LUCIANO BERIO’S NATURALE: A STORY COMBINING FOLK MUSIC AND ART MUSIC

The study of a score by a serious performer is a fundamental step in the process of arriving at a knowledgeable and deeply informed approach to performing a piece of music. In order to obtain this knowledge numerous aspects of the score must be taken into consideration. It is the intent of this dissertation to gather and analyze the information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. All the aspects surrounding Naturale’s existence are taken into consideration in this study. First, it is important to reflect on Berio’s compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of Sicilian folk music itself, and the sources used by Berio to find the songs by which he was inspired. The work is examined section by section with figures showing both excerpts of Naturale as well as the original songs with their translations. An analysis containing harmonic, thematic and formal aspects of the score was developed in order to arrive at a better understanding of the structure and pacing of the piece. For this research the author went to Italy to conduct an interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed. This interview helped in the discovery of two more songs used by Berio that have not to this point been identified in any other document. Bennici’s outstanding testimony portrayed the expressive character of this music and the evocative imagery behind this score. I hope to bring this knowledge to other performers, that they may fully understand and appreciate the unique beauty and power of Berio’s Naturale.

Interactions spatiales et auto-organisation des végétations semi-arides

Les recherches récapitulées dans cette thèse de doctorat ont porté sur les causes de l’organisation spatiale des végétations périodiques. Ces structures paysagères aux motifs réguliers, tachetés, tigrés ou labyrinthiques, d’échelle décamétrique à hectométrique, couvrant des étendues considérables sur au moins trois continents, constituent un cas d’école dans l’étude des processus endogènes présidant à l’hétérogénéité du couvert végétal. Ces structures prennent place sur un substrat homogène, mis à part la rétroaction du couvert lui-même, et sont marquées par des écotones abrupts et la persistance d’une proportion considérable de sol nu. Plusieurs modèles ont mis en avant l’existence possible d’un phénomène d’auto-organisation du couvert, qui verrait une structure d’ensemble émerger des interactions locales entre individus. Ces modèles se basent sur le jeu simultané de la consommation de la ressource (compétition) et de l’amélioration de l’un ou l’autre des éléments du bilan de la même ressource par le couvert (facilitation). La condition à l’existence d’une structure d’ensemble spatialement périodique et stable réside dans une différence entre la portée de la compétition (plus grande) et celle de la facilitation. L’apparition de ces structures est modulée par le taux de croissance biologique, qui est le reflet des contraintes extérieures telles que l’aridité, le pâturage ou la coupe de bois. Le modus operandi des interactions spatiales supposées entre individus reste largement à préciser.

Nos recherches ont été menées au sud-ouest de la République du Niger, à l’intérieur et dans les environs du parc Régional du W. Trois axes ont été explorés :(i) Une étude de la dépendance spatiale entre la structure de la végétation (biovolumes cartographiés) et les paramètres du milieu abiotique (relief, sol), sur base d’analyses spectrales et cross-spectrales par transformée de Fourier (1D et 2D). (ii) Une étude diachronique (1956, 1975 et 1996) à large échelle (3000 km²) de l’influence de l’aridité et des pressions d’origine anthropique sur l’auto-organisation des végétations périodiques, basée sur la caractérisation de la structure spatiale des paysages sur photos aériennes via la transformée de Fourier en 2D. (iii) Trois études portant sur les interactions spatiales entre individus :En premier lieu, via l’excavation des systèmes racinaires (air pulsé) ;Ensuite, par un suivi spatio-temporel du bilan hydrique du sol (blocs de gypse) ;Enfin, via le marquage de la ressource par du deutérium.

Nous avons ainsi pu établir que les végétations périodiques constituent bien un mode d’auto-organisation pouvant survenir sur substrat homogène et modulé par les contraintes climatiques et anthropiques. Un ajustement rapide entre l’organisation des végétations périodiques et le climat a pu être montrée en zone protégée. La superficie et l’organisation des végétations périodiques y ont tour à tour progressé et régressé en fonction d’épisodes secs ou humides. Par contre, en dehors de l’aire protégée, la possibilité d’une restauration du couvert semble fortement liée au taux d’exploitation des ressources végétales. Ces résultats ont d’importantes implications quant à la compréhension des interactions entre climat et écosystèmes et à l’évaluation de leurs capacités de charge. La caractérisation de la structure spatiale des végétations arides, notamment par la transformée de Fourier d’images HR, devrait être généralisée comme outil de monitoring de l’état de ces écosystèmes. Nos études portant sur les modes d’interactions spatiales ont permis de confirmer l’existence d’une facilitation à courte portée du couvert végétal sur la ressource. Cependant, cette facilitation ne semble pas s’exercer sur le terme du bilan hydrique traditionnellement avancé, à savoir l’infiltration, mais plutôt sur le taux d’évaporation (deux fois moindre à l’ombre des canopées). Ce mécanisme exclut l’existence de transferts diffusifs souterrains entre sols nu et fourrés. Des transferts inverses semblent d’ailleurs montrés par le marquage isotopique. L’étude du bilan hydrique et la cartographie du micro-relief, ainsi que la profondeur fortement réduite de la zone d’exploitation racinaire, jettent de sérieux doutes quant au rôle communément admis des transferts d’eau par ruissellement/diffusion de surface en tant que processus clé dans la compétition à distance entre les plantes. L’alternative réside dans l’existence d’une compétition racinaire de portée supérieure aux canopées. Cette hypothèse trouve une confirmation tant par les rhizosphères excavées, superficielles et étendues, que dans le marquage isotopique, montrant des contaminations d’arbustes situés à plus de 15 m de la zone d’apport. De même, l’étude du bilan hydrique met en évidence les influences simultanées et contradictoires (facilitation/compétition) des ligneux sur l’évapotranspiration.

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This PhD thesis gathers results of a research dealing with the causes of the spatial organisation of periodic vegetations. These landscape structures, featuring regular spotted, labyrinthine or banded patterns of decametric to hectometric scale, and extending over considerable areas on at least three continents, constitute a perfect study case to approach endogenous processes leading to vegetation heterogeneities. These patterns occur over homogeneous substratum, except for vegetation’s own feedbacks, and are marked by sharp ecotones and the persistence of a considerable amount of bare soil. A number of models suggested a possible case of self-organized patterning, in which the general structure would emerge from local interactions between individuals. Those models rest on the interplay of competitive and facilitative effects, relating to soil water consumption and to soil water budget enhancement by vegetation. A general necessary condition for pattern formation to occur is that negative interactions (competition) have a larger range than positive interactions (facilitation). Moreover, all models agree with the idea that patterning occurs when vegetation growth decreases, for instance as a result of reduced water availability, domestic grazing or wood cutting, therefore viewing patterns as a self-organised response to environmental constraints. However the modus operandi of the spatial interactions between individual plants remains largely to be specified.

We carried out a field research in South-West Niger, within and around the W Regional Park. Three research lines were explored: (i) The study of the spatial dependency between the vegetation pattern (mapped biovolumes) and the factors of the abiotic environment (soil, relief), on the basis of spectral and cross-spectral analyses with Fourier transform (1D and 2D). (ii) A broad scale diachronic study (1956, 1975, 1996) of the influence of aridity and human induced pressures on the vegetation self-patterning, based on the characterisation of patterns on high resolution remote sensing data via 2D Fourier transform. (iii) Three different approaches of the spatial interactions between individuals: via root systems excavation with pulsed air; via the monitoring in space and time of the soil water budget (gypsum blocks method); and via water resource labelling with deuterated water.

We could establish that periodic vegetations are indeed the result of a self-organisation process, occurring in homogeneous substratum conditions and modulated by climate and human constraints. A rapid adjustment between vegetation patterning and climate could be observed in protected zones. The area and patterning of the periodic vegetations successively progressed and regressed, following drier or wetter climate conditions. On the other hand, outside protected areas, the restoration ability of vegetation appeared to depend on the degree of vegetation resource exploitation. These results have important implications regarding the study of vegetation-climate interactions and the evaluation of ecosystems’ carrying capacities. Spatial pattern characterisation in arid vegetations using Fourier transform of HR remote sensing data should be generalised for the monitoring of those ecosystems. Our studies dealing with spatial interaction mechanisms confirmed the existence of a short range facilitation of the cover on water resource. However, this facilitation does not seem to act through the commonly accepted infiltration component, but rather on the evaporative rate (twice less within thickets). This mechanism excludes underground diffusive transfers between bare ground and vegetation. Inverse transfers were even shown by deuterium labelling. Water budget study and micro-elevation mapping, along with consistent soil shallowness, together cast serious doubts on the traditional mechanism of run-off/diffusion of surface water as a key process of the long range competition between plants. An alternative explanation lies in long range root competition. This hypothesis find support as well in the excavated root systems, shallow and wide, as in isotopic labelling, showing contaminations of shrubs located up to 15 m of the irrigated area. Water budget study also evidenced simultaneous contradictory effects (facilitation/competition) of shrubs on evapotranspiration.

“The new Cagliostro”: Onofroff, Rubén Darío and his story "La esfinge"

The article retraces the career of the famous hypnotist Onofroff and particularly his visit to Buenos Aires, where his activity, in 1895, provoked many discussions and some public embarrassment. In this context Darío, using a pseudonym, published his crónica “La esfinge”. We reproduce “La esfinge”, transcribing the original text of La Nación, with annotations identifying the literary and theosophical sources Darío used when he wrote it.

Emergencias de la mediación intelectual. "La Revista de América" (París, 1912-1914) y la red de escritores latinoamericanos en Europa a comienzos del siglo XX

Este trabajo estudia el proyecto editorial de la Revista de América (1912-1914), fundada en París y dirigida por Francisco García Calderón. Mi propósito es analizar el modo en que muchos de los vínculos entre los escritores latinoamericanos radicados en París entre fines del siglo XIX y la Primera Guerra Mundial se materializaron en la edición de revistas. Propongo examinar las estrategias de difusión de las producciones latinoamericanas en el Viejo Continente, como así también algunos aspectos ideológicos y de intervención intelectual que la revista llegó a articular. En un primer momento, me detengo en los rasgos materiales tanto del proyecto editorial de la revista como de los vínculos entre los latinoamericanos desterrados. Luego indago las distintas formas de mediación crítica, por un lado, y cultural, por otro, que la revista escenificó y, en algunos casos, desarrolló activamente. En efecto, la revista de García Calderón vuelve visible una dimensión mediadora en varios sentidos: mediación crítica entre productores y lectores, pues se propuso como instancia de difusión, al convocar a “a los mejores escritores latinoamericanos”. Al mismo tiempo, propuso otras dos mediaciones: entre pares, al funcionar como consagradora, seleccionando y agrupando simbólicamente a los escritores de cada país latinoamericano. Finalmente, una mediación intercontinental entre culturas en la contemporaneidad, que intentó acercar dos gestos en la acción de la revista: una legitimación del pensamiento y el arte “de ultramar” y una valoración de los desarrollos artísticos europeos del presente.

Hybrid philosophy and rational vitalism in Canguilhem and Ortega y Gasset

This paper explores the problem of the synthesis between vitalism and rationalism, in contemporary philosophy. With this aim, we compare the intellectual careers of Georges Canguilhem (1904-1995) and José Ortega y Gasset (1883-1955). We contrast their conceptions of philosophy as “hybrid” knowledge, closely related to science, as well as their points of view on Vitalism, anthropology, the technique and the perspectivism. To avoid that comparison is purely abstract and ahistorical, we use the method of the sociology of philosophy. This forces us to locate both paths in their respective philosophical fields and generational units, also according to his social background and professional career.

The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Ai Weiwei: La recepción de su producción artística

Actualmente Ai Weiwei es el creador con mayor proyección dentro y fuera de China, destacando especialmente por su prolífica, heterogénea, comprometida y polémica producción artística. Sus propuestas suscitan un gran interés y obtienen una destacada repercusión tanto en China como en un escenario internacional. Precisamente, es uno de los artistas contemporáneos chinos que ha logrado una mayor presencia en los medios de comunicación y en los espacios expositivos españoles, siendo un ejemplo de ello la organización de la primera exposición museística de su obra en el Centro Andaluz de Arte Contemporáneo (2013) y el estreno de la película documental sobre su vida y su obra Never Sorry (2013), dirigida por Alison Klayman. Ai Weiwei es un autor mediático y su visibilidad deviene una plataforma desde donde articular proyectos artísticos que enfocan determinadas problemáticas sociales. A la vez, la crítica política de Ai Weiwei resulta especialmente atractiva en un contexto euroamericano que subraya su papel de disidente y agitador. Dentro de tales parámetros se ahondará en la recepción de la producción artística de Ai Weiwei en el marco internacional y en el contexto español, analizando la aproximación que la prensa esboza sobre dicho autor.

Primitivismo y Feminismo en el arte contemporáneo

Para la mentalidad colonialista del siglo XIX la raza negra estaba provista de una extraordinaria sexualidad y lujuria. En la metrópolis el equivalente era la mujer sexuada, la prostituta. En los primeros años del siglo XX este tándem, prostituta-colonizado, sirve a los artistas vanguardistas como elemento de confrontación con la moral imperante. Son las artistas mujeres, con una intención feminista, quienes principalmente utilizan el primitivismo asociado a la mujer en su crítica a los estereotipos. Figura pionera en ello es Hannah Höch, especialmente en su serie De un Museo Etnográfico, en el que asocia figuras femeninas y objetos de arte primitivo. En los años 70 del siglo XX, algunas artistas de la performance, como Carolee Schneemann o Ana Mendieta reivindican el cuerpo femenino con el significado de Origen y Fertilidad que tiene en las culturas primitivas. En este mismo contexto puede inscribirse la escultura Maman de Louise Bourgeois. El elemento de crítica social, que está vigente aún en nuestros días, puede verse en las obras de las Guerrilla Girls.

(Pro)Motion Pictures: Len Lye in the Thirties

This article examines Len Lye’s film-making in the 1930s within a broader visual arts context, seeking to clarify the nature and extent of his involvement in British documentary film culture at this time. In particular, it demonstrates how Lye's method of fusing 'live action', found footage, and animation techniques created the possibility of a radical documentary practice that could reconcile promotional advertising and commercial art with avant-garde abstraction and kinaesthetic experimentation. In particular, the article focusses on Lye's N. or N.W. (1937, 35mm, b&w, 10 mns), arguing that his work from this period should be regarded as central - and not marginal - to any serious reassessment of Britain's “Documentary Movement” of the inter-war era, and its relations to any history of the cinema and visual culture.

L'accord sujet-verbe en français contemporain: une étude de variation grammaticale et sociale

Dans cet article, nous évaluons le rôle du cotexte (les facteurs internes ou linguistiques) et du contexte (les facteurs externes ou sociaux, et la situation de l’interaction) dans l’accord sujet-verbe induit par les expressions de quantité en français contemporain. Dans l’emploi de ces expressions, par exemple la majorité, le reste etc., il existe une variation entre l’accord singulier et le pluriel, qui est liée à une discordance entre le nombre syntaxique et le nombre sémantique de l’expression. Dans un premier temps, nous présentons la méthodologie d’une première enquête dont le but était d’identifier les principaux facteurs internes et externes qui ont une influence sur les accords de ce type. Dans un deuxième temps, nous présentons les résultats pour les facteurs sociaux avant d’en tirer quelques conclusions pour l’étude principale.

“La littérature est la seule patrie”: Nabile Farès and the Poetry of Postcolonial Displacment

Nabile Farès is a key author within postcolonial studies, due in particular to his uniquely expressive writing style. This article discusses writing style in his 1982 text, L’état perdu: précédé du discours pratique de l’immigré. Throughout the mainly French text, different alphabets are woven, alluding to the complexity of Algerian linguistic history and the importance of language in the construction and expression of identity. Meanwhile, the grammar and structure of the French language seems confused and at times illogical, raising further questions about use of a colonial language in a postcolonial context. Farès’s writing style is avant-garde in nature, and deliberate intertextuality with the Surrealists situates the text within an avant-garde tradition in the French language, developing new ideas surrounding the effect of this written genre in the aftermath of colonialism.

Parker Morris and the economies of the Fordist house

The Parker Morris report of 1961 attempted, through the application of scientific principles, to define the minimum living space standards needed to accommodate household activities. But while early modernist research into ideas of existenzminimum were the work of avant-garde architects and thinkers, this report was commissioned by the British State. This normalization of scientific enquiry into space can be considered not only a response to new conditions in the mass production of housing – economies of scale, prefabrication, system-building and modular coordination – but also to the post-war boom in consumer goods. The domestic interior was assigned a key role as a privileged site of mass consumption as the production and micro-management of space in Britain became integral to the development of a planned national economy underpinned by Fordist principles. The apparently placeless and scale-less diagrams executed by Gordon Cullen to illustrate Parker Morris emblematize these relationships. Walls dissolve as space flows from inside to outside in a homogenized and ephemeral landscape whose limits are perhaps only the boundaries of the nation state and the circuits of capital.