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!!!United States I-IV (1983) {br}{br} ---- Lire : (Thomas Aucouturier, [ÉTUDE CRITIQUE D'UNE PERFORMANCE - LAURIE ANDERSON: United States Parts I-IV (1983)\|http://choc.electrique.free.fr/united_states.html], 1977) ---- {br}{br} {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/IJZVz_M2oSM" frameborder="0" allowfullscreen></iframe> {/html} {br} {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/xQzcy-ryRdU" frameborder="0" allowfullscreen></iframe> {/html} {br} {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/xm2xwqkdN2Q" frameborder="0" allowfullscreen></iframe> {/html} {br} {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/7XGS_9xa28Y" frameborder="0" allowfullscreen></iframe> {/html} {br} ---- [../files/articles/anderson/1983_united.jpg] {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- {small}{cap}'''The relation of Laurie Anderson’s total art to urban Postmodern writing is not casual. Anderson involved William S. Burroughs in her tours (1981 and years after ; see also : the John Giorno Poetry System’s collective album, You are the Guy I Want to Spend My Money With) and explicitly refers to Thomas Pynchon in her lyrics, borrowing from him the extra-urban typology of the highway as labyrinth and the poetics of linguistic disorder and entropy in a high-tech urban space — the song Gravity’s Angel in Mr Heartbreak album (1987), est clearly evocative of his novel, The Crying of Lot 49. In borrowing many of Pynchon’s themes and his cutting-up technique at both the visual and the textual level, Anderson seems to incorporate two aspects of the Postmodern texts : the theme of the production of meaning in the electronic city and the need to find an adequate, allegorical form to express the plurilinguistic nature of the city — and the transformation of the individual body from an autobiographical presence into a polymorphic and polyphonic « electronic body ». Anderson transforms the big city - which the Surrealists portrayed by means of a montage of unrelated fragments - into a multimedia collage interspersed with apologues, forming a kind of short, enigmatic narrative. Her urban stories thus possess the same open-ended, suspended quality of Postmodern writing, and emphasize its conceptual nature by posing the reader unsolved questions and verbal riddles.'''{/cap}{/small}{br}{small} — (In Daniela Daniele, Urban Displacement and Failed Encounters in Surrealist and Postmodern Writing, Chapter 7, Electronic bodies and humor in Laurie Anderson’s empty places, Postmodern Studies nr 28, Amsterdam, Atlanta : Rodopi, 2000, p. 175){/small}---- {br}{br}{br}[../files/articles/anderson/1981_burroughs.jpg] \| {br}{br} {br}{br} ---- ----
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