scholarly journals Johannes Semper hobusega. Avangard, takerduja tehnika ja looduse vahel / Johannes Semper with a horse: Avant-garde between technology and nature

2019 ◽  
Vol 18 (23) ◽  
Author(s):  
Tiit Hennoste
Keyword(s):  
Twentieth Century ◽  
Interpersonal Relationships ◽  
Fast Food ◽  
New World ◽  
New Technology ◽  
Modern Technology ◽  
Italian Futurism ◽  
Avant Garde ◽  
The World ◽  
Russian Futurism

Artikkel annab ülevaate 20. sajandi alguse kirjandusliku avangardi suhetest tehnikaga. Avangardi (eriti futurismi) jaoks pidi tehnika saama loomise eeskujuks ja masinate seadused esteetilise loovuse seadusteks. Artikkel väidab, et paljud avangardi tekstiuuenduslikud ideaalid on vastuolus tehnika ideaalidega ja iseloomustavad ennekõike loodust. Tehnika väärtustas tulemust, avangard protsessi. Tehnika väärtustas süsteemsust, ennustatavust, koopialisust, avangard vabarütme, ennustamatust ja originaalsust. Tehnika nõudis ratsionaalsust ja eesmärgipärast tegutsemist, avangard kuulutas intuitsiooni ja prohvetlikku kujutlust. Tehnika tõi odavad masstooted, avangard hindas haruldust. Tehnika väärtustas funktsionaalsust, avangard ebafunktsionaalsust. Tehnika väärtustas puhtust ja hügieeni, avangard järgis inetuse esteetikat. Tehnika nõudis tootmises vigade ja häirete vältimist, avangard tõstis vea loovaks ideeks.   The article examines the relationship between the early twentieth century international and Estonian literary avant-garde and new technology, which radically changed life and interpersonal relationships in Europe and America (trains, airplanes, metro, telephone, telegraph, skyscrapers, fast food, etc.). At first, I highlight general features connecting the new technology and its products, which emerged in distinct opposition to nature. The central activity in the world of technology appeared to be efficient, planned, and purposeful production, in which the main agents were engineer, designer, and worker. The new technology emphasized the value of the product, which rapidly became standardized and cheaply made mass-produced perfect copies of each other. The beauty of the new era was to be a technological, functionalist beauty. Production as a process had to operate without failures and the ideal product had to be without any defects. Therefore, the technological process had to be clean, even hygienic. The new technology established its own rhythm in modern cities, characterized by repeatability and predictability. At the same time, the technology covered cities by the voices that made up the noise of technology. It could be said, even, that the new technology exceeded the limits of time and space. The result was a world of simultaneity. At the same time, relationships and links between people became increasingly loose and the world and man’s worldview was characterized by increasing fragmentation. The early European avant-garde at the beginning of the twentieth century greeted the new world of technology and speed with great enthusiasm (Italian futurism, constructivism, etc.). Perhaps only early expressionism and Russian futurism had even more ambivalent attitude to the technology. The First World War significantly decreased the pre-war fascination with technology. The war destroyed the faith in the machines; the machine now became a destroyer, and the new mechanical man (a fusion of man and machine) came into view as a killer with killed soul. At the same time, modern technology became more and more common in the everyday life, and, hence, the attitude towards technology changed. The technology became a harrowing phenomenon. For early European avant-garde, the new technology was supposed to become a model for the creation and laws of machines laws of aesthetic creativity (Marinetti). We can find several features in the texts of avant-garde (especially in poetry), which are in accordance with the new world of speed and technology. Simultaneous and fragmented text represented simultaneity and fragmentarity of the world. The speed was intermediated by the telegram style, parataxis, glossolalia, onomatopoeia, mathematical symbols, etc. The artist’s ideal was engineer and machine had to become a model for making the text. I present examples of such new texts in Estonian avant-garde poetry and prose. However, much of the avant-garde ideas and ideals for textual innovation contradicted the ideals of technology. Whilst technology predominantly esteemed the result, the avant-garde valued the process of making the text. In addition, the world of technology expected systematics, predictability, repetitive rhythms, and copies while avant-garde proclaimed free rhythms, free verse, unpredictability, and originality. Technology insisted on rational and purposeful acting; avant-garde proclaimed intuition and prophetic imagination. Technology brought cheap mass products; avant-garde appreciated the rarity and expensiveness. Technology promoted utilitarianism and functionality; avant-garde non-functionality. Technology put stress on the cleanliness and hygiene of the products; avant-garde often followed the aesthetics of ugliness. Technology required efficiency and economy of production, avoiding mistakes and disturbances; avant-garde regarded error as a creative idea. I argue that many of these avant-garde ideas are very similar to nature. For example, chaos, illogicality, glossolalia, words-in-freedom, and zaum truly characterize nature. Originality, variability, unpredictable rhythms, non-systematicity are also the qualities of nature. Lack of purpose, irrationality, and lack of thought are features of nature. An error or a shift as the basis of creation and inefficiency characterizes nature, too. The aesthetics of ugliness parallels the ugliness of nature. Thus, the observance of the avant-garde ideals results in a text that, on the one hand, craves the world of technology and machines, but on the other hand goes back to the ideas and ideals of nature and seeks solutions largely in the same way as nature.

scholarly journals a vital past

2021 ◽  
pp. 67-67
Author(s):  
Elena Grigoryeva ◽  
Konstantin Lidin
Keyword(s):  
Twentieth Century ◽  
New World ◽  
Family Relations ◽  
Avant Garde ◽  
The Past ◽  
Special Meaning ◽  
Design And Construction

We lived and lived. But then, whoops!We found ourselves in other times…Timur Shaov. “Other times (listening to Galich once again)”Crises shaking our reality in the last decades happen so often that they overlap each other like roof tiles. Linear development of the second half of the twentieth century gave way to the era of cardinal changes. While building a new world, we strongly feel the need to preserve and comprehend the past. It is possible to understand the new only in comparison with the past. The disappearing world that consists of separate, isolated and selfcontained fragments is embodied in monuments of architecture. Images, techniques and practices of design and construction acquire a special meaning and new relevance in these new times. Wooden architecture of Siberia and stone merchant houses in Yalutorovsk, ancient churches and Leonidov’s avant-garde project, ruins of Stalin’s camps and the Korean Garden in Irkutsk are elements of the past that we need to understand the present. Protesting against the unification of tastes, breach of family relations and destruction of traditions, glocalization is on the rise.

scholarly journals CONCEPTUAL DESIGN. STAGES OF FORMATION

2021 ◽  
pp. 220-230
Author(s):  
Tetiana Rusevych ◽  
Olha Severina
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
Conceptual Design ◽  
Building Materials ◽  
Main Idea ◽  
Building Codes ◽  
Avant Garde ◽  
Main Form ◽  
The World ◽  
Design Ideas

Conceptual design is the most creative part of architectural activity. In the professional work of architects, conceptual design is given great importance. Various architectural and design forums, exhibitions, competitions are dedicated to him. In Soviet times, an interesting example of the formation of conceptual solutions is the work of Alexander Brodsky and Ilya Utkin (who signed their works as a tandem of "Brutus"). We have other solutions of interesting concepts - the object of the competition "The World of El Lysytsky" - the Globe Theater in Novosibirsk. Here the authors start from the main idea - that the cube is the main form that characterizes the spirit and style of the Russian avant-garde of the twentieth century. Conceptual design ideas are implemented in the construction of unusual hotels, atypical urban environment, non-traditional building materials. All this allows you to think about life according to other rules. Than those prescribed in building codes. The world around us is more interesting and diverse, so we can, in part, paint it in bright colors.

scholarly journals POLICING, ‘SCIENCE’, AND THE CURIOUS CASE OF PHOTO-FIT

2020 ◽  
Vol 63 (4) ◽  
pp. 1007-1031
Author(s):  
PAUL LAWRENCE
Keyword(s):  
Twentieth Century ◽  
New Technology ◽  
Home Office ◽  
Socially Constructed ◽  
The World ◽  
Proven Efficacy ◽  
Criminal Suspects ◽  
Continued Use ◽  
Facial Identification ◽  
The Way

AbstractThis article analyses the curious development and subsequent refinement of the Photo-FIT system for the identification of criminal suspects, used by police forces around the world from the 1970s. Situating Photo-FIT in a succession of other technologies of identification, it demonstrates that, far from representing the onward march of science and technology (and the way in which both were harnessed to the power of the state in the twentieth century), Photo-FIT was the brainchild of an idiosyncratic entrepreneur wedded to increasingly outmoded notions of physiognomy. Its adoption by the Home Office was primarily determined by the particular context of the later 1960s, and its continued use owed more to vested interest and energetic promotion than to scientific underpinnings or proven efficacy. It did, however, in the longer term, provide the impetus for the development of a new sub-field of psychology and pave the way for the development of increasingly sophisticated facial identification technologies still used today. Overall, the article demonstrates the long persistence of physiognomic thinking in twentieth-century Britain, the way in which new technology is socially constructed, and the persuasive power of ‘pseudo-science’.

Sport and modernism in the visual arts in Europe, c.1909-39

2018 ◽  
Author(s):  
Bernard Vere
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Visual Arts ◽  
German Expressionism ◽  
Italian Futurism ◽  
Cultural Form ◽  
Avant Garde ◽  
The Soviet Union ◽  
Celebrity Status ◽  
The Press

This book highlights sport as a key inspiration for an international range of modernist artists. With sport attracting large crowds, being written about in the press, filmed and broadcast, and with its top stars enjoying celebrity status, sport has claims to be the most pervasive cultural form of the early twentieth century. Modernist artists recognised sport’s importance in their writings and production. This book examines a diverse set of paintings, photographic works, films, buildings, and writings from artists in France, Germany, Italy and the Soviet Union to establish the international appeal of the theme while acknowledging local and stylistic differences in its interpretation. From the fascination with the racing cyclist in paintings by Umberto Boccioni, Lyonel Feininger and Jean Metzinger, to the designs for stadiums in fascist Italy and the Soviet Union, the works examined are compelling both in visual and ideological terms. Encompassing studies of many avant-garde movements, including Italian futurism, cubism, German expressionism, Le Corbusier’s architecture, Soviet constructivism, Italian rationalism and the Bauhaus, this book interrogates the ways in which sport and modernism interconnect.

Changing Our Minds: Legal History Meets the World Wide Web

1999 ◽  
Vol 17 (2) ◽  
pp. 385-387 ◽  
Author(s):  
Bernard J. Hibbitts
Keyword(s):  
Twentieth Century ◽  
World Wide Web ◽  
Legal History ◽  
World Wide ◽  
New Technology ◽  
Traditional Methods ◽  
The World ◽  
Ambivalent Relationship

Legal historians have had an ambivalent relationship with new technology. As students and spokespersons of the somewhat-stodgy legal past, our sympathies have predictably been with traditional methods of doing things rather than with the latest and greatest devices of our own age. In the twentieth century we have tended to champion writing and books more than radio, television, and computers. Today we may use new tools to help us create our scholarship and even to help us teach, but like most of our academic colleagues in law and in history we generally employ those tools as extensions of established media instead of exploiting their potential to deploy information and develop ideas in new ways.

Shaping a New World Order: Political Capacities and Policy Challenges

1993 ◽  
Vol 28 (3) ◽  
pp. 325-338 ◽  
Author(s):  
Andrew Gamble
Keyword(s):  
Twentieth Century ◽  
New World ◽  
World Order ◽  
The Political ◽  
Human History ◽  
New World Order ◽  
Human Species ◽  
The World ◽  
Global Problems ◽  
Technological Civilization

ONE OF THE MOST NOTICED FEATURES OF OUR TIME IS that global problems are increasing at a faster rate than the evolution of the political capacities to manage them. This is not a new observation, or even a new condition. It has long been part of a pessimistic assessment of the prospects for modern industrial technological civilization that can be traced back to its origins, but has been particularly strong throughout the twentieth century. H. G. Wells's famous comment that ‘human history becomes more and more a race between education and catastrophe’ is even more apposite to the contemporary mood than it was when first written. The spectre of communism no longer haunts Europe, but other spectres now haunt the global civilization which developed out of Europe. Some of the key trends of this global civilization threaten at best an era of mounting disorder and chaos in the world system, at worst the survival of the human species itself. The problems are increasing far faster than the ability to find solutions for them.

scholarly journals Building-in-Place

PhaenEx ◽  
2008 ◽  
Vol 3 (1) ◽  
pp. 134
Author(s):  
RANDALL TEAL
Keyword(s):  
Energy Source ◽  
Seventeenth Century ◽  
New World ◽  
Modern Technology ◽  
Preliminary Design ◽  
Gasoline Station ◽  
Fold Structure ◽  
The World ◽  
Design Students

Martin Heidegger’s Discourse on Thinking lays out a troubling view of the world which holds true today much as it did at the time of the speech: "The world now appears as an object open to the attacks of calculative thought, attacks that nothing is believed able any longer to resist. Nature becomes a gigantic gasoline station, an energy source for modern technology and industry. This relation of man to the world as such, in principle a technical one, developed in the seventeenth century first and only in Europe. It long remained unknown in other continents, and it was altogether alien to former ages and histories" (50). As an architecture professor in an age of modern technology, I believe it critical that design students cultivate an ability to see more comprehensively and learn how to think more meditatively (as Heidegger later suggests). Coming into a state of attunement with context, culture, and environment must be considered to be the most basic criteria for building in the world, as these are the elements that preserve the feeling and identity of ‘place’. Considering being-in-the-world as a stance that necessarily moves more toward complex understandings of the environment, this paper outlines an effort given to the pedagogical implementation of Martin Heidegger’s description of the phenomenon of ‘world’, the three-fold structure for Being-in as a means of teaching students a more attuned comportment toward place, building, and site. I will discuss how these ideas were used in an preliminary design exercise, then clarified and elaborated through a lecture on Terrance Malick’s film The New World.

scholarly journals Lesson Learned: Reflections of Universitas Terbuka’s Non-traditional Assessment Solutions

2021 ◽  
pp. 283-287
Author(s):  
Ojat Darojat ◽  
Rahmat Budiman
Keyword(s):  
New Technology ◽  
Internet Access ◽  
Quality Criteria ◽  
Modern Technology ◽  
Traditional Assessment ◽  
Innovative Solutions ◽  
The World ◽  
Remote Islands ◽  
The Government ◽  
Adaptive Policies

Modern technology advancements have been reshaping and reforming education throughout the world. Furthermore, the Covid-19 outbreak is a powerful urge to establish more adaptive policies. Universitas Terbuka (UT) or the Indonesia Open University realizes that students are expecting to have a more individual and flexible learning during the Covid-19 outbreak, including the examination. UT makes uses of new technology and innovations to establish the online proctoring examination that enables students to take the examination at their own places without the present of the human proctors. Requirements to ensure the online proctoring examination meets the quality criteria were established. Previous studies show that students showed positive attitude towards the online proctoring examination. In the context of UT, due to students living in remote islands and the issue of the limited internet access might potentially challenge UT to implement the online proctoring examination. To provide solutions to the challenges, UT is demanded to develop alternative innovative solutions. Therefore, partnership with the government, private sectors, and other organizations is a necessary.

scholarly journals Образы языка в англо-американском авангарде. 1910-е годы

2020 ◽  
pp. 62-71
Author(s):  
В.В. Фещенко
Keyword(s):  
New York ◽  
Twentieth Century ◽  
American Literature ◽  
Dynamic Contact ◽  
Xxth Century ◽  
Avant Garde ◽  
States Of Consciousness ◽  
The World ◽  
New States ◽  
Anglo American

В статье приводится описание авангардных практик в англоязычной литературе ХХ века, которые в наибольшей мере актуализируют языковую проблематику. Утверждается, что рассмотрение контекстов зарождения авангардных движений в англоязычной литературе ХХ века позволило выявить наиболее динамичные контактные зоны, в которых соприкасались авторы, действующие в трансатлантическом треугольнике (Лондон — Нью-Йорк — Париж). На основе этих контекстов и контактов в разделе прослежены различные концепции языка и представления о языке («образы языка»), возникающие в англо-американском литературно-манифестарном авангардном письме на протяжении семи десятилетий (1910–1970-е годы). 1910-е годы — время расцвета авангардной культуры по всему миру. На трансатлантических рубежах зарождаются такие представления, как говорение на «двух языках» — непременное условие самоопровергающего авангардного высказывания с «динамизмом слова, образа, мысли и действия» (в вортицизме); превращение языка как такового в главенствующий инструмент художественности, «приведение языка в движение» для вызывания новых состояний сознания (в литературном постимпрессионизме, симультанизме); идея новых «алфавитов» искусства и каталогизации слов и объектов (в дадаизме). The article addresses avant-garde practices in XXth century English and American literature, which mostly deal with language issues. Consideration of the contexts of origin of avant-garde movements in Anglo-American literature of the twentieth century revealed the most dynamic contact areas in which the authors were operating in the transatlantic triangle (London — New York — Paris). On the basis of these contexts and contacts, we traced various concepts of language and ideas about language, emerging in the Anglo-American literary and manifesto avant-garde writing over seven decades (1910s ––1970s). On the transatlantic frontiers, the 1910s — the heyday of avant-garde culture around the world — see the birth of concepts such as speaking in “two tongues” as an indispensable condition for a self-rejecting avant-garde utterance, with “the dynamism of the word, image, thought and action” (in Vorticism); the transformation of language as such into a dominant instrument of artistry, “setting language in motion” for evoking new states of consciousness (in literary Post-Impressionism, Simultaneism); the idea of new “alphabets” of art and the cataloging of words and objects (in Dadaism).

The Art in Gastronomy: A Modernist Perspective

2011 ◽  
Vol 11 (1) ◽  
pp. 13-23 ◽  
Author(s):  
nathan myhrvold
Keyword(s):  
Twentieth Century ◽  
Chronic Condition ◽  
Creative Expression ◽  
Art And Design ◽  
Avant Garde ◽  
The World

In the twentieth century, Modernism swept through virtually every form of art and design—except cuisine. In painting, dance, architecture, literature, and nearly every other form of intellectual creative expression, the continual rejection of the old in favor of new, avant-garde styles became, as Renato Poggioli observed, “the typical chronic condition.” But it was not until the 1970s that Nouvelle Cuisine began to transform classical French cooking, and Nouvelle was a rather limited revolution, narrow in its focus on techniques and ingredients, and limited as well in its impact on Spanish and Italian cuisine. A true Modernist revolution in food has begun only recently, as chefs such as Ferran Adrià began consciously developing gastronomic experiences that transform meals into dialogues between chef and diner. Avant-garde cooking emphasizes novel, unconventional presentation of familiar flavor themes—the “deconstruction” of the meal by evoking diners’ memories of past meals while taking the dishes in novel directions. A meal at elBulli or other Modernist restaurants often exposes conventions that guests do not even realize exist until the innovative food violates them. Like other good art, Modernist cuisine is challenging and provocative. Dozens of chefs around the world are now advancing this culinary movement as it follows a trajectory that is similar, in many ways, to the Modernist transformations of other cultural disciplines. Like those predecessor movements, Modernist cuisine has faced some resistance and criticism. But it has arrived.

Sign in / Sign up

Export Citation Format

Share Document