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Three directions for the AI avant-garde are sketched against the background of time. Posthumanism changes what we are, and belongs to the radical future. Transhumanism changes how we are, and corresponds with the radical past. Genhumanism changes who we are, and exists in the radical present. While developing the concepts, this essay intersects in two ways with theoretical debates about humanism in the face of technological advance. First, it describes how temporal divisions may cleanly differentiate post- and transhumanism. Second, the essay introduces generative humanism, which contributes to discussions about AI and society by delineating a novel humanistic response to contemporary technology. Finally, grounds are provided for a practical project, one where philosophers work with AI engineers in the area of genhumanism. Contemporary AI research into serendipity in recommendation engines provides natural support for the shared research. [ABSTRACT FROM AUTHOR]

American identity politics in art and the university arise in the wake of the social movements of the 1960s and focus on solidarity for marginalized groups, along with the critique of the representations which have served to marginalize them. This article bookends the rise of American cultural politics with Judy Chicago's Dinner Party and Linda Nochlin's academic feminism in art history, then turns to the right-wing reaction of offense at iconoclasm towards cultural heritage in the 1980s and 1990s. It ends with the constricted nature of cultural politics in America today, both on the right and the left, arguing that on both sides a distorted idea of the right to offense is at stake. [ABSTRACT FROM AUTHOR]

This article offers a comparative analysis of the aesthetic functions of photos vs. drawings in baby books. Baby books are understood as books for children between 0 and 3 years of age. Since the development of food intake and eating behavior is very important at this age, appropriate pictures of dining scenes can be found in many baby books. This article compares picturebooks for babies that show dining scenes, with two photo books, Trine kan... (1955) and Se hvad vi kan! (1964), and two baby books with drawings, The Picturebook for BABY (1950) and I See (1985). The null hypothesis is that photos tend more towards documentary, authentic, and objective representation, while drawings emphasize a stereotypical, expressive, and subjective perspective. Important intermittent factors are the concept of portraiture, expressed cuteness, and the position on a scale from avant-garde to kitsch. The analysis of the images and the accompanying texts (including the peritexts) shows that the representation of babies is subject to historical changes, which is related to different constructions of what it means to be a baby. In particular, the orientation towards parental or pedagogical ideals influences the respective representations. [ABSTRACT FROM AUTHOR]

The objective of this study was to identify and standardize 2 pineapple-based recipes from the municipality and to evaluate the effect of the use of avant-garde culinary techniques on sensory acceptance. First, an ethnographic study was carried. The study showed that in the rural area, the only preparation made with pineapple is juice; in the urban area, the preparations included ice cream, yogurt, cake and caramelized pineapple, the latter being the most traditional. The pineapple cake obtained greater sensory acceptance with the avant-garde culinary technique used, given that the foaming technique made it possible to obtain a spongier cake. [ABSTRACT FROM AUTHOR]

This essay aims to familiarize the reader with the unknown work of Mila Elin, a forgotten poet of the Polish interwar avant-garde and the only woman in avant-garde circles in Poland at the time. The analysis examines the reasons for Elin's erasure from the history of Polish literature, which, apart from the disastrous impact of World War II on Polish material culture, might have been caused by the criticism of her contemporaries, scholars' biased views of her work, and, perhaps most importantly, her own diffidence. The article reads Mila Elin as an independent poet, separate from her most influential supporter, Tadeusz Peiper, by investigating the theme of marginal female subjectivities (an alcoholic, a nun, and a peasant), problematizing womanhood and desire, and drawing an unexpected connection to surrealist tradition. [ABSTRACT FROM AUTHOR]

In a recent podcast Kateryna Mishchenko asked whether she, as a Ukrainian author, has the right to participate in German discourses, and whether she can do so through the German language. This refers both to the public debate on the 'Krieg in Europa', following Russia's invasion of Ukraine, and, inextricably linked to it, memory discourses on the Holocaust and World War II. This article discusses Mishchenko's perspective on the war in Europe in literary and non-literary texts in comparison to that of Katja Petrowskaja. Petrowskaja moved to Berlin in 1999 and made a name for herself with her family history Vielleicht Esther (2014). Both authors can be regarded as prominent voices within a post-Soviet exile community in Berlin. The article asks how contemporary authors from Ukraine who find themselves exiled in Germany are contributing to a politicization of the German literary field, and what role their contribution to a transnational memory of the Holocaust and World War II plays within this process, drawing on Hannah Arendt's understanding of refugees as a transnational avant-garde in her essay of 1943. [ABSTRACT FROM AUTHOR]

Critics have long debated the degree to which Gabriele D'Annunzio should be viewed as a fascist and an imperialist, a virtual daguerreotype for Mussolini. But D'Annunzio's evolving investment in an Italian empirestate suggests that we should complicate our understanding of his links to fascism. This essay traces correspondences between "savage thought," coming out of ethnographic anthropology from Latin America, and D'Annunzio's "recovery" of Hellenistic Greece at the turn of the century. It examines three important moments in D'Annunzio's literary career: his tour-de-force novel of scandal, Il piacere (Pleasure, 1889), his famous 1895 yachting tour of the Greek islands, and then the writing of Maia (1903), the first book of his epic poem in praise of empire, Le laudi (1903-1917). By reexaming these texts through a transnational lens, the essay demonstrates the global scope of the author's avant-garde literary project and considers its impact on colonial contexts across the Atlantic. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Several contemporary scholars have embraced the aesthetic resources in the Black Radical Tradition for the purpose of revitalizing the democratic project. Ironically, however, many drawn to the radical potential of fugitive escape are concerned about flight or exodus from the democratic project itself resulting in a defense of politics that constricts the possible benefits of fugitive aesthetics for democratic life. This article draws on the work of Alain Locke, a key figure of the Harlem Renaissance, to suggest another way in which we might follow Black fugitive aesthetics. Through an engagement with Locke, I theorize the notion of a fugitive bearing associated with a set of sensibilities that we might cultivate in order to approach the task of democratic transformation as a "reverent vandalism." This article also challenges dismissive readings of Locke's aestheticism by closely reexamining his commitment to expressive autonomy in connection with his theory of democracy. His "New Negro" avant-garde, like the fugitive, remains tethered to political life even while seeking a freedom that is unavailable within the strictures of the standing normative order. [ABSTRACT FROM AUTHOR]

This theoretical piece discusses the Sinchon Station IDAHOBIT billboard vandalism case and the collective action that occurred in reaction to it in August 2020 to open more avenues and perspectives for studying queer visibility politics in South Korea. A Bakhtinian “carnival,” the culture of queer Korean visibility politics draws inspirations from many different sources, signifying multiple perspectives and affects that are often considered incompatible with one another. Through semi-structured interviews of individuals who participated in constructing the co-authored space of the IDAHOBIT billboard, this project parses out the eclecticism involved in the creative poaching of Sinchon Station that sources aesthetics and historicity from internationalist queer visibility politics, local traditions of Korean leftist democratic movements, K-pop fan practices, etc. A reconsideration of the Sinchon Station IDAHOBIT billboard as a site of complex intentions pushes us to (borrowing Cedric Robinson and Sunyoung Park’s words) “discover” the historical vein of radically transformative power through queer praxis.

Respecto de la transitada polémica entre Boedo y Florida desarrollada en revistas culturales argentinas al promediar la década del veinte, la crítica literaria sostiene que se produjo una distribución de los tonos serios y humorísticos, que se correspondería con la clásica división entre forma y contenido: mientras el “arte social” de Boedo se habría concentrado en la denuncia de tono serio, el “arte por el arte” que defendió Florida habría encontrado en el humor una de las posibilidades para que la literatura reflexione sobre sí misma. No obstante, una relectura de Los Pensadores, revista en torno de la cual se constituyó el grupo de Boedo, permite advertir que el tono humorístico fue una de sus estrategias centrales para la crítica de la literatura y de la sociedad de su época, en consonancia con su proyecto literario, cultural y político. Regarding the thoroughly discussed polemics between the Boedo and the Florida groups that took place in cultural magazines in the mid 20s, literary critique supports the idea that its display involved a certain distribution of serious and humoristic tones within argentine literary language, which would correspond, in turn, to the classical division between form and content. Whereas the “social art” by Boedo would have focused in seriously toned denunciation, grounded in the seriousness of the problems it addressed, the “art for art’s sake” defended by Florida, would have found in humour a way for literature to reflect about itself and to produce its criticism and self-criticism. However, a re-reading of Los Pensadores, the journal around which the Boedo group organized itself, suggests that a humoristic tone was one of its fundamental strategies for the criticism of the literature and the society of its time, in synch with its literary, cultural and political project. Sobre a conhecida polêmica entre Boedo e Florida desenvolvida nas revistas culturais argentinas em meados dos anos 20, a crítica literária sustenta que houve uma distribuição de tons sérios e humorísticos, que corresponderia à divisão clássica entre forma e conteúdo: enquanto a “arte social” de Boedo teria se concentrado em denunciar um tom sério, a “arte pela arte” defendida por Florida teria encontrado no humor uma das possibilidades da literatura refletir sobre si mesma. Apesar dessas afirmações, uma releitura de Los Pensadores, revista em torno da qual se formou o grupo de Boedo, permite perceber que o tom humorístico foi uma de suas estratégias centrais para criticar a literatura e a sociedade de seu tempo, em consonância com seu projeto cultural e político.

The article demonstrates the existence of a significant symbolic substrate related to Lev Trotskii and his sociocultural model in the 1926 collection of poems, Stolbtsy, by Nikolai Zabolotskii. A close analysis of Stolbtsy reveals keywords, slogans, direct quotations and idioms that belong to the ‘lexical web’ typical of the trotskian age of Soviet culture (1918-1928). This ‘lexical web’ allows us to easily recognize the influence of Trotskii in public as well as literary discourse, and we can see the impact in a wide range of texts. The article first outlines the functioning of the ‘lexical web’, analysing the main keywords and their corresponding semantic areas. We will then show how these elements appear in Stolbtsy, thus bringing to light the affinities between the polemical vein present in Zabolotskii’s poetry and the worldview of the Trotskiist opposition.

This article examines the circulation of the first scientific films at the turn of the XXth century, primarily in the French context, when one could witness their sporadic diffusion in entertainment venues and a growing enthusiasm surrounding the reception of the first popular science series. Following the unearthing of some traces of scientific films in the cinéma forain, this article focuses on the reception of scientific series by Charles Urban, which were screened at the London Alhambra Theatre in 1903, and of the first micro-cinematographic films (1908) by Jean Comandon. Thus, the article provides a brief review of scientific films’ positioning within the screening programming practices of the 1910s, revealing that, in those years, scientific films continued to be perceived as “highly attractive” spectacles. In conclusion, by analyzing these films’ resonance in the press, the article will identify several tropes of estrangement. These tropes borrowed from the tradition of the magic lanterns’ scientific projections, which will reappear shortly thereafter – carrying new meanings – within the theories of the medium specificity in the 1920s, when scientific films were integrated within avant-garde screening practices.

This article is devoted to a comparative study of elegy and elegiac works of I.Brodsky and R.Kharis in the aspect of the category of time as the most important in the architectonics and content of the elegiac genre. The actual basis of the article is formed by such well-known works of Brodsky as “Almost elegy”, “Roman elegies”, “Autumn cry of a hawk” etc. and the elegies of R.Kharis the Tatar poet of the 2nd half of the XX - beginning of the XXI century: “Elegy (There is blue smoke in my room)”, “Seven elegies about the sense of life”, “August”, ‘Cemetery dust”. The conclusion is made about similarity of the type of artistic thinking of the two authors, which is based on the dominance of the rational beginning in creativity. It is stated that lyrical hero of Kharis’s elegies is not opposed to time, his century unlike the hero of the elegies of Brodsky, who chooses the point of “non-occurrence” in relation to time; time in his poetry is taken beyond the limits of being. If the value for the elegiac hero of the Tatar author becomes the natural connection of phenomena and things with each other, as well as the interaction of life and death, then Brodsky emphasizes the fragmentation and fragility of the world as a property of its metaphysical perception (“Almost elegy”, “Roman elegies”). The comparative analysis also revealed different forms of transformation of the elegy and the elegiac mode of artistry in multilingual works. Thus, in the “Seven elegies…” by Kharis the final part of the cycle differs from the state of “mixed feelings” necessary for the poetics of the genre. On the contrary, in the elegy, the idea of human loneliness is strengthened: expansion into the world of heaven turns it into a stable state of cosmic being.

This article explores the importance of periodicals for the 1960s protest movements in West Germany. It opens with the significance of both mainstream news media and New Left journals. Attention then turns to a different class of periodical, the anti-authoritarian underground newspaper, examined here through one emblematic example, linkeck [ leftangle ] , which was produced in a centre of revolt, West Berlin, in 1968–69. While linkeck had limited circulation and was short-lived, it achieved notoriety and gave rise to a series of successors. To understand linkeck 's impact and meanings, this article comments on its origins in an anti-authoritarian commune and its philosophy on work, politics and relationships; its ephemerality; its influences and interests; its distinctive style and its conflicts with the law. In conclusion, the essay argues that linkeck epitomizes anti-authoritarian themes and form, and that periodicals were the movements' most characteristic genre. Throughout, the essay also considers key resonances between linkeck and earlier twentieth-century (anti-)artistic avant-gardes, notably Dada. [ABSTRACT FROM AUTHOR]

This article analyzes the poem by Jairo Aníbal Niño: "Lección de música", published in La alegría de querer (1986), linking it with concrete poetry. For its development, have been reviewed articles appeared in Estudios de Literatura Colombiana about the avant-garde presence in Colombian literature; also the concepts of Verani, Cobo Borda, Ardila Ariza, among others. Thus, it seeks to establish the relevance of Niño's poetry in the context of the avant-garde and contemporary Colombian poetry, taking into account that he only has a place in the canon of children's literature. [ABSTRACT FROM AUTHOR]

It is known that important notions that lead art in the historical process have undergone transformation due to different reasons. One of the important problem areas that came to the fore within the scope of the innovative, destructive and formalist understanding of modernism has become an object with the conceptual and formal transformation process. Artistic practices that started with the representation of the object in paintings, the emergence of different forms, content and application methods in parallel with the conditions brought by the changing age and the needs of the artist; It has been the source of the acceptance and interpretation of the object as a form of art by itself. The object handled with different concepts, events, time and space relations between modernism and postmodernism; it has been operationalized as a means in the expression of specific problem areas in parallel with the currents and styles that lead the art. The multidimensional transformation process that the object has experienced in the field of art since modernism constitutes an important field of research. In line with this importance, document review and literature review methods were used in the study. The aim of the study is to reveal the structural and semantic transformation of the object in the context of modernism and postmodernism by examining it through different concept relations and examples of works. [ABSTRACT FROM AUTHOR]

The avant-garde project put into practice some questions related to the link between art and society, the role of artist and the origin and form of the work of art itself. All these elements are revisited by the new feminist literary approach. This essay examines the work of Fina Warschaver (1910-1989) who combines formal innovation and feminist claims into her writings during the 50's. From the readings of Virginia Woolf and Simone de Beauvoir, authors that set a statement for the future feminist movements, I study how her stories discover new ways of writing gender and genre; on the one hand, I analyze how she incorporates question regarding women oppression into realist political novels and, on the other hand, I investigate how she modifies the rules of minor literary genres such as science fiction to propose a new feminist identity. [ABSTRACT FROM AUTHOR]

The metropolis and the machine are the epitome of modernity in the avant-garde but in the interstices of the cityscape the natural world persists. In the disrupted Dada poems of Céline Arnauld, from the 1920s through to the 1940s, collisions between the man-made and natural environment produce sparks of lyrical beauty and of anxiety. The skyline is punctuated both by aeroplanes and birds; the roar of trains and buzz of insects clash in soundscapes. From wasps to doves, Arnauld's winged things frequent and transcend the anthropocentric environment. Unbound by man-made borders, they range across temporal and spatial environments, the real and imaginary. This essay considers how Arnauld used her flying messengers to negotiate complex experiences and ecologies of modernity. Albeit mapped to temporal moments in the twentieth century, it emerges that her points of enquiry and tensions – from migration to war, freedom to precarity – are startlingly relevant one hundred years later. [ABSTRACT FROM AUTHOR]

Co-founder of the Dada movement, Tristan Tzara, wrote and produced three stage plays during the Paris Dada period (1920–1923). This article discusses Tzara's third play, The Gas Heart (1921) to show his unique application of theatricality. The text of The Gas Heart is interrupted in Act III by a dance presented as a typographical illustration. While event programmes substantiate the performance of the dance during presentations of the play (1921 and 1923) it remains unknown how the diagram informed the action of the dance. I argue that Tzara's dance exemplifies the paradox central to Tzara's creative programme. Applying Samuel Weber's definition of theatricality, this paper explores The Gas Heart dance as an expression of 'singular duplicity' (Weber, 2004), but one that opens ways for performing the paradox in the theatre of Tristan Tzara. [ABSTRACT FROM AUTHOR]

This article explores the evolution of the bassoon in the Romanian school of music from the late 20th century to the beginning of the 21st century. It examines the cultural and political context that influenced the development of the Romanian school of composition and the diversification of artistic currents. The article highlights the technical improvements in the bassoon and the contributions of Romanian bassoonists in expanding the repertoire for the instrument. It also discusses the exploration of new effects and sounds in contemporary compositions. The article showcases notable works in the Romanian school of music, including Nicolae Brânduș' "Melopedie & Fugue," Maya Badian's "Capriccio," Ștefan Niculescu's "Monophonie -- Sonata," and Violeta Dinescu's "Satya II." Overall, the article emphasizes the fusion of tradition and avant-garde elements in the Romanian school of music and the continuous push to expand the boundaries of the bassoon. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper proposes an investigation of the concept of Jewish literature in its relation to world literature studies within an analysis of the first generation of Jewish writers who became part of the Romanian literary life following the 1923 emancipation. Born approximatively between 1890 and 1910, those authors do not form a homogenous group, representing different political orientations and relationships with their Jewish identity. One of the premises of the study is that, even if Jewish literature appears as a suitable corpus of text for world literature studies, considering its intrinsically transnational nature, it did not receive significant attention that would reflect this supposition, as researchers from both fields pointed out. Thus, studying the relationship between the two fields can inform one another and expose certain shared conflicts with the (trans)nationalist paradigm. [ABSTRACT FROM AUTHOR]

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Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that the work of 1920s Soviet filmmaker Dziga Vertov found especially fertile ground in 1960s Japan, where critics have long discussed ties between documentary and the avant-garde. Theorists interpreted Vertov's filmmaking as fundamentally avant-gardist. That is, it was both an "experiment in a dream" and an "experiment in reality," according to Nakahara Yusuke, rather than the work of a documentarian "catching life unawares." This transnational media ecology results in a strong tradition of experimental documentary that traces revolutionary politics to editing tricks and self-reflexivity. Soviet and Japanese avant-garde documentary emerge independently, and decades apart, yet result in a fascinating confluence of political avant-garde aesthetics that overlaps significantly. [ABSTRACT FROM AUTHOR]

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Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Precariousness is, in Vallejo, an instance that crosses the order of subjectivity. But what distinguishes it? Faced with the strength of the free self, Vallejo's subjectivity is founded on vulnerability. Faced with the logic of accumulation, it is defined by its scarcity. Faced with the purification of the dehumanized avant-garde, it proclaims its radical contingency. It is a subjectivity that makes and unmakes its own humanity in the unstable multitude of the world. Which is mass, and a mass that is not exclusively human, not even exclusively animal, but mundane: an avalanche of what exists. This article studies the particularities of the precarious subject and the wild flow of the particular in Vallejo's lyric and more specifically in Trilce, attending to his proposal of certain poetics of lack. In its development, a comparative analysis is carried out with the lyrical project of José Moreno Villa, to finish focusing on its political-aesthetic counterpart: what we have called the splurge of the dispossessed. [ABSTRACT FROM AUTHOR]