| Record ID | marc_columbia/Columbia-extract-20221130-031.mrc:130681422:3903 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-031.mrc:130681422:3903?format=raw |
LEADER: 03903cam a2200625 i 4500
001 15094322
005 20220611231813.0
006 m o d
007 cr cnu---unuuu
008 131111s1997 ne a ob 001 0 eng d
035 $a(OCoLC)ocn862746012
035 $a(NNC)15094322
040 $aN$T$beng$erda$epn$cN$T$dOCLCF$dE7B$dYDXCP$dOCLCQ$dYDX$dUKAHL$dK6U$dOCLCO$dOCLCQ$dOCLCO
019 $a868978654$a1023638923$a1024163420
020 $a9781134376063$q(electronic bk.)
020 $a1134376065$q(electronic bk.)
020 $a9781315077994
020 $a131507799X
020 $z371865878X
020 $z9783718658787
035 $a(OCoLC)862746012$z(OCoLC)868978654$z(OCoLC)1023638923$z(OCoLC)1024163420
050 4 $aPN2071.I5$bS57 1997eb
072 7 $aML$2lcco
072 7 $aPER$x011000$2bisacsh
082 04 $a792/.028$222
049 $aZCUA
100 1 $aSmith, Hazel,$d1950-
245 10 $aImprovisation, hypermedia, and the arts since 1945 /$cHazel Smith and Roger T. Dean.
264 1 $aAmsterdam, The Netherlands :$bHarwood Academic Publishers,$c[1997]
264 4 $c©1997
300 $a1 online resource (xiii, 334 pages) :$billustrations
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aPerforming arts studies ;$vvolume 4
504 $aIncludes bibliographical references (pages 281-305) and index.
505 00 $gSect. I.$tThe Nature of Improvisation.$g1.$tIntroduction.$g2.$tImprov(is)ing the Definitions --$gSect. II.$tElements of Improvisation.$g3.$tEnvironments for Improvisation.$g4.$tImprovisation in Monomedia. 1: Sound and Word.$g5.$tImprovisation in Monomedia. 2: Visual and Body --$gSect. III.$tCombining Media in Improvisation.$g6.$tImprovisation in Bimedia. 1: Sound/Word; Sound/Visual; Sound/Body.$g7.$tImprovisation in Bimedia. 2: Word/Visual; Word/Body; Visual/Body.$g8.$tImprovisation in Polymedia.$g9.$tImprovisation and Postmodernism in Architecture.$g10.$tComputers and Improvisation.$gApp. 1.$tA Space for Improvisors --$gApp. 2.$tOther Uses of Improvisation --$gApp. 3.$tSome Software for Improvisors --$gApp. 4.$tThe Questionnaire and Interviews.
520 $aIn presenting their comprehensive definition of improvisation, the authors consider developments in improvisation in the arts since 1945 by particularly emphasising process and technique and by featuring artists in all media, from Grotowski and Laurie Anderson to Goldsworthy. Their approach is analytical and theoretical, but it is also relevant to practitioners and their audience. For Smith and Dean improvisation has been of great importance and value in the contemporary arts because of its potential to develop new forms, often by breaking existing definitions: indeed they see hypermedia and interactive technologies as playing a key role in dissolving the audience/creator separation which exists especially in Western society, though often less in other cultures.
588 0 $aPrint version record.
650 0 $aImprovisation (Acting)
650 0 $aImprovisation (Music)
650 0 $aImprovisation in art.
650 6 $aImprovisation (Art dramatique)
650 6 $aImprovisation (Musique)
650 6 $aImprovisation (Art)
650 7 $aPERFORMING ARTS$xTheater$xGeneral.$2bisacsh
650 7 $aImprovisation (Acting)$2fast$0(OCoLC)fst00968302
650 7 $aImprovisation in art.$2fast$0(OCoLC)fst01896138
650 7 $aImprovisation (Music)$2fast$0(OCoLC)fst00968306
655 4 $aElectronic books.
700 1 $aDean, R. T.
776 08 $iPrint version:$aSmith, Hazel, 1950-$tImprovisation, hypermedia, and the arts since 1945$z371865878X$w(DLC) 99526587$w(OCoLC)37950486
830 0 $aPerforming arts studies ;$vvolume 4.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15094322$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS