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Narrator
Listen to a conversation between a student and an employee in the university library.
Librarian
Ready to check out?
Student
Just about. Before I do though, this book on early navigation…I have been using this book quite a bit for a research project. And I would like to own it actually. And well…it’s an old book, and there were two copies on the shelf just now, so I was wondering if I could buy one. I was talking to this guy the other day, and he said the library sold books on occasion. Is that right?
Librarian
He is probably talking about our annual book sale. We have one every spring.
Student
OK. How do you decide which books to sell? Are they duplicates?
Librarian
A lot are duplicates. If we have more than one copy of a title and it hasn’t been checked out in a few years, in that case it might end up at the sale.
Student
I’ve actually tried to find this book online but no luck so far. I was really hoping to buy it.
Librarian
Well, that particular book…well, it probably won’t be up for sale this year. Most books in the sale come from off-site storage.
Student
Off-site storage?
Librarian
That’s where we keep books that haven’t been used for several years. They are still in the catalog, which means they can be checked out if you fill out a form. It takes maybe a day or two to retrieve one of them.
Student
I see.
Librarian
And then before we decide to include a book in the sale, we review its circulation history again, which can take a while. We’ve got a lot of books in storage.
Student
So it’s basically the unpopular books that get put up for sale then?
Librarian
Well, that…plus the main thing is to make sure students have access to the information in the books. A lot of them are available in electronic format these days, even the really old ones. You know, they have been preserved that way.
Student
So most of the books for sale are older books.
Librarian
Well, we get book donations too. And lots of those are new. Again, a librarian reviews them and decides whether to catalogue them or put them up for sale.
Student
Is this sale open to the public?
Librarian
On the second day. It’s a two-day sale. The first day is for students, faculty and staff though, which is great. We usually need about twenty volunteers for the sale. And well, if you volunteer, you get first shot at everything in advance.
Student
Really? What do volunteers have to do?
Librarian
You help sort the books and set up the tables. But keep in mind those positions fill up quickly.
Now, about this particular book, it wouldn’t hurt to send a formal request to the collection department. They might be able to let you know if it would be up for sale.
Student
I’ll do that. Thanks.
Lecture1-Art History (Dadaism)
Narrator
Listen to part of a lecture in an art history class.
Professor
All right. So last week we started talking about the painters and sculptors who were part of the art movement called Dada. But I don’t want you to think the ideas we introduced last time were limited to painting, sculpture, that sort of thing. So today I want to move beyond the visual arts and talk a bit about Dada in the performing arts, in theater.
But let’s start by reviewing what Dada is. OK? As you will recall, Dada began in Switzerland, in the city of Zurich, in 1916. The artists who studied it were reacting against traditional notions of beauty, of reason, of progress, which had been standards of western thought since the 18th century. They looked around. And well, I mean, the First World War was raging, so they didn’t see much beauty, reason or progress in the world. Instead, they saw a world that was chaotic, random, a world that didn’t make sense. And if that’s the way the world was, well, they wanted their art to reflect that.
So let’s…let’s review a couple of key ideas that were the backbone of Dada art.
First, the Dadaists wanted to completely reject the classical idea of art. Classical ideas like proportion, balance…all the things you think about when you think about great art. Great art involved reason, the logic, the beauty that the Dadaists wanted to overthrow.
So, well, you know, to a Dadaist, classical artwork was a reflection of outdated thinking! That’s why Dadaists created sculptures like the ones we saw last week. Remember the stool with the bicycle wheel mounted on top? I wouldn’t exactly called that beautiful, would you? But of course it wasn’t meant to be. That was the point!
OK.
So another key Dada idea we talked about was the embracing of randomness. Right? Uh…if life is random, said the Dadaists, why would we make art that has order and logic? And so we have that collage we looked at, with an artist took different, you know, cut-out squares of colored paper, threw them onto the canvas, and wherever they landed, that was the composition of the work! The above text is a transcript of this lecture prepared by lady&bird .
Another favorite of the Dadaists was something called chance poetry. A chance poet would pull words out of a hat and that would be…that would make up the poem! And this idea of chance and randomness was a key element of Dadaism because the whole world seemed so random to them.
So now let’s take a look at how Dadaist ideas represented to audiences in highly unconventional…well…I am not even sure how to categorize these theatrical events. I suppose you just have to call them shows. These shows started in Zurich in a place called the Cabaret Voltaire.
The rejection of classical western art, well, you see this in the nature of what took place at the Cabaret Voltaire. They didn’t put on plays or operas there. What they did was throw out all conventions.
They mixed everything and anything together. They would…it might start with somebody reading a poem. Then somebody else playing an instrument, followed by a display of paintings, followed by somebody else chanting, followed by somebody else banging on a big drum, and someone dressed in a robot costume jumping up and down. So it’s not like a play. There’s no real plot development here like you’d find in the traditional theatrical performance.
The performers at the Cabaret Voltaire would also get the audience involved, which was extremely unusual. Think about a traditional play. The action’s self-contained. The actors act as if there is no one watching, right? It’s like a world unto itself. Well, at the Cabaret Voltaire, audience members could get up on stage and dance, or chant, or shout and sing from their seats.
And every night would be different, because there would be a different audience and a different set of acts and displays.
So all these could get pretty chaotic. No barriers between the performers and the audience, and no barriers between kinds of art either. Think about it: poetry, paintings, music, dance…all on the same stage and often at the same time!
This is what the Dadaists had in mind. When they set out to make art that reflected their own idea of reality, it didn’t make sense. But why should it?!
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