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There is no consensus on the origin of the movement's name; a common story is that the German artist Richard Huelsenbeck slid a paper knife (letter-opener) at random into a dictionary, where it landed on "dada", a colloquial French term for a hobby horse. Jean Arp wrote that Tristan Tzara invented the word at 6 p.m. on 6 February 1916, in the Café de la Terrasse in Zürich.[14] Others note that it suggests the first words of a child, evoking a childishness and absurdity that appealed to the group. Still others speculate that the word might have been chosen to evoke a similar meaning (or no meaning at all) in any language, reflecting the movement's internationalism.[15]
Additionally, Dada attempted to reflect onto human perception and the chaotic nature of society. Tristan Tzara proclaimed, "Everything is Dada, too. Beware of Dada. Anti-dadaism is a disease: selfkleptomania, man's normal condition, is Dada. But the real Dadas are against Dada".[23]
Throughout March and April, a film program presented avant-garde works by Man Ray and other Dada artists and a series of World War I thematic films. Martin Marks and the Jazztet Ensemble provided live accompaniment for dadaist films on March 5, and the Alloy Orchestra performed original scores for film screenings on March 11 and 12. A number of musical performances were held in February and March in honor of the exhibition. The Terrace Café became Café Dada and offered a special menu of European bistro-style fare during the exhibition.
The collection of the International Dada Archive is made up of works by and about the dadaists including books, articles, microfilmed manuscript collections, videorecordings, sound recordings, and online resources. Primary access to the entire collection is through the International Online Bibliography of Dada, a catalog containing approximately 60,000 titles. This collection is housed in various departments of the University of Iowa Libraries; most of its holdings are in either the Main Library or the Art Library.
The Archive has also microfilmed a number of public and private manuscript collections containing material on the Dada movement and on individual dadaists. Detailed finding aids exist for each of these microfilmed collections.
The International On-line Bibliography of Dada is the on-line catalog of the International Dada Archive at the University of Iowa Libraries. The catalog includes materials in all formats that have been cataloged for the collection, including books, essays in books, periodical articles, manuscripts, sound and videorecordings, and other media related to the Dada movement and to the individual dadaists. These materials are located throughout the University of Iowa Libraries, but are primarily housed in the Main Library and the Art Library. Most of the manuscript holdings are on microfilms that were made in various public and private collections in Europe and North America in the early 1980s, with funding from the National Endowment for the Humanities and the Jerome Foundation.
Dada was one of the most important art- / film- / design- / music- / performance-movements of the last century. Over 100 years ago the dada-multimedia-artists were changing the world forever and still have impact on the scene today.
The dada function takes as input dereplicated amplicon sequencing reads and returns the inferred compositionof the sample (or samples). Put another way, dada removes all sequencing errors to reveal the members of thesequenced community.
Briefly, dada implements a statistical test for the notion that a specific sequence was seen too many timesto have been caused by amplicon errors from currently inferred sample sequences. Overly-abundantsequences are used as the seeds of new partitions of sequencing reads, and the final set of partitionsis taken to represent the denoised composition of the sample. A more detailed explanation of the algorithmis found in two publications:
dada depends on a parametric error model of substitutions. Thus the quality of its sample inference is affectedby the accuracy of the estimated error rates. selfConsist mode allows these error rates to be inferred from the data.
All comparisons between sequences performed by dada depend on pairwise alignments. This step is the most computationally intensive part of the algorithm, and two alignment heuristics have been implemented for speed:A kmer-distance screen and banded Needleman-Wunsch alignmemt. See setDadaOpt.
How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world's best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein. In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.
I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented. All the words are other people's inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words for it that are seven yards long. Mr Schulz's words are only two and a half centimetres long.
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Dada: recueil littéraire et artistique [Dada: Literary and Artistic Review] was an avant-garde magazine published in 8 numbers (7 issues) between July 1917 and September 1921, first in Zürich (1-4/5) and later in Paris (6-8). The magazine was edited by Tristan Tzara; number 3 (1918) features his Dada manifesto in which he declared that "dada means nothing".
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