It would be interesting to look at the stylistic procedures of both from the point of view of LeviStrauss’s notion of bricolage (see La pens& sauvage Paris: Plon, 19621). Both avantgarde and Kitsch would then seem to be involved in sonic kind of reciprocal bricolage, avowed in one case (and aiming at the discovery of new dimensions), tacit in the other (and trying to pass for an original invention. «the real thing»).
to. Series and Structure
I. Pierre Boulez. Relevis d’apprenti (Paris: Seuil, 1966). p. 297.
- Jean Pouillom «Presentation,» Les temps modernes (November 1966), issuetitled Problemesdu structuralisme.
- «Ouverture,» The Raw and the Cooked (New York: Harper and Row, 1969), pp. 1827.
- Incontrimusicali3 (1959).
- Pierre Schaeffer. Traiti des ohjets musicaux (Paris: Seuil, 1966), pp.
300303. - LeviStrauss, The Raw and the Cooked, p. 25. 7. Ibid..p.27.
- In which case we should probably abandon the Saussurean hypothesis of a code qua constituted system, inventory, taxonomy, to approximate a notion of «competence» as a finite mechanism capable of an infinite activity. In relation to this deeper structure, any system, such as the tonal one or the serial one, would be a «superficial» structurein Chomsky’s sense of the word. As concerns the possibility of a «serial» discourse, Chomsky further distinguishes between a creativity that’s determined by rules («competence») and a creativity that changes the rules («performance»). Of course, the mere possibility of serial thought would automatically call into question the universals of language to which Chomsky refers; on the other hand, as I have already noted, a generative matrix could preside over both the formation and the destructuration of rules. Chomsky’s work has opened a door to the study of an open combinatorial grammar, but at this particular stage of research it would be premature to translate the propositions of transformational grammar into the broader terms required by a semiological discourse, and particularly so, considering that Chomsky himself has referred to his modeloften redefinedas «still rudimentary.» See E. H. Lenneberg, «The Formal Nature of Language,» in Biological Foundations of Language (Melbourne, Fla.: Krieger, 1967), p. 430. I have also found particularly useful Nicolas Ruwet’s suggestions in «Introduction a la grammaire generative,» Langages 4 (1966). See also Gualtiero Calboli, «Rilevamento tassonomico e ‘coerenza’ grammaticale,» Rendiconti
(1967):1516. - Henri Pousseur,»La nuovasensibility musicale,»Incontrimusicali2
(1958).
to. Jupiter, Mars, Quirinus (Torino: Einaudi, 1955).
I. Desmond Moms, The Naked Ape (New York: McGrawIfill, 1967). 12. Lucien Sebag, Marxismeetstructuralisme(Paris:Payot, 1964). - Ibid.,p.121. 14. Ibid., p. 123. 15. Ibid.,p.125.
t6. Michel Foucault, The Order of Things (New York: Random House, 1970). After showing how the distinction between «physiocrats» and «utilitarians,» in the eighteenth century, can be expressed in the transformation of the same structural scheme, Foucault notes: «Perhaps it would have been simpler to say that the Physiocrats represented the landowners and the ‘utilitarians’ the merchants and entrepreneurs . . . But though membership of a social group can always explain why such and such a person chose one system of thought rather than another, the condition enabling that system to be thought never resides in the existence of the group» (p. zoo). - Sebag, Marxisme et structuralisme, p. 127. 18. Ibid.,p.128.
- Ibid.,p.144. 20. Ibid..p.147. 21. Ibid.,p.148.
- Les tempsmodernes (March 1965). 23. Ibid., p. 1622.
Index
Adamov, A.,115 theory, xixii, 6365; and code violaAddinsell, Richard: WarsawConcerto, 214 tion, xxivxxv, 3539, 6365, 67, 195Adomo, Theodor, 195, 242 199, 207208, 255019; and social cornAdvertising,189 mttment, xxiv, II; perceptual, 1617; of Aestheticexperience,2425.27,80.189. signs, 3539, 85, 86, 98, 255019; and SeealsoAestheticpleasure aesthetic value, 4142, 208; in music, Aestheticpleasure,3738,7576,too; 96. See also Indeterminacy; Openness; and openness, 39.42.808/, too, 171, Openwork
205 Amicis, Edmondo de: Cum, xxviii,
The Aesthetics of Thomas Aquinas, xxi
Aesthetic stimulus, 3539. Stealso Aes Anth3ropology,144145,146,147148 theticpleasure Antonioni,Michelangelo:LaNotte,116; Aesthetic theory: idiolect of. xxv; tradi L’Avventura,/16118,121;Eclipse,148149. tional. 24; medieval, 57; defined, 22, 152
toy; incompleteness of, 39; and infor Apocalittici eintegrati,xvi,xviii, xix,xxi, mation theory, 44. See also Art; Art. xxiv
contemporary; Avantgarde art; Open Apollinaire,Guillaume,65,236
work;Poetics Aristotle,14,88,120,184;Poetics,xxxii;on Aestheticvalidity,3,170 poetry,111112,114,118 Aestheticvalue,8o,87,111112,176 Art:cognitivefunctionof,ix,xivxv,xxiv; 178,257n/9;andambiguity, 4142 asreflectionofculture,ix,xivxv,67, .4gudezas,7 1319,2223,80,8793,140142, 153, Alienation: inescapability of Xiv, 126, 155157, 167168,173,174;matterof, 127129, 136137, 26404; defined, 123 ix,tot,160161;politicalfunctionof,xv, 124; and objectification, 124127, 135. xxvi136; economic. 125126, 127129; and xxvii,83,137,14014.2,172,174;con
salvation, 129131, 133135, 136; sumptionof,xxiv,194195;evolutionof, pessimistic attitude toward, 131133; 7980;deathof,170174;autonomyof, positive attitude toward, 133t34; in 174175.SeealsoArt,contemporary; industrial society, 136, 144,145149, 243, Art,productionof;Art,workof;Avant265n5; formal, 137142; aesthetic gardeart;Form,aesthetic; Intention, expression of, 145149, 151158, 243 aesthetic; Open work;Poetry Allegory, 56 Art, contemporary: poetics of, vii, ixxiii,
Ambiguity: in open work, xxii, xxiv, 9 3, 4, 715, 1721, 2223, 44, 61, 6465, 10, II, 17, 1820, 4143, 44, 6869, 8o, 83,86,114121,142143,170
85,95100,195;andinformation
Art. contemporary (continued)
174; as reflection of culture, ix, xivxv, 1419.2_23, 80. 8793. 140. 142. 153, 155157, 167168. 173. 174; ambiguity in, xxii, xxiv, 910. II, 17.
182o, 4143. 44. 6869, 80, 85. 95too. 195; political function of. xv,
83, 137. 140141, 172. 174; aesthetic value of, 174179. See also Avantgarde art; Open work
Art. production of: open work, xxiv, 109110, 112113, 169170. 218; as formative process, 151, 161163, 164, 178, 201. 269n6; dialectics of, 159, 160162; in Kitsch, 186
Art, traditional, nt. 34. 13. 94, 104; lack of ambiguity in, xxii. 24. See also Music
Art, work of: limits of, 8, 1920. 64, 98100; and OpenneSS, 2023. 6465, I00104; as expression of poetics, 27. 151. 169171, 174175. 176178. 201; as message, 5865, 68. 102103, 195200; as perceptible form, 151, 176177, 201; as model, 162163; permanence of,
165166; fetishization of; 195, 198, 200; imitation of. 201205
Audiberti, Jacques, 9293
Avantgarde art, bt. xiii. 88, 150. 2172 ambiguity in. 6365. 140142, 265n9; political function of, 140142. 150. 174. 265159; development of, 186187; and Kitsch, 186188, 190. 192, 193, 203, 215216; and structuralism, 219; Italian. 2362.49; and capitalism, 237: and Marxism, 237238, 241243; features of, 240, 247; French, 245
Bath, J. S., 2, 95
Bad taste: as imposition of effect, 181, 182185. 194195. 203. See also Kitsch Balestrini, Nanni, 240, 244, 249, 268152 Balzac. Honore de, 120, 156 Baroque period, 7. 1314, 81, 85 Barthes, Roland, 245 Baseball, 117118, 119 Bauhaus style, 193 Beardsley, Aubrey, 188
Beatniks, 129130
Beckett. Samuel, 115. 236. 242 Beethoven, Ludwig van, 79, 189 Sense, Max, 69
Berio. Luciano. ix. x, 1. 4, 19. 245 Bohr, Niels, 1516
Boldini. Giovanni. 202203 Boltzmann, Ludwig, 48 BookoftheMonth Club, 192
Sandro. 205
Boulez, Pierre, 2, 217218. 223, 245 Bradbury. Ray: Ina Season of Calm fteathrr. 111213
Brahms. Johannes, 79. 142143 Brecht. Benoit. 7, II. 10. 135, 192193 Breton. André, 236
Broch, Hermann, 183, 192 Bruegel. Pieter, 198
Bruno. Giordano. 41 ¥. Camille, 84, 9293
Buck, Pearl: The Good Earth, 190, 191 Burke, Edmund, 8
Byron, George Gordon. Lord, 173
Calder, Alexander, ix. 12, 85 Calligraphic painting, 222 Calvin, Italo, 150 t 31
Canova, Antonio, z 80
Capitalism, 125, 206, 210211, 237. See
also Industrial society; Marxism Carp0CrateS, 155, 243 Cendrars, Blaise, 135136
Chance, 102, 103, 116117. See also Dis
order. Entropy
Chomsky, Noam, 228, 274158 Chopin. Frederic. 214
Cinema: narrative plot in, 115116, 2671513; openness in, 116118, 120, 142; alienation in, 148149
Classical art. See Art, traditional Clausius, Rudolf, 47
Code: structural vs. historical,
220221, 227229. 230232, 245246, 274158; violation of, xxivxxv. 3539, 5862, 6364, 67, 76. 7980, 83. 95, 195199; and message, 5052, 5658, 6365, 6668, 195200, 219220. 245. 253n/3, 258’127; defined, 56; and ease of communication. 5658, 6465; primary
(Ur), 220221, 227228, 245.
See also Information; Language; Meaning; Message; Music; Structuralism; Tonal system
Coleridge. Samuel Taylor, 26 Combination, axis of, 220, 245 Communication: mass. vii, xxiv, xxvi
xxvii, 187, 270n9; aesthetic, xxvi, 3239, 4142, 5862, 6668, 93100, 102; referential, 2930, 3536; emotive, 3032, 3536; as coded information, 5’52, 5662, 6365, 219220, 224225; and order, 6365. 98100; and avantgarde art. 6365, 140142; psychological aspects of, 7074; television and, 106; artist’s rejection of systems of, 143144; and form, 164165; status of structures of, 226230. See also Code; Information; Language; Message
Communication theory, 6669, 70, 258n27; structuralism in, 219220, 226229
Communism. See Marxism Constructivism, 89
Contemporary art. See Art, Contemporary
Convention: contravention of, xixii, xxivxxv, 137142; and meaning, 93100; in mosaic, 9798; and alienation, 137142. See also Code
Copernicus, 14, 89
Criticism, aesthetic, xiii, 168169, 178179, 247
Croce, Benedetto, xiii, 158; intuition/ expression in, viiiix, 25, 160; totality in, 2526, 28
Cubism, 85, 89, 169, 205
Culture. See Avantgarde art; History; Mass culture; Midcult
Culture industry, 185, 186, 187 Curi, NUM, 242
Dante Alighieri, 5, 6, 94, 237; Divine Comedy, 20, 40, 41, 169, t76
Darwin, Charles, 26
Debussy, Claude, 139
De Sanctis, Francesco, 172173 Detective story, 146148. See also Novel Dewey, John, 2528, 71; experience in,
2527, 110, 133134; transactional
knowledge in, 2728, 3539. Art as Experience, 27
Dialectics. See Logic; Marxism
Diario minima, xxviii
Discontinuity, 13, 18, 9o, 141142. See also Disorder
Disorder (entropy), xxi, 4649, 157; and information, xixfi, 49. 5058, 6367, 78, 8081, 93100, 256112; in contemporary art, xvxvi, xviii, 8081, 8793; organization of, 63, 65; and rationality. 141142
Dubuffct, Jean, 9091, 99, 101 Duchamp, Marcel, 89
Dumetil, Georges, 230, 232233
Egenter, R., 185, 192 Einstein, Albert, to, 1819 Eliot, T. S., 67, 243
Eluard, Paul, 606,, 9495 Engels, Frederick, 156
Enlightenment, the, 78
Entropy 4649, 5058. See also Disorder Evra rd t he G er man , 24 3 Existentialism, 126
Experience: acquired, 7172; unification of, it0111, 112113; and mimesis,
Itt
Experimentalism, 246
Fascism,237
Fautrier, Pietro, 91, 102 Fauvism, 89
Fetishizedcommodity, 195, 197, 200 Finkelstein, Sidney, 142143 Flaubert,Gustave, 161
Fleming, Ian, xvii
Form, aesthetic: organic, xii, xxv, 42, 159; and openness, xii, 3639, 60, 64, 85, 101104; and style, xxv, 160, 164165, 200201; as reflection of culture, 1320, 2223, 88, 15/157; and memory, 3739, 163; acquired, 72, 76, 7980; artist’s protest against, 95, 101104, 137143; traditional, toe, 103, 104; montage, 107, 114; rhyme, 137139; forming of, 151, 158159, 16tt63, 164, 177178, 201, 269n6; and
interpretation, 163164, 166; artwork as Form.aesthetic (continued) perceptible. 1761 78, 201; VS. content, 178; consumption of, 197200. See also Narrative; Plot; Tonal system Form,perceptual.72,73.8182 Formaggio. Dino: L’idea di arristicitil.
172173 Formalism,Russian.71,257n17.Seealso
Structuralism Formativity.xii,65,158161.165,178,
269n6. SeealsoForm Freud.Sigmund,246 Functionalism,234
Futurism.85,237.244
Gabo.Naum,85, 86 Galileo,229
Garroni, Emilio, 69 Gelber.Jack:TheConnection,115 Geometry. 89. t02. 120 Gershwin, George. 214215
Gestalt theory,71,7273, 7578.81 Gesture,aesthetic, 102,103 Giorgionc: Tempesta, 198 Giuliani.Alfredo.241 Gnosticism,155.243
Godard,JeanLuc,244,267/113 Goethe.JohannWolfgangVon.173,183 Greenberg,Clement.186 Gruppe47.240241
Gruppo 63: critique of bourgeois society, xiii, 239, 246248; and student unrest, xt, 247249; critique of
