On the basis of an examination of Swiss art concret and American Minimalism respectively, this dissertation attempts first to clarify the difference between works based on repetitive structures (succession) on the one hand and permutational or row principles (integration) on the other. I attempt secondly (and with reference to row structures in post-tonal music) to map and to conceptualize the interval (the difference) separating these tendencies as a positive entity, as a chiasmatic figure that delineates the aporetic condition of the work principle after World War II. A series of staged confrontations between American and European artists/architects/designers/critics/theoreticians, etc. is designed to provide not a synthesis, but instead an initial sketch of a problematic.
|School Location:||United States -- New York|
|Source:||DAI-A 72/04, Dissertation Abstracts International|
|Keywords:||Concrete art, LeWitt, Sol, Lohse, Richard Paul, Minimalism, Postmodernism, Serialism|
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