Bernard Gendron – författare

During the late 19th and early 20th centuries, popular music was considered nothing but vulgar entertainment. Today, jazz and rock music are seen as forms of art, and their practitioners are regularly accorded a status on par with the cultural and political elite. To take just one recent example, Bono, lead singer and lyricist of the rock band U2, got equal and sometimes higher billing than Pope John Paul II for their shared efforts in the Jubilee 2000 debt-relief project. When and how did popular music earn so much cultural capital? To find out, Bernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. He begins at the end of the 19th century in Paris's Montmartre district, where caborets showcased popular music alongside poetry readings in spaces decorated with modernist art works. Two decades later, Parisian poets and musicians "slumming" in jazz clubs assimilated jazz's aesthetics in their performances and compositions.In the bebop revolution in mid-1940s America, jazz returned the compliment by absorbing modernist devices and postures, in effect transforming itself into an avant-garde art form. Mid-1960s rock music, under the leadership of the Beatles, went from being reviled as vulgar to being acclaimed as a cutting-edge art form. Finally, Gendron takes us to the Mudd Club in the late 1970s, where New York punk and new wave rockers were setting the aesthetic agenda for a new generation of artists. "Between Montmartre and the Mudd Club" should be on the shelves of anyone interested in the intersections between high and low culture, art and music, or history and aesthetics.

During the late 19th and early 20th centuries, popular music was considered nothing but vulgar entertainment. Today, jazz and rock music are seen as forms of art, and their practitioners are regularly accorded a status on par with the cultural and political elite. To take just one recent example, Bono, lead singer and lyricist of the rock band U2, got equal and sometimes higher billing than Pope John Paul II for their shared efforts in the Jubilee 2000 debt-relief project. When and how did popular music earn so much cultural capital? To find out, Bernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. He begins at the end of the 19th century in Paris's Montmartre district, where caborets showcased popular music alongside poetry readings in spaces decorated with modernist art works. Two decades later, Parisian poets and musicians "slumming" in jazz clubs assimilated jazz's aesthetics in their performances and compositions.In the bebop revolution in mid-1940s America, jazz returned the compliment by absorbing modernist devices and postures, in effect transforming itself into an avant-garde art form. Mid-1960s rock music, under the leadership of the Beatles, went from being reviled as vulgar to being acclaimed as a cutting-edge art form. Finally, Gendron takes us to the Mudd Club in the late 1970s, where New York punk and new wave rockers were setting the aesthetic agenda for a new generation of artists. "Between Montmartre and the Mudd Club" should be on the shelves of anyone interested in the intersections between high and low culture, art and music, or history and aesthetics.

During the late nineteenth and early twentieth century, popular music was considered nothing but vulgar entertainment. Today, jazz and rock music are seen as forms of art, and their practitioners are regularly accorded a status on par with the cultural and political elite. To take just one recent example, Bono, lead singer and lyricist of the rock band U2, got equal and sometimes higher billing than Pope John Paul II on their shared efforts in the Jubilee 2000 debt-relief project. When and how did popular music earn so much cultural capital? To find out, Bernard Gendron investigates five key historical moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances. He begins at the end of the nineteenth century in Paris''s Montmartre district, where cabarets showcased popular music alongside poetry readings in spaces decorated with modernist art works. Two decades later, Parisian poets and musicians "slumming" in jazz clubs assimilated jazz''s aesthetics in their performances and compositions. In the bebop revolution in mid-1940s America, jazz returned the compliment by absorbing modernist devices and postures, in effect transforming itself into an avant-garde art form. Mid-1960s rock music, under the leadership of the Beatles, went from being reviled as vulgar music to being acclaimed as a cutting-edge art form. Finally, Gendron takes us to the Mudd Club in the late 1970s, where New York punk and new wave rockers were setting the aesthetic agenda for a new generation of artists. Between Montmartre and the Mudd Club should be on the shelves of anyone interested in the intersections between high and low culture, art and music, or history and aesthetics.

This book constitutes the thoroughly refereed post-conference proceedings of the 6th International Symposium on Combinatorial Optimization, ISCO 2020, which was due to be held in Montreal, Canada, in May 2020. The conference was held virtually due to the COVID-19 pandemic.The 24 revised full papers presented in this book were carefully reviewed and selected from 66 submissions.They were organized in the following topical sections: polyhedral combinatorics; integer programming; scheduling; matching; Network Design; Heuristics.

This book constitutes the thoroughly refereed post-conference proceedings of the 6th International Symposium on Combinatorial Optimization, ISCO 2020, which was due to be held in Montreal, Canada, in May 2020. The conference was held virtually due to the COVID-19 pandemic.The 24 revised full papers presented in this book were carefully reviewed and selected from 66 submissions.They were organized in the following topical sections: polyhedral combinatorics; integer programming; scheduling; matching; Network Design; Heuristics.

This book explores the methodological and application developments of network design in transportation and logistics. It identifies trends, challenges and research perspectives in network design for these areas. Network design is a major class of problems in operations research where network flow, combinatorial and mixed integer optimization meet. The analysis and planning of transportation and logistics systems continues to be one of the most important application areas of operations research. Networks provide the natural way of depicting such systems, so the optimal design and operation of networks is the main methodological area of operations research that is used for the analysis and planning of these systems. This book defines the current state of the art in the general area of network design, and then turns to its applications to transportation and logistics. New research challenges are addressed.Network Design with Applications to Transportation and Logistics is divided into three parts. Part I examines basic design problems including fixed-cost network design and parallel algorithms. After addressing the basics, Part II focuses on more advanced models. Chapters cover topics such as multi-facility network design, flow-constrained network design, and robust network design. Finally Part III is dedicated entirely to the potential application areas for network design. These areas range from rail networks, to city logistics, to energy transport. All of the chapters are written by leading researchers in the field, which should appeal to analysts and planners.