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This research work deals with the diffusion and evolutions of the cut-up technique. Cut-up is a writing technique developed by William S. Burroughs and Brion Gysin from 1959 onwards. Designed as a means to introduce randomness into writing and as a technique enabling writers to use words the way painters use colors, this practice has gone through several practical applications during the Sixties.These uses have been developed by Burroughs in the fictional field, as well as in the pages of the alternativeand underground press, turning cut-up into a revolutionary and polemical practice. Besides,Burroughs relied on different networks of collaborators, whether he was working in the textual, visual or sound field.These networks were instrumental to the evolutions of cut-up as they led Burroughs to imagine new ways of using it depending on his objective or on the publishing medium. Indeed, column cut-ups were largely developed thanks to Jeff Nuttall who published them in My Own Mag; similarly, many visual uses of cut-up are indebted to Burroughs’slinks with several avant-garde painters and movie-makers. Progressively abandoned by Burroughs from the mid-seventies onwards, cut-up has been updated in the aesthetic of the eighties, particularly in hip-hop, which it indirectly inspired. At that time, Burroughs had become a cultural icon, invited to Saturday Night Live, and dining with Lou Reed, Joe Strummer or Jean-Michel Basquiat., Cette thèse est consacrée à la diffusion et aux évolutions du cut-up, une technique d’écriture développée par William S. Burroughs et Brion Gysin à partir de 1959. Pensée comme un moyen de réintroduire l’aléatoire dans l’écriture ainsi que comme un procédé permettant aux écrivains de manipuler les mots comme les peintres manipulent leurs couleurs, cette pratique a connu de nombreuses applications au cours des années soixante. Les utilisations de cette technique ont été développées par Burroughs dans le cadre fictionnel, ainsi que dans les pages de la presse alternative puis underground, entraînant de fait des applications plus révolutionnaires et polémiques du cut-up. Par ailleurs, Burroughs s’est appuyé sur différents réseaux de collaborateurs selon qu’il travaillait dans le domaine littéraire, visuel, ou sonore. Ces réseaux ont contribué à l’évolution de la technique du cut-up puisqu’ils amenaient Burroughs à imaginer de nouvelles manières de l’utiliser en fonction de l’objectif ou du support de publication. Ainsi, les cut-ups en colonnes furent largement développés grâce à Jeff Nuttall qui les publiait dans My Own Mag, de même que certaines applications visuelles du cut-up doivent beaucoup à la fréquentation par Burroughs de peintres ou cinéastes de l’avant-garde. Progressivement abandonné par Burroughs à partir des années soixante-dix, le cut-up a trouvé des actualisations dans l’esthétique des années quatre-vingt notamment dans le hip-hop dont il peut être considéré comme une des sources d’inspiration. A la même époque, Burroughs était en effet devenu une icône culturelle, reçu notamment dans l’émission Saturday Night Live, et recevant Lou Reed, Joe Strummer ou encore Jean-Michel Basquiat à dîner.

1. Scopo L'articolo analizza da un punto di vista comparativo l'influsso del metodo del cut-up di William S. Burroughs sulle neoavanguardie degli anni Sessanta e Settanta nel mondo di lingua tedesca. 2. Metodologia L'articolo annovera numerosi estratti da riviste e prose sperimentali scritte dai tre più importanti autori di cut-up dell'area germanofona. Sono così mostrate le connessioni tra movimento dadaista e postdadaista, movimento del cut-up e movimento pop. 3. Risultati Opere come Cola-Hinterland di Ploog o Tophane di Fauser, al pari delle numerose collaborazioni di cui si rese protagonista Weissner, si dimostrano essere interessanti documenti storici e sociocritici: i risultati del contributo dimostrano che le fortune del movimento furono dovute alla tecnica del cut-up che fu adottata, e che si rivelò essere il miglior strumento artistico per rappresentare lo spirito sovversivo e al tempo stesso l'alienazione dalla società borghese che caratterizzavano i giovani contestatori dell'epoca. 1. Purpose The article analyses from a comparative point of view the influence of William S. Burroughs’ cut-up method on the 1960s and 1970s neo-avant-gardes in the German speaking area. 2. Methodology The article contains several excerpts from both journals and experimental works that were written by the three most important cut-up authors in the German speaking area. It shows the connections between the Dada and post-Dada movement, the cut-up movement and the pop movement. 3. Results/Findings Works like Ploog’s Cola-Hinterland or Fauser’s Tophane, as well as Weissner’s many collaborations, proved to be some really interesting historical and sociocritical documents: the results show that the movement grew strong because the technique it had adopted proved to be the best artistic instrument to depict the subversive spirit and at the same time the alienation from the bourgeois society actually felt by the young generations of the late Sixties., Between, Vol 10, No 19 (2020): The Cultures of Dissent in Europe in the second half of the Twentieth Century

Recortes, colagens, bricolagens e práticas afins, são pensados a partir de considerações em torno do fragmentário. Dois projetos, Aglutinações e Margens, são apresentados com o intuito de descrever procedimentos de corte e montagens a partir de imagens analógicas originais. As superfícies iniciais funcionam como base para fotografias que criam seriações e arranjos diversificados. As complexas possibilidades deste modo de expressão, que articula imagens singulares entre si relacionadas, são pensadas com Aby Warburg e as rupturas vividas em sua época. Cut-ups, collages, bricolages and similar practices considerate the fragmentary to think. Two projects, Agglutinations and Margins, are presented in order to describe cutting and assembly procedures as from original analog images. The initial stands serve as a basis for photographs that create diverse series and arrangements. The complex possibilities of this mode of expression, which articulates singular images related to each other, are thought of with Aby Warburg and the ruptures experienced in his time. Los cortes, collages, bricolages y prácticas similares consideran al fragmentario pensar. Se presentan dos proyectos, Aglutinaciones y Márgenes, para describir los procedimientos de corte y ensamblaje a partir de imágenes analógicas originales. Los stands iniciales sirven como base para fotografías que crean diversas series y arreglos. Las complejas posibilidades de este modo de expresión, que articula imágenes singulares relacionadas entre sí, están pensadas con Aby Warburg y las rupturas experimentadas en su tiempo.

Créé en 1959 par William S. Burroughs et Brion Gysin, la technique du cut-up repose sur le découpage et le réagencement de fragments de textes d’origines diverses. Burroughs l’applique notamment dans la trilogie Nova, (The Soft Machine, 1961 ; The Ticket That Exploded, 1962 ; Nova Express, 1964). D’abord décrié, le cut-up va, dès les années 1970, inspirer de nombreux musiciens rock, s’immisçant ainsi dans la culture populaire. Cet article propose d’analyser les modalités de cette « postérité rock » d’une écriture expérimentale. Created in 1959 by William S. Burroughs and Brion Gysin, the cut-up technique rests on cutting and assembling scraps of texts from various sources. Burroughs employed it notably in the “Nova trilogy” (The Soft Machine, 1961; The Ticket That Exploded, 1962; Nova Express, 1964). Initially condemned, the cut-up technique inspired many rock musicians and infiltrated mainstream popular culture from the 1970s onward. Therefore, the present article will examine the terms of the “rock posterity” of an experimental writing technique.

Zero, de Loyola Brandão, é um romance que desperta desconforto e estranhamento em seus leitores. A violência e o caos, tanto temáticos quanto estéticos, e o próprio procedimento de composição a partir de fragmentos e retalhos, são elementos que causam esse estranhamento. Nesse artigo, partimos da hipótese de que a voz experimental que rege o texto de Zero luta não somente contra a Ditadura Militar brasileira (seu contexto histórico), mas sim se insere numa esteira de obras que, histórica e perpetuamente, posicionam-se contra um discurso – ou qualquer discurso – de opressão. Nosso diálogo crítico se foca na composição estético-estrutural de Zero e nas suas consequências crítico-políticas. Portanto, optamos por trazer à tona a relação entre essa obra e a experimental e libertária técnica literária desenvolvida por Burroughs e Gysin, tentando enxergar, assim, Zero enquanto uma espécie de romance cut-up., Zero, by Ignácio de Loyola Brandão, is a novel that generates discomfort and estrangement in its readers. Violence and chaos, both thematic and aesthetic, and its manner of composition: a collage of fragments and scraps, are elements that cause this estrangement. In this article, we propose that the experimental narrative voice that prevails in Zero text not only struggles against the Brazilian Military Dictatorship (the text’s historical context), but is also part of a lineage of works that, historically and in principle, are positioned against an oppressive discourse. Our critical dialogue focuses on the aesthetic and structural composition of Zero and its critical-political consequences. Therefore, we establish a correlation between this work and the experimental and libertarian literary technique developed by Burroughs and Gysin, proposing to read Zero as a type of cut-up novel., Zero, de Loyola Brandão, es una novela que provoca incomodidad y extrañeza en sus lectores. La violencia y el caos, tanto temáticos como estéticos, e incluso el procedimiento de composición desde fragmentos y trozos, son elementos que causan extrañeza. En este artículo, se parte de la hipótesis de que la voz experimental que rige el texto Zero no sólo lucha contra la Dictadura Militar Brasileña (su contexto histórico), sino que es parte de una serie de obras que, histórica y perpetuamente, están posicionadas en contra de un discurso – o cualquier discurso – de la opresión. Nuestro diálogo crítico se centra en la composición estética y estructural de Zero y en sus consecuencias crítico-políticos. Por lo tanto, se optó por comentar la relación entre este trabajo y la técnica literaria libertaria y experimental desarrollada por Burroughs y Gysin, tratando de ver Zero como una especie de novela de cut-up.

Gas turbine engines are widely used in both Military and Civil Aircrafts. The power generated at the turbine is transmitted to compressor through Engine main shafts. These shafts are classified as Class-I critical components of the engine. During the flight operating conditions engine main shafts are subjected to complex loading conditions, such as Torsional, Centrifugal, Thermal, Gyroscopic etc… The combination of these loads lead to multimode failure mechanisms, such as Low cycle Fatigue (LCF), High cycle Fatigue (HCF) and Ductile overload failures in shafts. Designing of shafts for structural integrity is very critical in single engine aircrafts, as the failure of any one shaft may result in the failure of engine, which in turn may lead to the catastrophic failure of the entire aircraft. The complex geometry of the shafts calls for combination of design tools for stress and life estimation of these parts (both analytical and finite element method (FEM)) backed up by extensive material and component test programs. In the present paper structural analysis and life estimation is carried out on Low Pressure Spool and Spline Coupling under various engine operating conditions. The design analysis cycle consists of several phases, such as Heat Transfer Analysis, Structural Analysis, Optimization and Fatigue Lifing. Detailed modeling and stress analysis carried out to evaluate the strength of the splines is also presented. This paper highlights the methodology of design subjected to clearance of stipulated MIL 5007 D/E specifications to ensure the structural integrity. Based on the stress analysis, a Stress Test Schedule is prepared to carry-out the testing at shaft fatigue rig facility. In the testing facility, mechanical testing of the shaft assembly is carried out to establish strength and fatigue life of the shafts. Brief results on the material tests carried out and fatigue life testing of full scale component are also presented.

In his article "Burroughs's Folios as an Archival Machine for Artistic Creation" Tomasz D. Stompor discusses the significance of archival material as a scholarly resource for the analysis of William S. Burroughs's cut-up experiments. Stompor retraces the history of the author's filing system as both a referential repository and a device for documentation and investigates its function as an eperimental machine for the production of cut-up texts and layouts

This essay compares two influential novels from the Beat era, William Burroughs’ Naked Lunch and Jack Kerouac’s On the Road, and how they use the spatial dimension of writing as a tool for resistance. The spatiality of Kerouac’s travel narrative is compared to the spatiality of Burroughs cut-up narrative, and the spaces of cities and the road are analyzed. I argue that On the Road is an attempt at a spiritual escape from Western dogmatism—dramatized through the means of a spatial journey—whilst Naked Lunch is attempting an escape from “control”, mediated through the means of a spatial destabilization in the narrative. In trying to define the term “control” used by Burroughs, I look at Foucault’s Discipline and Punish, as well as other sources, in order to determine which mechanisms of society that are being reacted against in these novels. The historical context of these two Beat writers as situated in the American postwar era is also considered – a context which is examined in relation to the concept of normality.

Bernward Vespers Romanessay 'Die Reise' (1977) gilt als eindrückliches Zeitdokument der Generation von 1968 und ist überdies ein formal wie inhaltlich gewagtes Prosa-Experiment. Der Text präsentiert sich als psychedelischer Versuch der Vergangenheitsbewältigung, bestehend aus zwei Erzählebenen: dem biographisch-linearen Einfachen Bericht und den assoziativen Erlebnissen unter Drogeneinfluss. Alternierend zum Einfachen Bericht, der die Kindheitsgeschichte Vespers und dessen zwiespältiges Verhältnis zu seinem Vater, dem nationalistisch gesinnten Schriftsteller Will Vesper, aufarbeitet, sind immer wieder längere Passagen eines Drogenprotokolls dazwischen montiert, die dem Text insgesamt eine komplexere, mehrschichtige Struktur verleihen. Allerdings ist der Montagecharakter von Vespers Reise auch auf den Umstand zurückzuführen, dass es sich bei dem Romanessay um ein Fragment handelt, das postum ediert wurde. Nachdem Vesper alle Höhen und Tiefen seiner Sucht durchgestanden hatte, nahm er sich 1971 in der Psychiatrie das Leben. Wie das von Vesper zum Druck autorisierte Buch letztlich ausgesehen hätte, wissen wir schlichtweg nicht, doch gibt es in den nachgelassenen Materialien Hinweise, die einige Vermutunagen zulassen. In einem der ersten Briefe an den Verleger KD Wolff spricht Vesper von einer "Montagetechnik" als "Erzählweise ", die er derzeit aufgrund mangelnder Konzentration aber nicht durchführen könne, deshalb sei das Manuskript vorerst nur eine "Materialsammlung" mit "zu viel Reflexionen" durchmischt. Zudem bemerkt Vesper: "Wir haben in Deutschland keine Tradition. D.h. jenseits von Realismus, Bekenntnisliteratur und 'fiction' - nichts." (R, 607) Vesper spricht hier vermutlich auf das Fehlen experimenteller Montage- und Cut-up-Literatur an, die zu diesem Zeitpunkt in Deutschland tatsächlich gerade erst im Begriff war, sich zu formieren. "Deshalb ", das heißt aufgrund dieses Desiderates, enthalte sein Manuskript "auch die zahlreichen Reflexionen über das Schreiben, die natürlich größtenteils rausfliegen, Baugerüste!"

CUT-UP es un término acuñado por el escritor estadounidense William S. Burroughs basado en la yuxtaposición de pasajes de las obras del propio autor y también de obras de otros escritores para luego volver a ensamblar los fragmentos de forma aleatoria generando sentidos y significados totalmente inéditos. Trasladado al campo de la arquitectura, el propósito de esta operación sería la de definir estrategias que, utilizando las formas existentes, consiguieran efectos completamente diferentes. Así, se puede decir que las nociones de originalidad e incluso de creación, tan presentes en nuestra cultura, se podrían entender de una manera mucho más libre y desprejuiciada. CUT-UP is a term coined by the American writer William S. Burroughs based on the juxtaposition of passages from the own works and also from others in order to re-assemble the random fragments generating completly new senses and meanings. Moved to architecture, the purpose of this operation would be to define strategies, using existing forms, to realise completely different effects. So, we can say that the notions of originality, and even creation, so present in our culture, could be understood in a more freely and unprejudiced way.

International audience

"Scrap Modernism: Appropriation, Assemblage, and the Politics of Representation in Depression-era America" demonstrates how the repurposing of found materials provided an aesthetic means of responding to the catastrophic social and economic effects of the Great Depression. Exploring what I call the “scrap aesthetic,” this project analyzes major texts by such writers as John Dos Passos, Mina Loy, Zora Neale Hurston, and Muriel Rukeyser alongside cultural materials and artifacts that include handmade scrapbooks, African American folklore, movie theater newsreels, and visual art. I draw upon this unique combination of material and archival sources to show how experimental scrap practices make visible the presence of marginalized ethnicities, anticapitalist movements, and the homeless poor, thereby radically remaking America as a conceptual homespace. My project ultimately reinterprets modernism by uncovering the crucial correspondences between the aesthetic economies of appropriation and assemblage and the actual economic conditions of the Depression and argues that scrapping signifies modernism’s sustained engagement with mass culture, partisan politics, the formation of national memory, and movements for a more just economic order.

This essay reads Tom Phillips’s stunning and still in-process artist’s book A Humument (1966-) as exemplar of a non-hermeneutic vein of neo-Victorian textual production that stands as playful foil to the more familiar, suspicion-inflected appropriations of the nineteenth century that have come to dominate the mode’s nascent canon. It places A Humument, the product of a cut-up and OULIPO-esque constrained writing experiment built on an edition of W.H. Mallock’s A Human Document (1892), in a tradition which include Max Ernst’s Une semaine de bonté (1934), Iain Sinclair’s White Chapell, Scarlet Tracings (1987), and non-referential forms of contemporary steampunk performance. What all these examples share is a fascination with what I term, following Hans Gumbrecht, the presence effects of Victorian style and material cultures over their potential hermeneutic significance or value. A Humument not only thwarts the hermeneutic process, but also aestheticises its dislocation through its perpetually changing visual modification of its nineteenth-century original source text. I trace the work’s implications for current debates about the respective value of surface and depth-based approaches to the nineteenth-century text within Victorian studies, and demonstrate how A Humument models a form of non-hermeneutic engagement that retains a keen sense of ethical responsibility towards the past.

Collage and cut-up are two techniques that have emerged – as a practice and as a concept – in the mid-twentieth century: collage appeared in the first decade, while cut-up appeared in the late fifties. The word collage comes from the visual arts and from the practices that have succeeded to the experiments that Georges Braque and Pablo Picasso did with “papiers collés” from 1912, while the term cut-up is borrowed from American writer Brion Gysin who experimented this technique together with William Burroughs in 1959. Some fifty years separate the two techniques which do not cover quite the same practices as Brion Gysin noted: “Writing is fifty years behind painting”, thereby meaning to strictly apply to literature the very practice of “papiers collés” of cubist experiments., Le collage et le cut-up sont deux « procédés » apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cut-up, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des « papiers collés » de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux « procédés », qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : « L'écriture a cinquante ans de retard sur la peinture », en entendant par là appliquer à la lettre – et à la littérature – la pratique même des « papiers collés » des expérimentations cubistes.Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie.C'est sur l'histoire de ces cinquante années « de retard » que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up.

[Cet article étudie la manière dont Patrick Bouvet, dans Direct et Christophe Fiat, dans New York 2001 interrogent et critiquent le processus de fictionnalisation à l'œuvre dans le traitement médiatique de l'événement, et en opèrent une ressaisie par la mise en œuvre de dispositifs singuliers.]

The influence of the American writer William S. Burroughs (1914-1997) on artists from different backgrounds is well documented today. Few artists, however, have gone beyond the stage of simple influence to truly work to extend his work and take it in new directions. My work consisted in studying the works of two artists who made precisely this choice: the American writer William Gibson and the English musician, performer and essayist, Genesis P-Orridge. I looked into the universe represented in Gibson's novels and Orridge's programmatic texts, affirming the importance of Burroughs' work for "Cyberpunk", a subgenre of science fiction, but also "Music Industrial”, which appeared in England and the United States in 1976-1977. I have studied the fictional groups that emerge from these dystopian worlds, as well as the idea of ​​an alternative society that they propose while underlining the topicality of the questions thus posed to the reader (redefinition of the notions of "copyright" or "property intellectual”). I studied the evocations, mentions and quotations of William S. Burroughs in the works of Gibson and Orridge, asking myself the question of their precise function, and analyzed the new textual and narrative modalities they offer. Finally, I focused on the meaning that takes, in Orridge, the substitution of the living body on the page, and in Gibson, the programming of a text intended to fade away as the reader becomes aware of it. .The thesis also made it possible to demonstrate the investment, by William Gibson, of the Burroughsian cut-up technique (a technique which consists in cutting up texts before replacing the fragments thus obtained in a different order and generating sentences and a new texts) in order, on the one hand, to build a world which seems to be elaborated from perpetual restarts, and on the other hand to propose an alternative to the absolutism of the Word.I also demonstrated the use of the cut-up technique by Genesis P-Orridge, who applies it, first to the musical domain, then to the body itself by replacing the text by the skin, the pair of scissors by surgical tools, and transforming his body into a work of art., L’influence de l’écrivain américain William S. Burroughs (1914-1997) sur des artistes d’horizons différents est aujourd’hui bien documentée. Peu d’artistes ont toutefois dépassé le stade de la simple influence pour véritablement travailler à prolonger son œuvre et la porter dans des directions inédites. Mon travail a consisté à étudier les œuvres de deux artistes qui ont précisément fait ce choix : l’écrivain américain William Gibson et le musicien, « performer » et essayiste anglais, Genesis P-Orridge. Je me suis penché sur l’univers représenté dans les romans de Gibson et les textes programmatiques de Orridge, affirmant l’importance de l’œuvre burroughsienne pour le « Cyberpunk », sous-genre de la science-fiction, mais aussi la « Musique Industrielle », apparue en Angleterre et aux Etats-Unis en 1976-1977. J’ai étudié les groupes fictionnels qui émergent de ces mondes dystopiques, ainsi que l’idée de société alternative qu’ils proposent tout en soulignant l’actualité des questions ainsi posées au lecteur (redéfinition des notions de « copyright » ou de « propriété intellectuelle »). J’ai étudié les évocations, mentions et citations de William S. Burroughs dans les œuvres de Gibson et Orridge, en me posant la question de leur fonction précise, et analysé les nouvelles modalités textuelles et narratives qu’ils proposent. Enfin, je me suis concentré sur le sens que prend, chez Orridge, la substitution du corps vivant à la page, et chez Gibson la programmation d’un texte destiné à s’effacer au fur et à mesure que le lecteur en a pris connaissance.La thèse a également permis de démontrer l’investissement, par William Gibson, de la technique du cut-up burroughsien (technique qui consiste à découper des textes avant de replacer les fragments ainsi obtenus dans un ordre différent et d’engendrer des phrases et un texte nouveaux) afin d’une part de construire un monde qui semble élaboré à partir de recommencements perpétuels, d’autre part de proposer une alternative à l’absolutisme du Mot.J’ai également démontré l’utilisation de la technique du cut-up par Genesis P-Orridge, qui l’applique, d’abord au domaine musical, puis au corps lui-même en remplaçant le texte par la peau, la paire de ciseaux par les outils chirurgicaux, et en transformant son corps en œuvre d’art.