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Tristan Tzara
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Tzara, Tristan (1896-1963), French essayist and
poet, born in Romania, known primarily as the
founder
of the
Dada
movement. First in Zürich, Switzerland, and later in Paris, Tzara
wrote the movement's first manifestos, describing its nihilistic tenets.
By 1930, however, he abandoned the pessimism and sterility of Dadaism and
became interested in
surrealism.
He joined the French Resistance during World War II, and following the
war he turned his poetic insight toward the more realistic problems of
humankind.
Art
Art is a private thing, the artist makes it for
himself; a comprehensible work is the product of a journalist. . . . We
need works that are strong, straight, precise, and forever beyond understanding.
Tristan Tzara (1896-1963), Rumanian-born French
Dadaist. Dada 3, "Dada Manifesto 1918" (1918; repr. in The Dada Painters
and Poets, ed. by Robert Motherwell, 1951).
Dada
DADA doubts everything. Dada is an
armadillo.
Everything is Dada, too. Beware of Dada. Anti-dadaism is a disease: selfkleptomania,
man's normal condition, is DADA. But the real dadas are against DADA.
Tristan Tzara (1896-1963), Rumanian-born French
Dadaist. "Dada Manifesto on Feeble Love and Bitter Love," sct. 7 (first
published in La Vie des Lettres, no. 4, Paris, 1921; repr. in The Dada
Painters and Poets, ed. by Robert Motherwell, 1951).
From: R. (rayt@heraclitus.UUCP)
Subject: Re: Art through Science
Newsgroups: sci.philosophy.tech
Date: 1989-09-16 03:46:24 PST
In article <6433@hubcap.clemson.edu> Bill Wolfe writes:
[...]
> To show this, let's consider
one of the "hardest" cases: the painting,
> sculpture, etc. which collectively
is referred to as Art. One might
> think that there is no prospect
for the
evolution
of these areas into
> engineering discipline, or
even into hard science.
[...]
> Now why is it that we have
trouble defining Art? It is precisely
> because we do not have a precise
definition for the term "human".
Actually, artists are not so much concerned with
defining art as BEING artists; that is, expressing their creativity through
physical media (the world). Interestingly, much work HAS been done in the
development of art as a science: it is called surrealism. See works and
analyses by Andre Breton (especially), Louis Apollinaire, and Tristan Tzara
(DADA) for a description of their efforts and objectives on the ideological
plane. Dali (who is generally repudiated by the surrealists for `selling
out' (in more than one sense), but nevertheless is the popularly conceived
prototype), also is instructive insofar as one examines his ideas on `paranoia
criticism'. A primary emphasis in this movement is to allowEVERYONE to
become an artist by understanding, and willfully tapping, the wellsprings
of artistic inspiration; which, from a practical point of view, involves
the destruction of bourgeois mentality (or more concretely, the exaltation
of desire and the freedom from sociological preconceptions of the possible
and
reality
in general).
R.
--
Ray Tigg
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