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The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped down sculpture of artists like Donald Judd. This volume investigates the origins of Minimalism in post-war American culture. The author redefines it as a movement that developed reductive stylistic innovations.
Minimalism stands as the key representative of 1960s radicalism in art music histories—but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich’s Pendulum Music, Glass’s work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca’s works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière’s philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as “(early) minimalism,” to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category “art music.” Ultimately, Nickleson asks where we end up if we imagine the early minimalist project—artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls—not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.
The New Yorker staff writer and Filterworld author Kyle Chayka examines the deep roots-and untapped possibilities-of our newfound, all-consuming drive to reduce. “Less is more”: Everywhere we hear the mantra. Marie Kondo and other decluttering gurus promise that shedding our stuff will solve our problems. We commit to cleanse diets and strive for inbox zero. Amid the frantic pace and distraction of everyday life, we covet silence-and airy, Instagrammable spaces in which to enjoy it. The popular term for this brand of upscale austerity, “minimalism,” has mostly come to stand for things to buy and consume. But minimalism has richer, deeper, and altogether more valuable gifts to offer. In The Longing for Less, one of our sharpest cultural critics delves beneath the glossy surface of minimalist trends, seeking better ways to claim the time and space we crave. Kyle Chayka's search leads him to the philosophical and spiritual origins of minimalism, and to the stories of artists such as Agnes Martin and Donald Judd; composers such as John Cage and Julius Eastman; architects and designers; visionaries and misfits. As Chayka looks anew at their extraordinary lives and explores the places where they worked-from Manhattan lofts to the Texas high desert and the back alleys of Kyoto-he reminds us that what we most require is presence, not absence. The result is an elegant synthesis of our minimalist desires and our profound emotional needs. With a new afterword by the author.
The Minimalist Program for linguistic theory is Noam Chomsky's boldest and most radical version of his naturalistic approach to language. Cedric Boeckx examines its foundations, explains its underlying philosophy, exemplifies its methods, and considers the significance of its empirical results.
The explosion of minimalism into the worlds of visual arts, music and literature in the mid-to-late twentieth century presents one of the most radical and decisive revolutions in aesthetic history. Detested by some, embraced by others, minimalism's influence was immediate, pervasive and lasting, significantly changing the way we hear music, see art and read literature. In The Theory of Minimalism, Marc Botha offers the first general theory of minimalism, equally applicable to literature, the visual arts and music. He argues that minimalism establishes an aesthetic paradigm for rethinking realism in genuinely radical terms. In dialogue with thinkers from both the analytic and continental traditions – including Kant, Danto, Agamben, Badiou and Meillassoux – Botha develops a constellation of concepts which together encapsulate the transhistorcial and transdisciplinary reach of minimalism. Illustrated by a range of historical, canonical and contemporary minimalist works of different media, from the caves of early Christian ascetics to Samuel Beckett's late prose, Botha offers a bold and provocative argument which will equip readers with the tools to engage critically with past, present and future minimalism, and to recognize how, in a culture caught between the poles of excess and austerity, minimalism still matters.
"Minimalism changed everything. When composers like Philip Glass and Steve Reich began creating hypnotically repetitive music in the 1960s, it upended the world of American composition. Hip, young listeners flocked to a genre that had long been insular and academic, packing concert halls and buying millions of records. But minimalism wasn't just a classical phenomenon: its static harmonies and groovy pulses swept through the avant-garde landscape, shaping the work of experimental mavens Yoko Ono and Brian Eno, radical improvisers John and Alice Coltrane, outre innovators Pauline Oliveros and Julius Eastman, and many others. This book provides a comprehensive, revisionist retelling of minimalism's transformative rise, through the voices of the musicians who created it. Featuring more than a hundred rare historical sources, On Minimalism moves from the style's origins in psychedelic counterculture through its arrival in the mainstream and into its present-day manifestations in doom metal and ambient jazz. O'Brien and Robin curate minimalism's history anew, documenting one of the most important musical movements of our time"--
The Ashgate Research Companion to Minimalist and Postminimalist Music by Keith Potter,Kyle Gann Pdf
In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.
The notion of Minimalism is proposed as a theoretical tool supporting a more differentiated understanding of reduction and thus forms a standpoint that allows definition of aspects of simplicity. Possible uses of the notion of minimalism in the field of human–computer interaction design are examined both from a theoretical and empirical viewpoint, giving a range of results. Minimalism defines a radical and potentially useful perspective for design analysis. The empirical examples show that it has also proven to be a useful tool for generating and modifying concrete design techniques. Divided into four parts this book traces the development of minimalism, defines the four types of minimalism in interaction design, looks at how to apply it and finishes with some conclusions.
"Digital Minimalism" is an essential guide for those seeking to regain control of their lives in a tech-saturated world. In an environment where constant notifications and social media dominate our time and attention, this book offers practical and philosophical strategies to reduce digital dependency and live a fuller, more meaningful life. Through clear advice and inspiring examples, you'll learn to identify and eliminate unnecessary digital noise, allowing you to focus on what truly matters. It’s not about rejecting technology, but using it consciously and deliberately to enhance your well-being and productivity. With "Digital Minimalism," you'll discover how to simplify your digital life, set healthy boundaries, and rediscover the joy of mindfulness in an increasingly distracted world.
The Biology of Language Under a Minimalist Lens: Promises, Achievements, and Limits by Antonio Benítez-Burraco,Koji Fujita,Koji Hoshi,Ljiljana Progovac Pdf
This book examines the terms upon which painting in the United States sought to negotiate with the legacy of American formalist aesthetics and by extension, the understanding of modernist painting it had become most readily associated with. In so doing, a separate set of possibilities for painting gradually began to emerge. The salient debates and practices that collectively worked to establish such a response are approached through the philosopher Gianni Vattimo’s idea of pensiero debole or so-called weak thought. To this end, the proposed study both identifies and seeks to examine a type of "weak" painting which, like Vattimo’s idea, took as its critical point of departure “the exhaustion – but not the vanishing – of the project of modernism (the belief in reason, progress, history, the nation-state, etc.).” Craig Staff explores particular instances wherein artists sought to extend the parameters of the object beyond what had been called into question, namely the proclivity for modernist painting’s "strength" to be understood as denoting, amongst other things, a perceived set of universal essences. This book will be of interest to scholars working in art history, fine art, cultural studies, critical theory, curatorial studies and philosophy.
We Have Always Been Minimalist by Christophe Levaux Pdf
Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.
The Minimalism Program is many things to many researchers, and there are by now many alternative versions of it. Central to all is the fundamental question: to what extent is the human language faculty an optimal solution to minimal design specifications. Taken as a whole, the volume outlines the main features of Minimalism, its historical and conceptual sources, and provides an illustration of minimalist theorizing by looking at several properties of the syntactic component of grammar. Some contributions concentrate on what kind of computational tools are made available in a minimalist syntactic component, and how the computational system interacts with external and interface domains of the mind/brain. Other contributions specifically focus on direct empirical gains that emerge from adopting minimalist guidelines.