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Fluxus (programming environment)

Fluxus is a live coding environment for 3D graphics, music and games. It uses the programming language Racket (a dialect of Scheme/Lisp) to work with… 
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Papers overview

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2015
2015
Abstract In 1963 and 1964, Japanese artist Akasegawa Genpei was working on two related series of objects he called “model” 1,000… 
2014
2014
Music has been the subject of formal approaches for a long time, ranging from Pythagoras’ elementary research on tonal systems to… 
2013
2013
ETAT DE L’ART (PRATIQUE MUSICALE) Christian Marclay est un plasticien, performeur, improvisateur et compositeur ne aux Etats… 
2013
2013
Swanstrom, Julie A., Ph.D. Purdue University, December 2013. The Metaphysics of Causation in the Creation Accounts of Avicenna… 
2012
2012
....................................................................................................................................... 1 Table of Contents ..................................................................................................................... 3 Acknowledgements ................................................................................................................. 6 Figures, Tables, Copyright .................................................................................................... 8 1. Introduction ....................................................................................................................... 10 1.1 The Czech Underground: a Brief Description ................................................................ 11 1.2 Music in the Eastern Bloc ..................................................................................................... 15 1.3 Sociology of Music to Music in Action ............................................................................... 17 1.4 Organization of Thesis .......................................................................................................... 20 Chapter 2: Musicking in Cultural Spaces ...................................................................... 24 2.1.1 Community Activity and Group Culture .................................................................................. 27 2.1.2 Musical Scenes and Cultural Spaces .......................................................................................... 30 2.1.3 Ecological Perspectives of Community Activity ................................................................... 32 2.1.4 Learning Dispositions ..................................................................................................................... 36 2.1.5 Art Worlds ............................................................................................................................................ 40 2.1.6 Affordances and Mediations ......................................................................................................... 42 2.2. Coming Together Musically ................................................................................................ 45 2.2.3 Community Health, Musicking and Resistance .................................................................... 48 2.2.4 Summary: a Music Sociology of Keeping Together ............................................................ 52 2.3. Resistance, Revolution and Music in the Eastern Bloc .............................................. 53 2.3.2 Dissidence in the Eastern Bloc .................................................................................................... 60 2.4 Conclusion: Toward an Aesthetic Ecology of Cultural Spaces .................................. 61 Chapter 3: Researching Cultural Spaces in an Ecological Perspective ............... 64 3.1 Studying Spaces of Aesthetic Ecology ............................................................................... 65 3.2 Entering the research field 2004-­‐2007 ........................................................................... 71 3.2.1 Observing but not Participating ................................................................................................. 73 3.2.2 Gaining Access .................................................................................................................................... 77 3.4 Doing the Research ................................................................................................................. 80 3.4.1 Participant Observation ................................................................................................................. 80 3.4.2 Interviews ............................................................................................................................................ 84 3.4.3 Archival Research ............................................................................................................................. 90 3.4.4 Official archives .................................................................................................................................. 90 3.4.5 Alternative archives ......................................................................................................................... 97 3.5 Documenting the Data ......................................................................................................... 102 3.5.1 Research ethics ................................................................................................................................ 106 3.6 Analyzing the Data ................................................................................................................ 107 3.7 Self-­‐Reflexivity ....................................................................................................................... 110 3.8 Conclusion ............................................................................................................................... 112 Chapter 4: Furnishing the Underground Space ........................................................ 114 4.1 Building on History: Early Cultural Resources ........................................................... 114 4.1.1 Czechoslovak BigBít in the 1960s ............................................................................................ 116 4.1.2 Proto-­‐Underground ....................................................................................................................... 123 4.1.3 Knížák and Fluxus Furnishings ................................................................................................. 129 
2005
2005
"No Longer Innocent: Book Art in America: 1960–1980 is the first history to trace the emergence of the artist's book in the U.S… 
2005
2005
Abstract It is often said that Fluxus exerts profound influence on contemporary artists. This essay argues that Fluxus has done… 
1996
1996
1995
1995
1994
1994
1. Acc., Ab. and D. depend on the meaning of per modum fluxus: Acc. and Ab. (on their own or following a preposition) involve the…