Digital collage is the technique of using computer tools in collage creation to encourage chance associations of disparate visual elements and the subsequent transformation of the visual results through the use of electronic media. It is commonly used in the creation of digital art using programs such as Photoshop. Collage film is traditionally defined as, “A film that juxtaposes fictional scenes with footage taken from disparate sources, such as newsreels.” Combining different types of footage can have various implications depending on the director's approach. Collage film can also refer to the physical collaging of materials onto filmstrips. Canadian filmmaker Arthur Lipsett was especially renowned for his collage films, many of which were made from the cutting room floors of the National Film Board studios. Access-restricted-item true Addeddate 2022-06-04 07:06:53 Associated-names Koetter, Fred, author Autocrop_version 0.0.13_books-20220331-0.2 Bookplateleaf 0004 Boxid IA40529615 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier

Lccn 78060990 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8962 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-NS-1200457 Openlibrary_edition In the 1960s, George Martin created collages of recordings while producing the records of The Beatles. In 1967 pop artist Peter Blake made the collage for the cover of the Beatles seminal album Sgt. Pepper's Lonely Hearts Club Band. In the 1970s and 1980s, the likes of Christian Marclay and the group Negativland reappropriated old audio in new ways. By the 1990s and 2000s, with the popularity of the sampler, it became apparent that " musical collages" had become the norm for popular music, especially in rap, hip-hop and electronic music. [18] In 1996, DJ Shadow released the groundbreaking album, Endtroducing....., made entirely of preexisting recorded material mixed together in audible collage. In the same year, New York City based artist, writer, and musician, Paul D. Miller aka DJ Spooky's work pushed the work of sampling into a museum and gallery context as an art practice that combined DJ culture's obsession with archival materials as sound sources on his album Songs of a Dead Dreamer and in his books Rhythm Science (2004) and Sound Unbound (2008) (MIT Press). In his books, "mash-up" and collage based mixes of authors, artists, and musicians such as Antonin Artaud, James Joyce, William S. Burroughs, and Raymond Scott were featured as part of a what he called "literature of sound." In 2000, The Avalanches released Since I Left You, a musical collage consisting of approximately 3,500 musical sources (i.e., samples). [19] In illustration [ edit ]Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. Snippets and fragments of different and unrelated subject matter made up Cubism collages, or papier collé, which gave them a deconstructed form and appearance. [9] According to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after (and could be the first to use collage in paintings, as opposed to drawings): Despite the pre-twentieth-century use of collage-like application techniques, some art authorities argue that collage, properly speaking, did not emerge until after 1900, in conjunction with the early stages of modernism. The Mathematics of the Ideal Villa" [ edit ] Villa Foscari was compared to Le Corbusier's work in studies by Colin Rowe. Rowe, Colin; Koetter, Fred (1978). Collage City. Cambridge, Massachusetts: MIT Press. ISBN 9780262180863. Sherer, Daniel, Architecture in the Labyrinth. Theory and Criticism in the United States, Oppositions, Assemblage, ANY, (1973–1999), Zodiac 20 (1999), pp.36–63.

His chief significance was as a teacher and writer on these subjects, which greatly influenced architectural thinking. His book Collage City (with Fred Koetter) is his theoretical treatise that sets out various analyses of urban form in a number of existing cities known to be aesthetically successful, examining their actually existing urban structure as found, revealing it to be the end product of a ceaseless process of fragmentation, the collision/superimposition/contamination of many diverse ideas imposed on it by successive generations, each with its own idea. In architecture his thinking paralleled his ideas about the city: he was nostalgic for nineteenth-century eclecticism, advocating that architecture in the modern age should abandon its purist abstraction and allow itself to be influenced by influxes of historical references. I Almost Forgot: Unpublished Colin Rowe, edited by Daniel Naegele. The MIT Press (January 10, 2023), ISBN 9780262047128 This exercise was a spontaneous, collaborative drawing invented by Rowe, Hoesli, Hejduk, and Slutzky at the School of Architecture in Austin. Hejduk remembers, “During the intense heat [of Texas] Colin, Bernhard, Bob and I played a game. I think Colin and Bernhard invented it. We would take a large blank sheet of drawing paper and begin to draw plans of buildings, historic and otherwise. Colin would say I am going to draw the plan of the Villa Madama, then Bernhard would draw the plan of Wright’s Gage House, etc. . . . All night long, in the early hours of the morning the paper would be filled with plans from all times, many hybrids too. At the end Colin would be devilishly amused and delighted. In retrospect who would have thought those plans of Classicism, Neo-Classicism, Modern Constructivism, [and] Contemporary would have In 1981 he started the Cornell Journal of Architecture and contributed to issue 1 with "The Present Urban Predicament" and to issue 2 with "Program vs. Paradigm."Juan Gris, Le Petit Déjeuner, 1914, gouache, oil, crayon on cut-and-pasted printed paper on canvas, Museum of Modern Art Another technique is that of canvas collage, which is the application, typically with glue, of separately painted canvas patches to the surface of a painting's main canvas. Well known for use of this technique is British artist John Walker in his paintings of the late 1970s, but canvas collage was already an integral part of the mixed media works of such American artists as Conrad Marca-Relli and Jane Frank by the early 1960s. The intensely self-critical Lee Krasner also frequently destroyed her own paintings by cutting them into pieces, only to create new works of art by reassembling the pieces into collages. Mark Pytlik (November 2006). "The Avalanches". Sound on Sound. Archived from the original on 2012-02-06 . Retrieved 2007-06-16.