Viktor Turin's Turksib as an ecological message

2019 ◽  
Vol 11 (2) ◽  
pp. 34-42
Author(s):  
Nadezhda N. Berkova
Keyword(s):  
Significant Role ◽  
Technological Progress ◽  
Domestic Animals ◽  
Avant Garde ◽  
Dziga Vertov ◽  
Value Priorities ◽  
History Of ◽  
Andrei Tarkovsky ◽  
Nature And Society ◽  
Siberian Forests

The documentary by Victor Turin The Steel Way. Turksib (1929) is analyzed in this essay from the perspective of interaction between nature and society. The essay compares Turksib with the avant-garde films of Dziga Vertov and analyzes the language, editing system and poetics of intertitles characteristic of Turins film. It is noted that in the visual structure of Turksib images of the sculpting in time (according to Andrei Tarkovsky) allocate a significant role to the ethnographic pictures of local peoples life, virgin landscapes and wild and domestic animals. The accent is put on the emphatic rhythm of the intertitles, which actualizes the problems of interaction between nature and society. The construction of the Turkestan-Siberian railway through the Kazakh steppe and the Siberian forests demonstrates the advancement of scientism whose proponents are convinced of the inevitability of scientific and technological progress. The essay shows how the attitudes of the representatives of power, the transformers of the region lead to a change in value priorities in particular, towards the pacifying of the stubborn nature with the aim of putting it at the service of man. The essay ends with an analysis of Turksibs significance as an ecological message and concludes that if the ideas and artistic techniques of Turins film were developed further, the history of documentary cinema in the following decades could include ecology as one of its major directions.

scholarly journals Art deco and avant-garde: the nature of interaction

2020 ◽  
pp. 24-31
Author(s):  
Anastasiia Dobrydneva
Keyword(s):  
Technological Progress ◽  
International Exhibition ◽  
Art Deco ◽  
Avant Garde ◽  
Mass Society ◽  
History Of ◽  
The Subject ◽  
History Of Culture ◽  
Cultural Dialogue

The subject of this research is the distinctions between two fundamental trends in art of the XX century – art deco and avant-garde, as well as determination of the nature of their interaction. The object of this research is the original texts of artisans and art monuments belonging to both fields. Special attention is given to characteristics of the specific features of art deco and avant-garde, identification of similarities and differences of the two simultaneously developing stylistic concepts. The author examines the key event for the history of interaction of these two trends, namely the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925, and criticism that formed views on art of the era of modernism. The scientific novelty consists in examination of the two paramount trends for grasping history of culture of the XX century in the context of their interaction. Since 1966, art deco was not recognized as an in dependent style, but rather closely connected with modernism and patterned on avant-garde. The main conclusion of the conducted research consists in revelation of adaptive cultural mechanism that allowed art deco to overcome a number of problems, among which in underlines the relation to technological progress and mass society. The author highlights that both trends should be viewed in the context of cultural dialogue. First and foremost, they were united by orientation towards modernity and development of innovative language of art.

INFLUENCE OF THE SOVIET VANGUARD OF THE DEVELOPMENT OF MODERN ARCHITECTURE

2012 ◽  
Vol 2 (4) ◽  
pp. 22-24
Author(s):  
T. V KARAKOVA ◽  
E. V RYZhIKOVA
Keyword(s):  
Technological Progress ◽  
Modern Architecture ◽  
Avant Garde ◽  
Significant Events ◽  
Sufficient Detail ◽  
History Of Art ◽  
Aesthetic Consciousness ◽  
History Of ◽  
Transition Stages ◽  
Philosophical Understanding

Vanguard are typical for all the transition stages in the history of art culture, certain types of art. In the 20th century. notion of the avant-garde has become the term to refer to a powerful phenomenon of artistic culture that has enveloped her significant events, which have much in common. Vanguard is the reaction of the artistic and aesthetic consciousness on a global, not yet encountered in the history of mankind change in cultural and civilizational process caused by scientific and technological progress (STP) of the last century. The nature and importance to humanity of this process in culture have not yet received adequate scientific and philosophical understanding, but with sufficient detail expressed in the artistic culture in the phenomenon of the avant-garde, modernism, postmodernism.

scholarly journals Time - Backwards: Mayakovsky Quotes Vertov

2014 ◽  
Vol 6 (4) ◽  
pp. 26-32
Author(s):  
Alexander Alexeevich Pronin
Keyword(s):  
Public Interest ◽  
Literary Text ◽  
Vladimir Mayakovsky ◽  
Avant Garde ◽  
The Third ◽  
Dziga Vertov ◽  
History Of ◽  
Russian Cinema ◽  
Significant Figures ◽  
Movie Camera

The article is devoted to the problem of creative interaction of such significant figures of Russian revolutionary avant-garde of the 1920's, as Vladimir Mayakovsky and Dziga Vertov. The relevance of the study is determined by everlasting public interest in one of the most significant pages in the history of Russian cinema, and its novelty stems from the fact that the author has discovered and analyzed previously unnoticed evidence of citing of Vertov's Kino-eye (1924) in the screenplays by Mayakovsky How are you? (1927). In his article the mechanism of Vertovs cinema texts incorporation into their own literary text script is thoroughly investigated, and a convincing proof for the reason why Mayakovsky resorted to this technique is provided. In addition, the article convincingly shows how the lyrical theme of the script changes the meaning of the quotation, which allows to arrive at the conclusion that quotatione, demonstrated in the original that is the power of cinema over time (negative of time), in the script by Mayakovsky becomes a metaphor for the lack of it as such. In the third script, the author shows breads way back from the shop counter to the peasants fields (frames 16-39), which fully corresponds to the action of the fourth part of the D. Vertov's documentary Kino-eye (32-40 minutes). The article advances the hypothesis that Mayakovsky was counting on recognition of the twist, and a possible D. Vertovs response on this creative game, proposed by Mayakovsky, might be Man with a Movie Camera (1929), since according to the plan and the composition it resonates with the script by Mayakovsky being a likewise lyrical diary of the artist as How are you?. The author concludes that Man with a Movie Camera is probably a sort of intravitam screen adaptation of Mayakovskys script.

Economic Views of L. Trotsky

2004 ◽  
pp. 142-157
Author(s):  
M. Voeikov ◽  
S. Dzarasov
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Significant Role ◽  
Historical Perspective ◽  
Russian Revolution ◽  
Russian History ◽  
History Of

The paper written in the light of 125th birth anniversary of L. Trotsky analyzes the life and ideas of one of the most prominent figures in the Russian history of the 20th century. He was one of the leaders of the Russian revolution in its Bolshevik period, worked with V. Lenin and played a significant role in the Civil War. Rejected by the party bureaucracy L. Trotsky led uncompromising struggle against Stalinism, defending his own understanding of the revolutionary ideals. The authors try to explain these events in historical perspective, avoiding biases of both Stalinism and anticommunism.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

World-Ecological Satire: Peat, Brian O'Nolan, and the Irish Free State's Energy Regime

2019 ◽  
Vol 49 (1) ◽  
pp. 90-104
Author(s):  
Robert Kiely
Keyword(s):  
Cultural Production ◽  
Ecological Perspective ◽  
Energy Regime ◽  
Energy History ◽  
History Of ◽  
External Site ◽  
Ecological Relations ◽  
Nature And Society ◽  
Human Actors ◽  
The Relationship

A world-ecological perspective of cultural production refuses a dualist conception of nature and society – which imagines nature as an external site of static outputs  – and instead foregrounds the fact that human and extra-human natures are completely intertwined. This essay seeks to reinterpret the satirical writing of a canonical figure within the Irish literary tradition, Brian O'Nolan, in light of the energy history of Ireland, understood as co-produced by both human actors and biophysical nature. How does the energy imaginary of O'Nolan's work refract and mediate the Irish environment and the socio-ecological relations shaping the fuel supply-chains that power the Irish energy regime dominant under the Irish Free State? I discuss the relationship between peat as fuel and Brian O'Nolan's pseudonymous newspaper columns, and indicate how questions about energy regimes and ecology can lead us to read his Irish language novel An Béal Bocht [The Poor Mouth] (1941) in a new light. The moments I select and analyze from O'Nolan's output feature a kind of satire that exposes the folly of separating society from nature, by presenting an exaggerated form of the myth of nature as an infinite resource.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

International Relations at the Beginning of the XX Century in the Works of Vladimir Mikhailovich Khvostov

2019 ◽  
Vol 9 (4) ◽  
pp. 218-221
Author(s):  
Albina Imamutdinova ◽  
Nikita Kuvshinov ◽  
Elena Andreeva ◽  
Elena Venidiktova
Keyword(s):  
Social Sciences ◽  
Foreign Policy ◽  
International Relations ◽  
Significant Role ◽  
Research Activities ◽  
History Of

Abstract The article discusses the research activities of Vladimir Mikhailovich Khvostov, his creative legacy on issues and problems of international relations of the early ХХ century; the life of V.M. Khvostov, characterization and evolution of his approaches and views on the history of international relations, foreign policy. A prominent organizer and theorist in the field of pedagogical Sciences, academician Vladimir Mikhailovich Khvostov played a significant role in the formation of the Academy of pedagogical Sciences of the USSR – the all-Union center of pedagogical thought. As its first President, he paid great attention to the development and improvement of the system of humanitarian education in the school, taking into account all the tasks and requirements imposed by the practice of Communist construction in our country. In his reports and speeches at various scientific sessions and conferences, he repeatedly emphasized the exceptional importance of social Sciences in the training of not only educated girls and boys, but also in the formation of politically literate youth.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

PIOPLE. INFORMATION. DEGRADATION

2019 ◽  
pp. 44-53
Author(s):  
Andrey Varlamov ◽  
Vladimir Rimshin
Keyword(s):  
Information Theory ◽  
Mathematical Theory ◽  
Maximum Information ◽  
Building Models ◽  
Man And Nature ◽  
History Of ◽  
Nature And Society ◽  
Relationship Of ◽  
Link Information ◽  
The Relationship

Considered the issues of interaction between man and nature. Noted that this interaction is fundamental in the existence of modern civilization. The question of possible impact on nature and society with the aim of preserving the existence of human civilization. It is shown that the study of this issue goes towards the crea-tion of models of interaction between nature and man. Determining when building models is information about the interaction of man and nature. Considered information theory from the viewpoint of interaction between nature and man. Noted that currently information theory developed mainly as a mathematical theory. The issues of interaction of man and nature, the availability and existence of information in the material sys-tem is not studied. Indicates the link information with the energy terms control large flows of energy. For con-sideration of the interaction of man and nature proposed to use the theory of degradation. Graphs are pre-sented of the information in the history of human development. Reviewed charts of population growth. As a prediction it is proposed to use the simplest based on the theory of degradation. Consideration of the behav-ior of these dependencies led to the conclusion about the existence of communication energy and information as a feature of the degradation of energy. It justifies the existence of border life ( including humanity) at the point with maximum information. Shows the relationship of energy and time using potential energy.

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