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Communism, once heralded as the "radiant future" of all humanity, has now become part of Eastern Europe's past. What does the record say about the legacy of communism as an organizational system? Michael Burawoy and Janos Lukacs consider this question from the standpoint of the Hungarian working class. Between 1983 and 1990 the authors carried out intensive studies in two core Hungarian industries, machine building and steel production, to produce the first extended participant-observation study of work and politics in state socialism. "A fascinating and engagingly written eyewitness report on proletarian life in the waning years of goulash communism. . . . A richly rewarding book, one that should interest political scientists in a variety of subfields, from area specialists and comparativists to political economists, as well as those interested in Marxist and post-Marxist theory."—Elizabeth Kiss, American Political Science Review "A very rich book. . . . It does not merely offer another theory of transition, but also presents a clear interpretive scheme, combined with sociological theory and vivid ethnographic description."—Ireneusz Bialecki, Contemporary Sociology "Its informed skepticism of post-Communist liberal euphoria, its concern for workers, and its fine ethnographic details make this work valuable."—"àkos Róna-Tas, American Journal of Sociology
The advent of modernity, the requirements of development and the high level of poverty, make the struggle for life even more difficult under the tropics. It is a daily strife that goes on in a lifetime, and it is permanent. The situation is even so bad that the black continent is plying under the weight of numerous ailments made up of corruption and embezzlement of public funds; and if we had to add the systematic looting of the continents assets by the western powers, the bowl is full. We now experience a reversal of values, an abandonment of ethical and moral precepts. The degradation thus announced, sinks Africa into an endless hole and compromises its future in the long run. The race to money, material things, becomes the existing requirement. It is the survival of the fittest for poor Africa, throwing its sons in the streets, sacrificing its youth at the altar of promiscuity and vice.
A revolutionary exploration of the relationship between human energy and color, visualized through more than 200 photographs from the “the Annie Leibovitz of aura photography” (New York Times) and a “Dutch painter on acid” (Vogue). The prodigal daughter of a visionary painter mother and a two-time commune founding father, Christina Lonsdale was raised by her parents on a commune in Taos, New Mexico, at the dawn of the digital age in the 1990s—formative years when science (the advent of the worldwide web, the introduction of the cell phone) and spiritualism (New Age) occupied equal bandwidth. Having her aura photograph taken awoke a passion that combined her spiritual and technological interests (an aura is an energy field emanating around a living being comprised of mental, spiritual, and emotional levels; an aura camera captures the colors of the aura on Polaroid film). With her first aura camera—the Auracam 6000—she began photographing and analyzing family and friends, then in 2014, took her skills and equipment on the road. Radiant Human includes hundreds of Polaroids selected from the author’s vast archives of some 45,000 images she has taken over a six-year period. The book explores the nature of the human aura, and the notion that aura images may not only capture a person’s essence in that moment, but reveal characteristics of their overall disposition. As Lonsdale describes what all the colors suggest, considering their many variations and nuances, and in relationship to each other. To illuminate her discoveries, she shares her subjects’ stories throughout the book, sometimes accompanied by a single shot, other times by a series of images taken over a period of year. She also includes profiles of well-known people she has photographed including Chloë Sevigny, Joseph Altuzarra, Busy Philipps, and SZA. Lonsdale makes clear that we are not just physical bodies, but collections of energy as well—giving consideration to the relationship of how we present ourselves to the world and who we are as well as the potential reality of the space in between. Her aura work is a study of humanity, and the energy we radiate and receive—the good, the bad, and the weird vibes—helping us understand better who we are.
In Soviet Salvage, Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected “elitist” media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life. Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies—the “engineer” and “bricoleur”—illustrate, respectively, the canonical Constructivists and artists on the movement’s margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers. An engaging multidisciplinary study of objects and their makers during the Soviet Union’s early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture.