“Ursonate 1986 is the result of a transference process which utilizes computer and video technology to transport a 1932 phonetic poem, Ursonate, by the German artist Kurt Schwitters into a contemporary context. The poem is recreated by translating the original German phonetics into English for performance by a Macintosh computer. In the early 20th century, Dada artists who experimented with phonetic poetry were exploring the concepts of pre-language and pre-consciousness. The title of Schwitters' piece, Ursonate, translates as a primordial sonata. In Ursonate 1986 video and computer technologies, extensions of the nervous system, are used to parallel and extend Schwitters' attempts to excavate the roots of language and to articulate the primordial.” - Hans Breder
Ursonate 1986
Hans Breder
1986 00:30:00 United StatesEnglishColorStereo4:3VideoDescription
About Hans Breder
Like Kandinsky, Malevich and Mondrian, for Hans Breder the task of art, as a kind of thought, was spiritual. His work articulates and evokes an ineffable power beyond reason and unreason. Against the monumental materialism of Western culture over the last six decades, Breder’s sensibility was expressed in and between painting, sculpture, photography, music, installation, video and film--each expression an invitation to subversive liminality and momentary transcendence. Breder’s work dissolves boundaries and manipulates perception, sometimes enticing, sometimes shocking the observer to an experience of liminality from which a realm of pure possibility may emerge.
Hans Breder studied painting in his native Germany before coming to the U.S. in the mid-1960s. One of the first video artists whose work has been included in three Whitney Biennials, Breder founded the Intermedia Program in the School of Art & Art History at the University of Iowa in 1968 and directed it until his retirement as a F. Wendell Miller Distinguished Professor in 2000. The internationally regarded program built on Breder’s interdisciplinary inclination for intellectual and aesthetic collision.
photo: Chris Coretsopoulos