"Domenichino on the Puritan's Grave." Notes on Contemporary Literature, 36.3 (2006), 10–12. “Aldous Huxley’s Concept of ‘Human Potentialities’,” Literatur und Lebensart / Literature and the Art of Living: Festschrift für Gerd Rohmann, ed.
"Language and Power in Aldous Huxley's Brave New World." Interactions, 15.1 (2006), 121–130. "Eyeless in Gaza: Mystical Means and Socio-Political Ends." Aldous Huxley Annual, 5 (2005), 151–165. Aldous Huxley – Prätexte und Kontexte (Münster, 2005). "Nancy (Myra, Lucy); Carrington (Mary, Anne); and Aldous (Theodore, Walter): Fact and Fiction." Aldous Huxley Annual, 5 (2005), 97–115. "Witches and the Devil in Salem and Loudun: Aldous Huxley, Marion Starkey and Arthur Miller on Demonic Possession." Aldous Huxley Annual, 5 (2005), 193–213. "Aldous Huxley." Review of Contemporary Fiction, 25.3 (2005), 86–136. Gisela Hermann-Brennecke and Wolf Kindermann (Münster, 2005), 171–192. "Crome Yellow: The Georgian Poet Orders His Tomb." Aldous Huxley Annual, 5 (2005), 69–96. "Orwell versus Huxley: Economics, Technology, Privacy and Satire." On "Nineteen Eighty-Four": Orwell and Our Future, ed.
On the concept of ‘weak thought’, see at the start of the third movement (‘Scène aux champs’) could have served as a model.
They are also unaccompanied, obviously similar in tone colour, and consciously structured to give, paradoxically, the impression of natural, ‘naive’ musical expression that is freely improvised without rigid bar lines.
Diana Coole Professor of Political and Social Theory, Birkbeck, University of London Essays consider recent artistic and critical approaches to materiality, focusing on the moments when materials become willful actors and agents within artistic processes.
Materiality has reappeared as a highly contested topic in recent art. "Success: A Scenario," Michigan Quarterly Review, 34 (1995), 624–641. Aldous Huxley, Man of Letters: Thinker, Critic and Artist – Proceedings of the Third International Aldous Huxley Symposium Riga 2004 (Münster, 2007). Aldous Huxley: Modern Satirical Novelist of Ideas, ed. • The Hidden Huxley: Contempt and Compassion for the Masses, 1920–1936, ed. • Nugel, Bernfried, Uwe Rasch and Gerhard Wagner (eds.). Artists surveyed include Georges Adéagbo, Carl Andre, Janine Antoni, Amy Balkin, Artur Barrio, Helen Chadwick, Mel Chin, Mark Dion, Jimmie Durham, Tessa Farmer, Chohreh Feyzdjou, Romuald Hazoumè, Pierre Huyghe, Ilya Kabakov, Mike Kelley, Anthony Mc Call, Teresa Margolles, Robert Morris, Michelangelo Pistoletto, Tino Sehgal, Shozo Shimamoto, Santiago Sierra, Robert Smithson, Simon Starling, Paul Thek, Paul Vanouse, Mierle Laderman Ukeles, Kara Walker Writers include Joseph D.Amato, Karen Barad, Judith Butler, Elizabeth Grosz, Georges Didi-Huberman, Natasha Eaton, Jens Hauser, Dieter Hoffmann-Axthelm, Tim Ingold, Wolfgang Kemp, Julia Kristeva, Esther Leslie, Jean-François Lyotard, Dietmar Rübel, Monika Wagner, Gillian Whiteley Petra Lange-Berndt is Chair of Modern and Contemporary art in the Art History Department at the University of Hamburg and a leading researcher in the field of material studies in art history.And it looks at the ways in which materials obstruct, disrupt, or interfere with social norms, emerging as impure formations and messy, unstable substances.It reexamines the notion of “dematerialization”; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject and phobic; explores the vitality of substances; and addresses the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation.The idea has a pedigree in early nineteenth-century writing on music, in particular the theories of Gustav von Schlabrendorf and Ernst Wagner (no relation) about the origin of music as bar-less, recitative-like song (see ).Another idea common to both works relevant to the present context is the use of a quasi-improvisational melody with flexible metre to represent the respective hero’s relationship to Nature (see n. The difference in emphasis is significant: while the cheerful, metrically ‘free’ song of the Woodbird in in the opening scene; these, he says, are meant to underscore the fact that Alberich is intended as a metaphor for the negative historical influence of French opera and an anti-Semitic allusion to Meyerbeer.: ‘The new musical language … "The William Strang Memorial Exhibition (1922)," ed. Bernfried Nugel with an afterword by Jerome Meckier.