] that had not previously been considered for art forms, including computers.
Part of the reason that
Picasso's voice is fading is that the Duchamp pieces are truly between media, between sculpture and something else, while a Picasso is readily classifiable as a painted ornament. Similarly, by invading the land between collage and photography, the German John Heartfieldproduced what are probably the greatest graphics of our century ...— Higgins, Intermedia, 1965, Leonardo, vol. 34, No. 1, p. 49
With characteristic modesty, Dick Higgins often noted that Samuel Taylor Coleridge had first used the term.[8]
Academia
In 1968,
In the United Kingdom, Edinburgh College of Art (within the University of Edinburgh) introduced a BA (Hons) Degree in Intermedia Arts, and intermedia can be a focus of study in Masters programmes.[13] The Academy of Fine Arts [AVU] in Prague offers a Masters in Intermedia Studies founded by Milan Knížák[14] and The Hungarian University of Fine Arts has an Intermedia Program.[15]
See also
References
- ^ Dick Higgins, Intermedia, re-published in Leonardo, vol 34, 2001, p49 - 54, with an Appendix by Hannah Higgins
- Hannah B. Higgins, "The Computational Word Works of Eric Andersen and Dick Higgins" in H. Higgins, & D. Kahn (eds), Mainframe experimentalism: Early digital computing in the experimental arts, p. 283.
- ^ Friedman, Ken 2018. "Thinking About Dick Higgins", Fluxus, Intermedia, and the Something Else Press. Selected Writings by Dick Higgins. Steve Clay & Ken Friedman, eds., pp. 13-14.
- ^ "John Brockman | Edge.org". www.edge.org. Retrieved 2020-11-19.
- ^ Jonas Mekas, “On the Plastic Inevitables and the Strobe Light (May 26, 1966),” in Movie Journal: The Rise of the New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 249–250.
- ISBN 9781844834860.
- ^ Higgins, Dick (1967). "Statement on Intermedia". Artpool. New York: Something Else Press.
- ^ Coleridge, Samuel 'Lecture 111 : On Spenser'
- ^ "Programs".
- ^ Intermedia
- ^ Master of Music in Intermedia Music Technology
- ^ "Pacific Northwest College of Art".
- ^ "Fine Art - BA (Hons) | Edinburgh College of Art".
- ^ "Art in Context".
- ^ "Intermedia Department | MKE".
Sources
- Owen Smith (1998), Fluxus: The History of an Attitude, San Diego State University Press
- Hannah B. Higgins, "The Computational Word Works of Eric Andersen and Dick Higgins" in H. Higgins, & D. Kahn (eds), Mainframe experimentalism: Early digital computing in the experimental arts. Berkeley, CA: University of California Press (2013).
- Ina Blom, The Intermedia Dynamic: An Aspect of Fluxus (PhD diss., University of Oslo, 1993).
- Natilee Harren, "The Crux of Fluxus: Intermedia, Rear-guard," in Art Expanded, 1958-1978, edited by Eric Crosby with Liz Glass. Vol. 2 of Living Collections Catalogue. Minneapolis: Walker Art Center, 2015.
- Jonas Mekas, “On the Plastic Inevitables and the Strobe Light (May 26, 1966),” in Movie Journal: The Rise of the New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 249–250.
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