Artistic culture: new dimensions of a person (a plurality of identifications in time moving simultaneously in all directions)

The author considers artistic culture as a subject of synergetics and pre-quantum / quantum culture. The author’s reflections are in the field of searching theater, literature, performative art, and cinema. The theater of the future is the research subject, a “scientific” project. The level of the theater rises by an order of magnitude to its surpassing scenarios. Universalism, or rather, trans-professionalism, is becoming an indispensable component of the future artistic process. The leader, the Scientist–Researcher–Poet (Artist), becomes of current interest. The stage works by Castellucci, Suzuki, music by Scott Gibbons and others have modeled this future. Time moves simultaneously in all directions refuting the laws of classical physics. The trajectory of movement indicates quantum measurements. Faulkner, Joyce, Proust, Andre Gide, John Dos Passos, Rilke successfully polemicize with physics. The new dimensions of a person imply a plurality of identifications. Calvino – “The Cloven Viscount”.

Enchanted Catastrophe

This chapter rethinks Le Corbusier’s idea of New York as an “enchanted catastrophe” by focusing on related concerns about architectural elevation and capitalist “creative destruction” in critical writings about the rise of the modernist American metropolis. In particular, it considers essays by Louis Sullivan and Frank Lloyd Wright and novels by John Dos Passos as well as key French texts by Fernand Léger, Le Corbusier, Jean-Paul Sartre, Simone de Beauvoir, and Michel de Certeau, among others. In turn, it traces the post-World War II shift according to which Paris “lost its hegemony,” as Beauvoir put it, and New York appeared to replace it as the capital of the twentieth century.

The Business of War

War writing was implicated in and shaped by wider cultural forces. During the war, patriotic bestsellers flooded the literary marketplace, censorship suppressed certain anti-war writing, while authors participated in the CPI’s propaganda machine. After the war, changes in the publishing industry, allied to a growing awareness of the importance of advertising, shaped the way war writing was presented to the public. Hollywood, meanwhile, provided opportunities for writers to supplement their income, either by writing for the studios or by sanctioning adaptations of their work. Discussing the work of Guy Empey, John Dos Passos, and E. E. Cummings, this chapter considers the ways the content of American World War I texts—and the formats in which they were presented to the public—were influenced by these factors.

El montaje de la vida moderna: Vertov y Dos Passos

Este ensayo es una tentativa de cruzar dos formas de montaje documental que pertenecen a la década de los años veinte, emblemática por el surgimiento de un pensamiento del montaje y a través del montaje. Entendemos por documental imágenes no interpretadas o la forma de volver imágenes interpretadas en material no interpretado, y por montaje aquella operación de construcción y análisis de la realidad y, al mismo tiempo, una forma de pedagogía pragmática y de aprendizaje experimental. El tipo de montaje que elegimos analizar es el del intervalo, sistema diferencial que permite conectar lo lejano y desconectar lo cercano en autores como Dziga Vertov y John Dos Passos.