scholarly journals A. Blok and poetic strategies of postmodernism

2021 ◽  
pp. 153-160
Author(s):  
Неля Магомедовна Шишхова ◽  
Кирилл Николаевич Анкудинов
Keyword(s):  
Cultural Tradition ◽  
Actual Problem ◽  
Cultural Expression ◽  
Avant Garde ◽  
Modern Times ◽  
New Concepts ◽  
Poetic Expression ◽  
And Performance ◽  
Postmodern Poetry ◽  
Creative Forces

Анализируется поэзия А. Блока, ее взаимосвязь с реалистическими, семантическими и перфомативными аспектами творчества русских постмодернистов. Тексты рассматриваются как способ мотивирования поэтических знаков в постмодернистской традиции. Они позволяют контекстуализировать модели выразительности в авангардистской поэзии и выделить основные парадигмы в ее трактовке, адаптировать художественные приемы и поиски нового языка. Отдельное вимание уделяется особенностям поэтического высказывания и ее взаимодействию с пространством стиха. Интерес акцентируется на диалектике разрушительных и созидательных сил в деконструктивизме наследия Вс. Некрасова, Д. Пригова, Т. Кибирова и др. Обсуждается актуальная проблема для теории современной поэзии: что стало с постмодерном как языком описания эпохи в XXI столетии. Особое внимание уделяется преемственности новых концепций с предыдущей культурной традицией в негативной и позитивной версиях. Тема особенно актуализируется благодаря выраженному стремлению представить тексты А.Блока и постмодернистской поэзии как культурное выражение новейшего времени. An analysis is made of the poetry of A. Blok, its relationship with the realistic, semantic and performance aspects of the work of Russian postmodernists. Texts are explored as a way to motivate poetic signs in the postmodern tradition. They make it possible to contextualize models of expressiveness in avant-garde poetry and highlight the main paradigms in its interpretation, adapt artistic techniques and searches for a new language. An attention is paid to the peculiarities of the poetic expression and its interaction with the space of the verse. The interest is focused on the dialectic of destructive and creative forces in the deconstruction of the legacy of Vs. Nekrasov, D. Prigov, T. Kibirov, etc. The paper discusses the actual problem for the theory of modern poetry: what has become with the postmodern as the language of describing the era in the 21st century. Particular attention is paid to the continuity of new concepts with the previous cultural tradition in negative and positive versions. The theme is especially actualized due to the expressed desire to present the texts of A. Blok and postmodern poetry as a cultural expression of modern times.

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.

Assessment of Uncertainty for Structural and Mechatronics Engineering Applications

2011 ◽  
Vol 104 ◽  
pp. 145-159
Author(s):  
Stijn Donders ◽  
Laszlo Farkas ◽  
Michael Hack ◽  
Herman Van der Auweraer ◽  
Roberto d’Ippolito ◽  
...  
Keyword(s):  
Structural Dynamics ◽  
Adaptive Systems ◽  
Product Performance ◽  
Actual Behavior ◽  
Actual Problem ◽  
Design Assessment ◽  
And Performance ◽  
Detailed Computer ◽  
Virtual Modeling ◽  
The Impact

Nowadays, mechanical industries operate in a highly competitive environment, therefore the process of developing a component from concept through detailed Computer-Aided Engineering (CAE) and performance validation is optimized for reduced development time and increased product performance. To continuously improve the product design and performance and reduce the costs and time to market, the design and performance engineering is shifted more and more towards virtual modeling and simulation processes from the expensive test-based design evaluations. Secondly, the booming introduction of active and adaptive systems in mechanical structures leads to a ‘mechatronics systems’ revolution, which further improves the product performance at the expense of increased system complexity. It is noted that the potential of structural dynamics test and analysis methods for addressing a structural dynamics design assessment or design optimization depends largely on the confidence that one can have in the results. That is, the results must be accurate, characteristic for the actual problem (and not be the result of testing artifacts) and representative for the actual behavior of the investigated structure. In this context, a key aspect is to be aware of the key sources of uncertainty in the designed product, and the impact thereof on the product performance in terms of structural dynamics, crashworthiness and/or acoustics. This paper reviews the main elements of test data and modal modeling uncertainty and assesses the impact of the uncertainty on some typical modeling problems taken from automotive and aerospace industry.

scholarly journals Las exposiciones de El Lissitzky a través del Cine-ojo

2017 ◽  
Vol 4 (1) ◽  
pp. 151
Author(s):  
Luz Paz-Agras
Keyword(s):  
Twentieth Century ◽  
Avant Garde ◽  
Human Eye ◽  
Photographic Camera ◽  
New Concepts ◽  
Movie Camera

The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film <em>Man with a Movie Camera</em> (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.

scholarly journals Pertunjukan Teater Karo Hip Hop Kontemporer KAI

2013 ◽  
Vol 13 (2) ◽  
Author(s):  
Silvia Anggreni Purba
Keyword(s):  
Hip Hop ◽  
Cultural Tradition ◽  
Training Process ◽  
Cultural Traditions ◽  
Cultural Elements ◽  
Language And Culture ◽  
Aesthetic Form ◽  
Hybrid Culture ◽  
And Performance ◽  
Different Cultures

Pertunjukan ini berawal dari sebuah ide untuk mengkolaborasikan tradisi Karo dengan budaya populer. Dengan cara seperti ini pertunjukan bisa dinikmati tanpa batasan bahasa dan budaya. Proses menggabungkan dua budaya yang berbeda merupakan bentuk budaya hibrida dan terjadi akibat proses globalisasi. Melalui proses pengendapan pengamatan dan kesan yang kuat, pertunjukan ini dibawa ke dalam bentuk Hip Hop. Pertunjukan ini merupakan bagian dari sebuah tragedi modern dengan karakter destruktif, mengeksplorasi emosi dan menyampaikannya kepada penonton. Eksplorasi budaya Karo dan tari Hip Hop sebagai bahasa simbol mampu memperkuat kata-kata. Gerak tidak diungkapkan dengan kata lisan tetapi disajikan melalui gerak tari Hip Hop. Penafsiran legenda dan teks ke dalam gerak, melalui proses pelatihan di laboratorium sebagai proses pencarian dan eksperimentasi diwujudkan dengan mempertimbangkan unsur-unsur dasar dari Hip Hop, unsur budaya Karo dan tontonan. Karo Hip Hop diharapkan menjadi bentuk estetika teater modern yang diinginkan tanpa kehilangan tradisi.Kata kunci: Tari Karo kontemporer, Hip-hop, budaya hibridaABSTRACTPertunjukan Teater Karo Hip Hop Kontemporer KAI. The performance of Karo Theater collaborated with Hip Hop stems from a simple idea to collaborate Karo cultural traditions with popular culture. The performances can be enjoyed without having limitation on the language and culture. The process of combining two different cultures is a form of hybrid culture, and it may occur due to the globalization process. Through the process of deposition of the observations and strong impression, this performance is then brought into the form of Hip Hop as a preferred form which is energetic, personal and global. This performance is part of a modern tragedy with its destructive character which has explored the emotion and has presented it to the audiences. The exploration of Karo cultural tradition and Hip Hop dance as a language of symbols is able to reinforce words. The movement is not revealed by the verbal phrase but is presented through the movement of Hip Hop dance. The interpretation of the legend and texts into movement is carried out through the training process at the laboratory as a searching process and experiment, and afterward can be realized by considering the basic elements of Hip Hop, Karo cultural elements and performance. Karo Hip Hop Theatre is expected to become a preferred aesthetic form of a modern theater without losing its tradition form.Keyword: a contemporary Karo theater, Hip Hop, hybrid culture.

Design Concepts for Directed Exit Flow in Micro Fuel Cells

2004 ◽  
Author(s):  
Wei Shi ◽  
Sang-Joon Lee
Keyword(s):  
Fuel Cells ◽  
Proton Exchange Membrane ◽  
Gas Diffusion ◽  
Proton Exchange ◽  
Operating Conditions ◽  
Design Concepts ◽  
New Concepts ◽  
And Performance ◽  
Electronic Load ◽  
Exchange Membrane

Miniature and micro fuel cells continue to advance as promising alternatives for efficient and portable electric power. This paper presents a study of experimental modifications to the exit flow configuration of microchannels used in small proton-exchange-membrane fuel cells. New concepts for exit geometry are presented, which promote effective water removal and provide reactant back-pressure in an efficient and self-contained manner. Cell assembly is designed such that reactants must necessarily flow laterally through the gas diffusion electrodes near the exit, rather than simply pass over the free backside surfaces of these electrodes. Multiple prototypes were produced using microfabrication techniques with channel sizes of 100 and 200 microns, and performance was tested using a hydrogen-air test station with programmable electronic load. One of the new concepts in particular showed a marked improvement from 28 mW/cm2 peak power density under baseline conditions to 37 mW/cm2 for the modified design under similar operating conditions. The design offers an opportunity for higher performance in miniature fuel cells with low gas consumption and no additional cost.

Choreographies of the Living

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Visual Art ◽  
Contemporary Literature ◽  
Natural World ◽  
Felix Guattari ◽  
Avant Garde ◽  
Human Endeavor ◽  
Theatrical Performance ◽  
Aesthetic Practice ◽  
And Performance ◽  
The Aesthetic

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

Asian American Experimental Theater and Solo Performance

2019 ◽  
Author(s):  
Dan Bacalzo
Keyword(s):  
United States ◽  
Asian American ◽  
The United States ◽  
Experimental Theater ◽  
Avant Garde ◽  
Wide Range ◽  
Racial Perceptions ◽  
And Performance ◽  
The 1960S ◽  
A Minor

Beginning in the 1960s and continuing into the present day, a wide range of performers and playwrights have contributed to Asian American experimental theater and performance. These works tend toward plot structures that break away from realist narratives or otherwise experiment with form and content. This includes avant-garde innovations, community-based initiatives that draw on the personal experiences of workshop participants, politicized performance art pieces, spoken word solos, multimedia works, and more. Many of these artistic categories overlap, even as the works produced may look extremely different from one another. There is likewise great ethnic and experiential diversity among the performing artists: some were born in the United States while others are immigrants, permanent residents, or Asian nationals who have produced substantial amounts of works in the United States. Several of these artists raise issues of race as a principal element in the creation of their performances, while for others it is a minor consideration, or perhaps not a consideration at all. Nevertheless, since all these artists are of Asian descent, racial perceptions still inform the production, reception, and interpretation of their work.

scholarly journals “Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity

2012 ◽  
Vol 45 (1) ◽  
pp. 41-63 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Modern Dance ◽  
Amiri Baraka ◽  
Avant Garde ◽  
Radical Innovations ◽  
Black Performance ◽  
Jazz Music ◽  
1960S And 1970S ◽  
And Performance ◽  
The 1960S ◽  
African American Artists

The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.

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