Grand Piano-the Audiovisual Hero of the Soviet Cinema Screen

Статья посвящена особым случаям использования фортепиано в советской киномузыке: не только в составе партитуры, но и как непосредственного «участника» экранного действия. Обычно это происходит в фильмах революционной и исторической тематики, а также в экранизациях русской классики. Среди множества картин, где рояль появляется на экране, нужно выделить ряд шедевров, в которых введение его отмечено уникальными решениями. В статье рассмотрены примеры из фильмов «Новый Вавилон» (музыка Д. Шостаковича), «Строгий юноша» (музыка Г. Попова), «Веселые ребята» (музыка И. Дунаевского). The article is devoted to special cases of the use of the piano in Soviet film music: not only as part of the score, but also as a direct “participant” of the screen action. This usually happens in films with revolutionary and historical themes, as well as in film adaptations of Russian literary classics in scenes of home music. However, among the many films where the instrument appears on the screen, it is necessary to note a number of absolute masterpieces in which the use of the piano is marked by unique solutions. The article considers examples of this kind from the films “New Babylon” (music by D. Shostakovich) “A Strict Young Man” (music by G. Popov), “Funny Guys” (music by I. Dunaevsky).

La construcción sensible del espacio privado en la modernidad líquida: el cuarto propio conectado

Este artículo analiza las transformaciones que las nuevas tecnologías de los medios de información y comunicación han generado sobre los individuos, su forma de relacionarse y su noción de privacidad. Desde finales del siglo XX hasta hoy, en un escenario hipervinculado y global, constituido por personas igualmente hiperconectadas, éstas a su vez han modificado y adaptado su entorno dibujando un nuevo concepto de espacio privado: el cuarto propio conectado. Este habitáculo escenifica la inmaterialidad e inestabilidad de la “modernidad líquida” descrita por Zygmunt Bauman. El proyecto New Babylon que Constant construye basándose en el homo ludens de Huizinga nos va a servir como referencia para identificar las alteraciones que se están produciendo en el uso del ámbito privado en la actualidad condicionado por las nuevas tecnologías. La generación Z, jóvenes que han nacido y se están educando en perpetua interacción con pantallas, ordenadores y redes sociales ya están ilustrando una compleja área privada sin límites precisos, fluida e interactiva. Nos proponemos delimitar algunas metamorfosis vitales que están sucediendo en los individuos y constatar cómo éstas desmaterializan y diluyen el límite de lo público y lo privado, así como los procesos que configuran la obra de arte.

Cinema, Anarchism, and Revolution

This chapter examines cinema's representation of anarchist heroes, martyrs, and fleeting revolutionary moments, formulating a critique of mainstream socialism that is far from the banalities of bourgeois sociology. Two films, Bo Widerberg's Joe Hill (1971) and Giuliano Montaldo's Sacco and Vanzetti (1971), deal with a transitional historical period before the final polarization of Bolshevism and anarchism. These films are reverential tributes to radical martyrs, and reflect the fact that these members of the Old Left pantheon have long been heralded as all-purpose leftists whose legacies provide useful object-lessons for socialists, liberals, and communists, as well as anarchists. The chapter then looks at the documentary and fiction films inspired by the Spanish Revolution of the 1930s. It also considers a prototypical sequence in Grigori Kozintsev and Leonid Trauberg's Soviet avant-garde epic New Babylon (1929), which sums up the grassroots anti-authoritarianism of the seventy-two-day Paris Commune of 1871, while prefiguring the Spanish libertarian communism of the 1930s and the anti-statist radicalism that erupted during the events of May 1968 in France.

Extrañamientos en la ciudad. Del shock urbano a las derivas situacionistas

The strange has always been present throughout history. Exploring the links between disciplines such as literature, cinema, art, sociology, etc. We place the concept of strangeness as a state that comes up: as an unforeseen event, as an effect of astonishment, and its derivations as the extraordinary, the rare, the sublime, the stranger, anomalies, random, etc. From strange wonder spaces, such as the Cabinets of Curiosities, Wonders Cameras and the Phantasmagorias linked to special effects, we will focus on estrangement in the context of the urban environment, represented by the flâneur as a distracted passer-by, by Situationists’ derives with utopian cities as New Babylon and their experimental cartographies and by cinematographic characters such Mr. Hulot, who construct poetic discourses on the estrangement of the everyday. Through them we will see how the city offers itself to us as the scene of events where the irruption of the strange in all its complexity is manifested

FORMATION OF FORTIFICATION ART IN ANCIENT EAST COUNTRIES

The article presents a comparative analysis of fortification art monuments in such East countries from Ancient Egypt to medieval China. An attempt is made to identify the main stages of the fortification development from a stand-alone fortress (citadel, fort) to the most complex systems of urban and border fortifications, including moats, walls and gates, battle towers. It is shown that the nature of these architectural structures is determined by the status of the city or settlement, its natural landscape, building structures and materials, the development of military and engineering art. The materials from poliorceticon (Greek: poliorketikon, poliorketika), illustrate the main types of siege machines and mechanisms. The advantages and disadvantages of boundary shafts and long walls (limes). The most striking examples are the defensive systems of Assyria, New Babylon, Judea and Ancient China.

S’HABILLER EN COSTUMES D’ÉPOQUE

À partir de deux romans qui puisent largement à l’imaginaire western, Griffintown de Marie Hélène Poitras et À la recherche de New Babylon de Dominique Scali, l’article montre comment chacun des romans s’approprie cet imaginaire pour raconter une histoire, mais aussi pour fonder une représentation contemporaine du temps. En effet, le western convoque une temporalité complexe, capable de cumuler l’élan vers l’avenir, le regret de ce qui n’est plus, un rapport ambigu à la modernité en même temps qu’un mythe des origines. Les figures de la répétition et du légendaire donnent plus particulièrement forme au mouvement qui emprisonne les personnages dans deux ordres du temps en violente confrontation : la course folle du progrès et un temps cyclique et organique. L’imaginaire western réinvesti par ces deux romancières parvient ainsi à conjoindre en un même univers la linéarité et la répétition, tout en signifiant l’impossibilité même de leur cohabitation.

Participator, A Participatory Urban Design Instrument

A point cloud of reference points forms the programmable basis of a new method of urban and architectural modeling. Points in space from the smallest identifiable units that are informed to communicate with each other to form complex data structures. The data are visualized as spatial voxels [3d pixels] as to represent spaces and volumes that maintain their mutual relationships under varying circumstances. The subsequent steps in the development from point cloud to the multimodal urban strategy are driven by variable local and global parameters. Step by step new and more detailed actors are introduced in the serious design game. Values feeding the voxel units may be fixed, variables based on experience, or randomly generated. The target value may be fixed or kept open. Using lines or curves and groups of points from the original large along the X, Y and Z-axes organized crystalline set of points are selected to form the shape of actual working space. The concept of radical multimodality at the level of the smallest grain requires that at each stage in the design game individual units are addressed as to adopt a unique function during a unique amount of time. Each unit may be a home, a workplace, a workshop, a shop, a lounge area, a school, a garden or just an empty voxel anytime and anywhere in the selected working space. The concept of multimodality [MANIC, K Oosterhuis, 2018] is taken to its extreme as to stimulate the development of diversity over time and in its spatial arrangement. The programmable framework for urban multimodality acknowledges the rise and shine of the new international citizen, who travels the world, lives nowhere and everywhere, inhabits places and spaces for ultrashort, shorter or longer periods of time, lives her/his life as a new nomad [New Babylon, Constant Nieuwenhuys, 1958]. The new nomad lives on her/his own or in groups of like-minded people, effectuated by setting preferences and choices being made via the ubiquitous multimodality app, which organizes the unfolding of her / his life. In the serious design game nomadic life is facilitated by real time activation of a complex set of programmable monads. Playing and further developing the design journey was executed in 4 workshop sessions with different professional stakeholders, architects, engineers, entrepreneurs and project developers.