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One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.

This paper analyses the essay entitled "The Word as a Principle" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled "For Free Verse" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.

In January 1921, Svetokret, the first radical avant-garde magazine in the newly founded Kingdom of Serbs, Croats, and Slovenes, was launched in Ljubljana by Virgil Poljanski (1898-1947). This unique edition was a herald of Zenit (1921-1926), a mouthpiece of the ambitious zenitist movement, embodied by Poljanski's elder brother Ljubomir Micić (1895-1971). This article examines the dynamics of relations between the protagonists of the Slovenian interwar avant-garde and the leading zenitists, as documented in correspondence, newspaper reports, and, above all, in the magazine and publishing production of the avant-garde movements themselves. In the first phase, these relations revolved around Anton Podbevšek and his group, which had gathered around the Trije labodje magazine (The Three Swans, 1922), but cooperation remained limited. In the second, more productive phase, zenitist ideas were partially embraced by the group of Slovenian constructivists led by Avgust Černigoj and Ferdo Delak. Zenitism and its magazine were certainly an important source of information and inspiration for Slovenian avant-garde artists (e.g., the poet Srečko Kosovel) but, despite several attempts, the cooperation did not produce lasting results before Zenit was banned in 1926. In 1927, the Ljubljana-based Tank magazine, edited by the ambitious Delak and supported by Micić, tried to continue the zenitist legacy. Unfortunately, its existence was short-lived.

Zenit je časopis koji je pokrenuo Ljubomir Micić. Časopis je izlazio u Zagrebu od 1921. do 1923. godine, a nakon preseljenja nastavlja izlaziti u Beogradu od 1924. do 1926. godine. Ljubomir Micić je od pokretanja Zenita bio njegov glavni urednik i izdavač, sa njime je Ivan Goll kao suurednik surađivao od 8. do 12. broja, a kratkotrajno su tu sudjelovali Boško Tokin, Rastko Petrović i Branko Ve Poljanski. Zenit je kroz svoje djelovanje i suradnje koje je ostvario postao medij komunikacije, prenošenja, razmjene i širenja umjetničkih ideja. Pojava Zenita kao međunarodnog časopisa koji je objavljivao djela vodećih europskih avangardnih umjetnika predstavlja izrazito važnu avangardnu pojavu na ovim prostorima. Navedeno se očituje u inovativnim tipografskim i vizualnim rješenjima u oblikovanju časopisa, ali i knjiga i plakata nastalih pod okriljem Zenita, koja predstavljaju snažan iskorak u domaćoj vizualnoj kulturi toga vremena. Jedna od inovacija avangarde 1920-ih je bio opći vizualni dojam, a najviše se manifestira u području tipografije. Stvorena je jaka povezanost između moderne tipografije i vizualne umjetnosti što lako možemo vidjeti i na stranicama Zenita na kojima se koriste nova tipografska rješenja, ali i na drugim zenitističkim izdanjima kao što su plakati, letci, knjige, brošure i druge publikacije. Svijest o estetici i važnosti novih komunikacijskih sredstava uvijek je bila prisutna i vremenom je samo sve više jačala. Dakle, kada govorimo o literarnim izdanjima Zenita, ta rješenja nisu ograničena samo na naslovne stranice, već prožimaju cijelu publikaciju. I upravo to će biti središnja tema ovoga rada- grafičko oblikovanje časopisa Zenit. Objavljeno je ukupno 43 broja, od kojih su neki na latiničnom, a neki na ćiriličnom pismu, a sastojali su se od izvornih priloga na stranim jezicima i bili su bogato opremljeni slikovnim prilozima. Koliko je Zenit bio priznat, cijenjen i koliki je značaj imao govore mnogobrojne veze i suradnje koje je tijekom godina ostvario, posebno izvan svojih geografskih granica. Zenit is a magazine started by Ljubomir Micić. The magazine was being published in Zagreb from 1921 to 1923, and after its relocation it continued to be published in Belgrade from 1924 to 1926. Since the launch of Zenit, Ljubomir Micić has been its editor-in-chief and publisher, Ivan Goll has collaborated as a co-editor from issues 8 to 12, while Boško Tokin, Rastko Petrović and Branko Ve Poljanski have participated for a short period of time. Through its activities and collaborations, Zenit was a medium of communication, transmission, exchange and dissemination of artistic ideas. The emergence of Zenit as an international magazine that published works by leading European avant-garde artists is an important avant-garde phenomenon in the area of former Yugoslavia. Zenit's large influence is reflected in the innovative typographic and visual solutions in the design of magazines, but also in the books and posters created under the auspices of Zenit, which represent a breakthrough in the domestic visual culture of that time. One of the innovations of the avant-garde in the 1920s was the general visual impression achieved by the visual identity, most manifested in the field of typography. A strong connection has been created between modern typography and visual art, which can easily be seen on Zenit's pages, which use new typographic solutions, but also on other Zenitist publications such as posters, leaflets, books, brochures and other publications. Awareness of the aesthetics and the importance of new means of communication has always been present and has only grown stronger over time. So, when we talk about Zenit's literary editions, these solutions are not limited to the front pages, but permeate the entire publication. And that's exactly what is the central topic of this thesis - the graphic design of Zenit magazine. A total of 43 issues of Zenit magazine were published, some of them in Latin and some in Cyrillic, however, they also contained original articles in foreign languages and were richly equipped with pictorial articles. How much Zenit was recognized, appreciated and how important it was is shown by the many connections and collaborations it has made over the years, especially beyond its geographical borders.

O presente artigo faz uma abordagem sobre o acesso às infraestruturas tecnológicas, com enfoque à experiência do Zenit-Parque Científico e Tecnológico que se vincula à Universidade Federal do Rio Grande do Sul. Procedeu-se entrevistas semiestruturadas com líderes do Parque e com gestores de seis empresas de base tecnológica, além de pesquisa documental e observação assistemática. Os principais resultados revelam que o Parque dispõe de infraestrutura da Universidade, privilegia a sua disponibilização para “spin-offs” acadêmicos com projetos sustentáveis. Ademais, o acesso aos recursos tecnológicos (materiais e cognitivos) depende da capacidade financeira, de cooperação e de negociação das empresas que reagem de forma diferente às regras de distribuição de recursos de infraestrutura. Portanto, a novidade oferecida por esta pesquisa é o fato de se constatar uma variação entre as empresas no mesmo Parque Científico e Tecnológico no que se refere ao acesso às infraestruturas tecnológicas, tendo em conta as suas diferentes capacidades e habilidades. Esses novos dados possibilitam relativizar as formulações usuais da literatura especializada que tende a tratar esse acesso como se fosse homogêneo. This article deals with the access to technological infrastructures, focusing on the experience of Zenit-Scientific and Technological Park that is linked to the Federal University of Rio Grande do Sul. Semi-structured interviews were conducted with Park leaders and managers of six technology-based companies, as well as documental research and non-systematic observation. The main results reveal that the Park has the University's infrastructure, privileges its availability to academic “spin-offs” with sustainable projects. In addition, access to technological resources (material and cognitive) depends on the financial capacity, cooperation and negotiation of companies that react differently to the rules of distribution of infrastructure resources. Therefore, the novelty offered by this research is the fact that there is a variation between the companies in the same Science and Technology Park with regard to access to technological infrastructures, taking into account their different capacities and abilities. These new data make it possible to relativize the usual formulations of specialized literature that tends to treat this access as if it were homogeneous.

U ovom radu autor donosi rezultate istraživanja đakovačko-osječkog podrijetla avangardne slikarice Vjere Biller na temelju oskudne arhivske građe i drugih dostupnih izvora u zemlji i inozemstvu. Vjera Biller je rođena u Đakovu, imućnoj židovskoj obitelji Biller, a po majci pripada đakovačkoj židovskoj obitelji Kugel. Poslovno su bili vezani uz današnju pustaru Slašćak, koja se pongdje naziva i „pustara Biller.” Nakon očeva poslovnog kraha Vjera Biller se seli najprije u Opatiju pa potom u Budimpeštu gdje započinje slikarsku karijeru u avangardnom pokretu MA.

Os Parques Científicos e Tecnológicos são complexos de desenvolvimento econômico, administrados por profissionais especializados, que visam, entre outros propósitos, a prover o sector produtivo de infraestrutura tecnológica, como incubadoras, bibliotecas, laboratórios, pessoal qualificado, eventos e instalações físicas. A literatura especializada tem dedicado pouca atenção às regras que distribuem esses recursos materiais e cognitivos nos Parques. A presente dissertação enfoca sociologicamente o tema inquirindo centralmente sobre: Quais as implicações nas empresas em termos de acesso às infraestruturas tecnológicas decorrem de sua integração aos Parques Científicos e Tecnológicos? Os dados resultam de estudo de caso do ZENIT – Parque Científico e Tecnológico que se vincula à Universidade Federal do Rio Grande do Sul, procedendo-se entrevistas semiestruturadas com líderes do Parque e com gestores de seis empresas de base tecnológica, além de pesquisa documental e observação assistemática. Os principais resultados revelam, por um lado, que o Parque dispõe de infraestrutura da Universidade, privilegiando a sua disponibilização para “spin - offs” acadêmicos com projetos sustentáveis. Por outro lado, o acesso aos recursos tecnológicos (materiais e cognitivos) depende da capacidade financeira, de cooperação e de negociação das empresas que reagem de forma diferente às regras de distribuição de recursos de infraestrutura. Portanto, a novidade oferecida por esta pesquisa é o fato de se constatar uma variação entre as empresas no mesmo Parque Científico e Tecnológico no que se refere ao acesso às infraestruturas tecnológicas, tendo em conta as suas diferentes capacidades e habilidades. Esses novos dados possibilitam relativizar as formulações usuais da literatura especializada que tende a tratar esse acesso como se fosse homogêneo. The scientific and technological parks are complex of economic development, administered by specialised professionals, aimed, among other purposes, to provide the productive sector of technological infrastructure, such as incubators, libraries, laboratories, qualified personal, events and physical installations. The specialized literature has devoted little attention to the rules that distribute these material and cognitive resources in the parks. Sociologically this dissertation focuses on the theme centrally inquiring on: What are the implications for companies in terms of access to technological infrastructures derive from their integration with the science and technology parks? The data results from a case study of ZENIT – Scientific and technological park that binds to the Federal University of Rio Grande do Sul, semi-structured interviews were conducted with leaders of the park and with managers of six technology-based companies, in addition to documentary research and assistematic observation. The main results reveal, on the one hand, that the park has the university's infrastructure, prioriting its provision for academic spin-offs with sustainable projects. On the other hand, the access to technological resources (materials and cognitives) depends on the financial capacity, cooperation and business negotiation that react differently to the distribution rules of infrastructure resources. So, the novelty offered by this research is the fact that there is a variation between the companies in the same scientific and technological Park with regard to access to technological infrastructures, taking into account their different capacities and abilities. These new data make it possible to relativize the usual formulations of the specialized literature that tends to treat this access as if it were homogenous.

This article presents a short biographiclal account of Göran Therborns early years, hist studies, his early contribtions to sociology as well as to the New Left and the Marxist discussions in the 1960's and the 1970's, with a focus on the Swedish context.

During the interwar period artist Vjera Biller participated in some of the most interesting events that were happening all across Europe. She presented her work for the first time as a teenager in 1918 in Budapest at the "MA exhibition of graphic art" together with the leading protagonists of Hungarian avant-garde. While living in Berlin in the early 1920s she was close to the circle of Herwarth Walden and participated in several exhibitions in his Der Sturm gallery. During the 1920s and 1930s she exchanged letters with Ljubomir Micić, the editor of the avant-garde magazine "Zenit", who exhibited and published her work (1924, 1926). Although today the majority of her oeuvre is lost and only a small number of prints and drawings from the 1920s have been preserved, it reveals Vjera Biller's interests, artistic sensibility for stylization of form and a special type of visual narration. The paper will consider the work of Vjera Biller in the context of the international avant-garde movement and as an example of networking principle that marked the most progressive art currents of the period.

International audience

Der Artikel spricht über die Wahrnehmung des kroatischen Kulturerbes und Identität im europäischen Kontext.

U radu je proucen i tehnicki opisan nacin izvedbe fotonaponskog sustava za dvoosno pracenje Sunca u Laboratoriju za sustave obnovljivih izvora energije Fakulteta elektrotehnike i racunarstva Sveucilišta u Zagrebu. Opisana je trigonometrijska pozadina racunanja kuteva od važnosti za odreživanje položaja Sunca. Kljucne korištene velicine su azimutni kut, zenitni kut, deklinacija Sunca, satni kut Sunca, pravo Suncevo vrijeme te jednadžba vremena. Korišteni koordinatni sustavi su horizontski nebeski sustav te mjesni ekvatorski koordinatni sustav. Implementiran je algoritam za sliježenje Sunca u skladu s geografskim i vremenskim koordinatama u programskom okruženju LabVIEW. Glavni elementi fotonaponskog sustava su frekvencijski pretvarac, servo motori, trekeri te solarni moduli.

Prvu polovinu XX veka u Srbiji obeležili su složena društvena dešavanja i politička tranzicija u kojoj se Kraljevina Srbija 1918. godine pretopila u Kraljevinu Srba, Hrvata i Slovenaca (od 1929. godine Kraljevinu Jugoslaviju), postavši integralni deo novoformirane višeetničke zajednice nastale na razvalinama starog političkog poretka u Evropi. Međutim, i pored činjenice da je Srbija formalno izgubila autonomiju i suverenitet, ideološki mehanizmi na kojima je predratna nacionalna zajednica funkcionisala ostali su kao trajni zalog političkih elita koje su državnu samostalnost pretpostavile „oslobođenju i ujedinjenju“ Južnih Slovena. Iako faktički nepostojeća, Srbija je unutar Kraljevine Jugoslavije opstala kao jurički i administrativni fantom, ali su se njeni obrisi neprestano održavali kroz različite prakse kulturne legitimacije — od političkog diskursa do reprezentativne kulture i oficijelnog simboličkog znamenja. Razapetu između etnocentrizma i koncepta imperijalne vladavine kao dve dominirajuće vrednosne i političke pozicije, ideju Srbije kao zamišljene zajednice održavalo je nekoliko ideoloških perspektiva koje su neprestano supstituisale realnost u kojoj se ona našla u kontekstu nove političke konstelacije na Balkanskom pluostrvu nakon Prvog svetskog rata. Ove ideološke perspektive nisu bile međusobno isključujuće i njihova komplementarnost je ukazivala na svu složenost nerazrešenog koncenzusa po pitanju granica, sadržaja i obuhvata nacije u njenoj kulturnoj i političkoj dimenziji. U tom složenom ideološkom pejzažu simultano se odvijalo oblikovanje i preoblikovanje nacionalnog identiteta, čiji su se fluidni obrisi kristalisali kao situacionistički i funkcionalno operativni. U zavisnosti od aspiracija, ciljeva i mogućnosti, srpske elite su putem kulture nametale različite ideje nacije kao konzistentnog i totalizujućeg entiteta. Ovaj proces kompleksne nacionalizacije kolektivnih pripadnosti prožimao je centar i periferiju društva, učvršćujući se putem različitih kulturnih narativa koji su formirali podobne okvire za zamišljanje nacionalne zajednice. Okvire nacije definisala je i arhitektura, kao materijalna praksa uobličavanja poželjne realnosti koja je zadobila ulogu da ponudi poželjni model identiteta, kao supstitut nerešenog nacionalnog pitanja koje je konstantno pritiskalo društvo u Srbiji tokom prve polovine XX stoleća.

This is comprehensive monograph dedicated to the Zenit periodical —avant-garde magazine initially founded in Zagreb in 1921, which, after short and furious life and 43 numbers, ended in Belgrade five years later. The book is a sublimation of more than twenty years of mutual work of art historian Irina Subotić and literature historian Vidosava Golubović, who dedicated a great part of their professional work to the topic. The book systematically explores Zenit in the context of political and social turmoil in the 1920s Europe. As the offspring of cultural atmosphere which generated diversity of avant-garde movements — from expressionism and constructivism, to surrealism — Zenit has become basically related to issues of cultural restitution, resurgence of culture and identity, and creative sublimation commonly shared by diverse avant-gardes of the time.

Tekst obrađuje pojave u likovnoj umjetnosti (slikarstvu ponajprije) u kontekstu avangardnih tendencija u hrvatskoj umjetnosti od drugog do osmog desetljeća dvadesetog stoljeća. Tumači se recepcija i primjena avangardnih i neo-avangardnih načela u društvenoj i političkoj praksi. Nastoji se valorizirati značenje avangarde u cjelini hrvatske umjetnosti prošloga stoljeća, te otkriti zajednička mjesta avangardnih pokreta poglavito u zemljama Srednje Europe. Spominju se najvažnije izložbe na kojima se etablirao jezik avangardne umjetnosti.

El presente artículo trata de cómo se abordó la problemática de la sostenibilidad, asociada al zenit de producción petrolífera (Peak Oil), con un grupo de profesores/as, durante el desarrollo de la asignatura de Intervención Curricular en la Enseñanza de las Ciencias, que se imparte en la Facultad de Educación de la Universidad de Alicante. Esta asignatura forma parte de la licenciatura de Psicopedagogía, estudios a los que se accede desde la titulación de maestro, que también se cursan en la misma facultad.