ABSTRACT

Milan Adamčiak is a Slovak composer, cellist and musicologist; creator of acoustic objects, installations and unconventional musical instruments; a performer, visual artist and experimental poet. Traditionally trained but influenced by Cagean and Fluxus poetics, he created from the late 1960s until the mid-1990s a large body of work that transgressed the conventional definitions of art creativity and quickly moved toward the concepts of opera aperta, action music and various intermedia forms. At the same time he was experimenting with electronic media, he created several pieces of electroacoustic music and musique concrÈte, but it was primarily live electronics that fit the principles of his radical poetics. The author considers Adamčiak's intermedia in the context of philosophical and aesthetical thought, revealing mutual correspondences, apparent as well as hidden.

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