A. S. Bessa
The new originative poetics (if I am allowed to borrow Miner's expression) began with Richard Wagner's defense of a total work of art (Gesamtkunstwerk ) and although his theories of art met with a great deal of resistance from the mainstream, they ultimately prevailed over the established norms and greatly influenced the generations of artists who followed. We can find traces of Wagner's theories not only in the area of music but also in literature and the visual arts. In modified ways and in different degrees, one can detect Wagner's ideas in the major works of Charles Baudelaire, Stéphane Mallarmé, and James Joyce, as well as in the postulates of the Bauhaus School, the Concrete Poetry Movement, and most recently in the tendency towards installation art. This impressive line up suggests that Modernism was inaugurated by Wagner.
Wagner's central idea in his critical and theoretical essays is the definition of opera in terms of poetry-music-drama (Wort-Ton-Drama ). Thus, Wagner proposed a work of art (opera, in this case) which would merge three strands which had always been separated: poetry, music, and tragedy. In his view, opera of the period sacrificed poetry and tragedy (plot), in the guise of badly written librettos and poetry of doubtful skill, in order to accommodate the flow of music. Wagner aimed at a high-concept work of art in which all three parts would bear the same weight. The application of this theoretical approach to his own operatic work led increasingly towards a huge, massive and unified piece of music. The distinctions between arias and recitatives were abolished and replaced by the concept of theleitmotiv, a conductive musical motif that provides the distinctive "tone" of each character or element in the opera.
Internet and the New Web Art: Meaning and Consequence
Mamta B. Herland
Digital technology has given artists possibilities to synthesise traditional art forms and has brought the art of collage to a much higher level than has ever been possible. An image can be completely transformed in multiple ways and re-mixed with different visually interactive layers. Works can be copied without any decrease in quality. Digital media and traditional methods also frequently merge into new unities. Fine art, music, dance, animation, film, video and robotics can be synthesised, for the first time giving the artist the ability to create art that includes all these elements. Art presented at Internet Web sites has a potential world-wide audience, and works created by traditional methods are presented side-by-side with reproductions of such works. Digital works can be presented either as a print or on a high-resolution flat wall-mounted screen, as 3-D works, video, animation or any synthesis of known art forms. To some artists and art institutions this fast, seemingly uncontrollable and partly unregulated development is frightening, as it questions the role and values in art. Values regarding originality, authenticity and uniqueness that have been cherished for hundreds of years are not applicable to digital art. However, the technology is here to stay and it won't go away even if traditional art communities keep ignoring it.
AS EVENING
Music: J.S. Bach / Text: A. Lini
Image: P. Delvaux
INSIDE THE DARK
Music: C. Debussy / Text A. Lini
Image: C. Brancusi
ETERNAL
Text and image: A. Lini
Music: C. Debussy
POESIANET
Music: M. Ravel / Text: A. Lini
Image: A. E lsheimer
YOUR BREATH
Text: A. Lini
MONOLOGUES
Text: A. Lini
WHITE TOWN
Text: A. Lini
THE BLUE DAWN
Text: A. Lini