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Prof. Dr. Fernando de Toro English Post-Modern Fiction: Philosophy, Feminism, Post-Colonialism, deconstruction and rhizomatic writing Epistemological Foundations E=mc2 Einstein and Planck: Physics and Quantum Theory The Atom Protons Neutrons Quantum Theory Branch of physical theory based on the concept of the subdivision of radiant energy into finite quanta and applied to numerous processes involving transference or transformation of energy into an atomic or molecular scale. Quantum Theory Max Plank Plank found that he was forced to assume that the conversion of heat into light could not occur in any amount whatsoever, but came in the form of chunks whose size depended on the frequency of the light produced. The smallest amount of heat energy that could be converted to light of frequency v was given by the formula: E = hv. He called it granular quanta. Quantum Theory Albert Einstein The most incomprehensible thing about the universe is That it is comprehensible. Quantum Theory Frederick Karl Such exploration fitted discoveries being made in the preEinstenian physical world, so that Max Planck's quanta, as forms of separated bits of energy, parallel those piecemeal emanations form the unconscious which the analyst draws out. The discovery in the 1950s of the DNA double helix is the latest step in the recognition that ever smaller elements control the whole of life. We must unravel a series of paradoxes: that to open up meaning or to expand knowledge, Quantum Theory Frederick Karl we must move toward ever smaller elements that hold the key to wholeness. In the arts, well before the 1880s, this trend was apparent. Body language and the new science are implicit in each other: the arts paralleling quantum theory and the energy principle of the atom. Once split, the atom will release an empire of energy; analogously, a sound, a contained visual effect, a word or even its syllable will release worlds. Quantum Theory Frederick Karl We are in the presence of the transformation of matter. As language played double and triple games, as it came to be concerned with senses, sounds, colors, tones that had previously seemed inexpressible, as it created arrangements, shapes, and associations never before conceived, internality became matter. Quantum Theory Uncertainty It was hard to see why, after one once knew precisely the position and velocity of a particle, its future could not be determined exactly due to the disturbance of an object by the act of observing it. […] Thinking in this vein, he had the key insight into the origins of the indeterminacy at the atomic level. He saw that this indeterminacy was indeed the result of ignorance, not merely a practical ignorance, but one of an inherent and unavoidable kind. It source was the disturbance of an object by the act of observing it. Quantum Theory Uncertainty […] In quantitative terms, this is expressed in the statement that one cannot simultaneously measure the position and momentum of an object to any desired accuracy. No matter how good the instruments used or how careful the procedures, there had to be an irreducible error in at least one of the measurements. The quantitative statement of this rule is know as the uncertainty principle. Quantum Theory Frederick Karl Linguistic and visual developments in the arts parallel researches into the atom, the cell, even smaller particles. Quantum Theory The Sign Signifier relation Sign relation Signified Epistemological Foundations Music and Atonality Music and Atonality Gustav Mahler (1860-1911). Symphony No. 1: Igor Stravinsky (1882-1971). Petrouchka: Igor Stravinsky (1882-1971). The Rite of the Spring: Béla Bártok (1881-1945). String Quartet No. 1: Arnold Schoenberg (1874-1951): Erwartung: Music and Atonality Arnold Schoenberg (1874-1951): Pierrot Lunaire: Oliver Messian (1908-1992). Quartet for the End of the World: 1941: Oliver Messian (1908-1992). Turangalîla Symphony: 1946-1948: Atonality/Serialism Frederick Karl Schoenberg’s twelve-tone system, perceived as an anti-Wagnerian step, is really the repetition of limited sounds within a contained fragment, which embodies the whole. Serialism Serialism is a method of composition by which the order of occurrence of one or more musical elements are determined by a preexistent arrangement. The musical elements that can be disposed serially include pitch, duration, attack, instrumentation and timbre, and overall form. Serialism was applied to music of the twentieth century at first to compensate for the absence of common-practice tonality. Like tonality, it produced unity of design and offered the composer a practical guide to musical expansion. Arnold Schoenberg After many unsuccessful attempts during the period of approximately twelve years, I laid the foundations for a new procedure in musical construction which seemed fitted to replace those structural differentiations provided formerly by tonal harmonies. I called this procedure Method of Composition with Twelve Tones which are Related Only with One Another. This method consists primarily of the constant and exclusive use of a set of twelve different tones. Indeterminacy The years following the World War II were marked not only by a recrudescence of serial composition, but also by an innovation of an opposite sort –indeterminacy. An element of a musical work is indeterminate if it is chosen by chance or if its realization by a performer is not precisely specified by notational instructions. These two situations will be called, respectively, “indeterminacy of composition” and “indeterminacy of performance”. The term aleatory is also used to describe music of indeterminate construction, although some European writers used this word to designate indeterminacy of a limited type. Indeterminacy Indeterminacy has proven to be one of the most radical innovations in musical composition of the twentieth century. If extensively applied, it eliminates style. It can remove all consistently distinctive features form the work of a composer and thus put his accomplishments at a distance from the listener. But few composers have achieved this effacement of style. Indeterminacy has instead served to further definite musical objectives: for John Cage it has intensified the importance of sounds and environmental noises; ... for Pierre Boulez it has vivified musical materials that are otherwise subjected to complicated rational controls. Indeterminacy Indeterminate composition in the twentieth century began among experimental American composers between the world wars. Indeterminacy was slower in coming to Europe and was ultimately accepted there with greater caution, perhaps because of a stronger sense of musical tradition there than in America. American composers were guided toward indeterminate procedures by developments among their fellow painters and sculptures. Indeterminacy The “action paintings” of Jackson Pollock (1911-56) were made by dripping or splashing paint upon a canvas, so that the result was to an extent the product of chance. Jackson Pollock One (Number 31, 1950), 1950 Jackson Pollock Untitled 1951 Epistemological Foundations Fine Arts and Music Modest Mussorgsky (1839-1881) Pictures at an Exhibition 1873 Maurice Ravel (1875-1937) Gaspard de la Nuit 1908 Vincent van Gogh: The Starry Night 1889 Claude Debussy (1862-1918) La Mer Dialogue du vent et de la mer 1903-1905 Maurice Ravel (1875-1937) Piano Concerto 1931 George-Pierre Seurat: Port-en-Bessin 1888 Gustav Mahler (1860-1911) Symphonie No. 1 Igor Stravinsky (1882-1971) The Rite of the Spring 1911-1913 Igor Stravinsky (1882-1971) Petrouchka 1911 Pablo Picasso Les Demoiselles d’Avignon 1907 Arnold Schoenberg (1874-1951) Erwartung 1909 Marc Chagall Birthday, 1915 Béla Bartók (1881-1945) String Quartet No. 1 and No. 2 Joan Miró The Hunter, 1923-1924 Arnold Schoenberg (1874-1951) Pierrot Lunaire 1912 Salvador Dalí The Persistence of Memory, 1931 Igor Stravinsky (1882-1971) Petrouchka Wassily Kandinsky Painting No. 201 1914 Arnold Schoenberg (1874-1951) The Piano Music 1909 Henri Matisse Dance (first version) 1909 Igor Stravinsky (1882-1971) The Rite of the Spring 1911-1913 Juan Gris Guitar and Flowers 1912 Epistemological Foundations Modern Dance and the Bauhaus Oskar Schlemmer Calr Schlemmer Albert Burger Elza Hätzel The Triadic Ballet Sttutgart, 1922 Oskar Schlemmer, Seidhoff, and Kaminsky Spacial Delineation with Figure Bauhaus, Dessau, 1926 Kurt Schmidt, F.W. Bogler, Georg Teltscher The Mechanical Ballet Bauhaus Week, Jena, 1923 Kurt Schmidt T. Hergt The Adventures of the Little Hunchback 1924 Oskar Schlemmer Danse des Batons Bauhaus, Dessau 1927 Oskar Schlemmer Figure in Space with Plane Geometry and Spacial Delineations Bauhaus, Dessau, 1926 Oskar Schlemmer, Seidhoff, and Kaminsky Form Dance Bauhaus, Dessau, 1926