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This compelling new account of Russian constructivism repositions the agitator Aleksei Gan as the movement’s chief protagonist and theorist. Primarily a political organizer during the revolution and early Soviet period, Gan brought to the constructivist project an intimate acquaintance with the nuts and bolts of “making revolution.” Writing slogans, organizing amateur performances, and producing mass-media objects define an alternative conception of “the work of art”—no longer an autonomous object but a labor process through which solidarities are built. In an expansive analysis touching on aesthetic and architectural theory, the history of science and design, sociology, and feminist and political theory, Kristin Romberg invites us to consider a version of modernism organized around the radical flattening of hierarchies, a broad distribution of authorship, and the negotiation of constraints and dependencies. Moving beyond Cold War abstractions, Gan’s Constructivism offers a fine-grained understanding of what it means for an aesthetics to be political.
The telegraph, telephone, and television, not to mention the Internet and mobile telephony, are all forms of communication that move information faster than the speed at which objects move. Both labor and capital and armies and commodities once moved at the same speed as the information organizing them. Over the last two centuries, social space has developed a strange folded quality, where physical space comes more and more to be doubled by a space of the movement of information. Telesthesia, or perception at a distance, comes increasingly to characterize how we see and hear and know the world. How does the evolution of different communication forms affect how we can perceive and act? How can the underlying infrastructure of communication forms be detected in the events of everyday life? These are the central questions animating this book. McKenzie Wark first explores relations between metropolitan and peripheral cultures – or postcolonial relations – with close attention to the texture of events that can happen when perception is mediated. He then examines what were once called postmodern experiences, and how relations of communication create new kinds of class relations and experiences of everyday life, from 9/11 to Occupy Wall Street.
The proceedings of a conference at the University of East Anglia, January 1996. The conference assembled some of Russia's leading economists, political theorists and systems thinkers to discuss Bogdanov's theories and their application in economics, politics and psychology.
According to the nineteenth-century teachings of Nikolai Fedorov—librarian, religious philosopher, and progenitor of Russian cosmism—our ethical obligation to use reason and knowledge to care for the sick extends to curing the dead of their terminal status. The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge. Fedorov's call to redistribute vital forces is wildly imaginative in emancipatory ambition. Today, it might appear arcane in its mystical panpsychism or eccentric in its embrace of realities that exist only in science fiction or certain diabolical strains of Silicon Valley techno-utopian ideology. It can be difficult to grasp how it ended up influencing the thinking behind a generation of young revolutionary anarchists and Marxists who incorporated Fedorov's ideas under their own brand of biocosmism before the 1917 Russian Revolution, even giving rise to the origins of the Soviet space program. This book of interviews and conversations with today's most compelling living and resurrected artists and thinkers seeks to address the relevance of Russian cosmism and biocosmism in light of its influence on the Russian artistic and political vanguard as well as on today's art-historical apparatuses, weird materialisms, extinction narratives, and historical and temporal politics. This unprecedented collection of exchanges on cosmism asks how such an encompassing and imaginative, unapologetically humanist and anthropocentric strain of thinking could have been so historically and politically influential, especially when placed alongside the politically inconsequential—but in some sense equally encompassing—apocalypticism of contemporary realist imaginaries. Contributors Bart De Baere, Franco “Bifo” Berardi, Boris Groys, Elena Shaposhnikova, Marina Simakova, Hito Steyerl, Anton Vidokle, Brian Kuan Wood, Arseny Zhilyaev, Esther Zonsheim Published in parallel with the eponymous exhibition at Haus der Kulturen der Welt, Berlin. Series edited by Julieta Aranda, Brian Kuan Wood, Stephen Squibb, Anton Vidokle Design by Jeff Ramsey, front cover design by Liam Gillick
Ecology has become a central question governing the survival and sustainability of human societies, cultures and languages. In this timely study, Michael Cronin investigates how the perspective of the Anthropocene, or the effect of humans on the global environment, has profound implications for the way translation is considered in the past, present and future. Starting with a deep history of translation and ranging from food ecology to inter-species translation and green translation technology, this thought-provoking book offers a challenging and ultimately hopeful perspective on how translation can play a vital role in the future survival of the planet.
This provocative work takes issue with the idea that Socialist Realism was mainly the creation of party leaders and was imposed from above on the literati who lived and worked under the Soviet regime. Evgeny Dobrenko, a leading expert on Soviet literature, argues instead--and offers persuasive evidence--that the aesthetic theories underpinning Socialist Realism arose among the writers themselves, born of their proponents' desire for power in the realm of literary policymaking. Accordingly, Dobrenko closely considers the evolution of these theories, deciphering the power relations and social conditions that helped to shape them. In chapters on Proletkult, RAPP, LEF, and Pereval, Dobrenko reexamines the theories generated by these major Marxist literary groupings of the early Soviet Union. He shows how each approached the problems of literature's response to the presumed social mandate of the young communist society, and how Socialist Realism emerged as a conglomerate of these earlier, revolutionary theories. With extensive and detailed reference to supporting testimony and documents, Dobrenko clearly demonstrates how Socialist Realism was created from within the revolutionary culture, and how this culture and its disciples fully participated in this creative process. His work represents a major breakthrough in our current understanding of the complex sources that contributed to early Soviet culture.
Zenovia A. Sochor here assesses one of the most important debates within the Bolshevik leadership during the early years of Soviet power-that between A. A. Bogdanov and V. I. Lenin. Once comrades-in-arms, Bogdanov and Lenin became political rivals prior to the October Revolution. Their disagreements over political and cultural issues led to a split in the Bolshevik Party, with Bogdanov spearheading the party's left-wing faction and attracting a following of notable intellectuals. Before Lenin died in 1924, however, he had succeeded in shaping Soviet society according to his own vision, and today Bolshevism is commonly identified with Leninism while Bogdanovism is little known. Sochor provides the first full exposition in English of Bogdanov's views, which, she asserts, must be understood to appreciate the choices available and the paths not taken during the formative years of the Soviet regime.
Much like Vladimir Lenin, his onetime rival for the leadership of the Bolshevik party during its formative years, Alexander Bogdanov (1873–1928) was a visionary. In two science fiction novels set on Mars, Bogdanov imagined a future in which the workers of the world, liberated from capitalist exploitation, create a “physiological collective” that rejuvenates and unites its members through regular blood exchanges. But Bogdanov was not merely a dreamer. He worked tirelessly to popularize and realize his vision, founding the first research institute devoted to the science of blood transfusion. In A Martian Stranded on Earth, the first broad-based book on Bogdanov in English, Nikolai Krementsov examines Bogdanov’s roles as revolutionary, novelist, and scientist, presenting his protagonist as a coherent thinker who pursued his ideas in a wide range of venues. Through the lens of Bogdanov’s involvement with blood studies on one hand, and of his fictional and philosophical writings on the other, Krementsov offers a nuanced analysis of the interactions between scientific ideas and societal values.
“An Earth-man’s journey to the planet Mars, where he is treated to a wondrous vision of a communist future, complete with flying cars and 3D color movies.” —Wonders & Marvels A communist society on Mars, the Russian revolution, and class struggle on two planets is the subject of this arresting science fiction novel by Alexander Bogdanov (1873–1928), one of the early organizers and prophets of the Russian Bolshevik party. The red star is Mars, but it is also the dream set to paper of the society that could emerge on earth after the dual victory of the socialist and scientific-technical revolutions. While portraying a harmonious and rational socialist society, Bogdanov sketches out the problems that will face industrialized nations, whether socialist or capitalist. “[A] surprisingly moving story.” —The New Yorker “The contemporary reader will marvel at [Bogdanov’s] foresight: nuclear fusion and propulsion, atomic weaponry and fallout, computers, blood transfusions, and (almost) unisexuality.” —Choice “Bogdanov’s novels reveal a great deal about their fascinating author, about his time and, ironically, ours, and about the genre of utopia as well as his contribution to it.” —Slavic Review