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Abstract only
Chari Larsson

’s critique of the image of thought holds important implications for what philosophy can be. Philosophy now demands a new approach that is non-dogmatic and non-systematic. Didi-Huberman responds to Deleuze’s challenge, reaching back to the historical avant-garde practices of the early twentieth century, where he detects a sensibility eschewing recognition and imitation through the widespread use of montage. Importantly, from Images in Spite of All onwards, montage becomes a key operative principle in his writing. For Didi-Huberman, montage is an exemplary form of

in Didi-Huberman and the image
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Abstract only
Anatomy of an avant-garde
Marion Schmid

work, it needs to be aligned, on the one hand, with the counter-culture of the 1960s and 70s, which vigorously attacked oppressive structures of power and domination and explored new forms of identity, sexuality and desire, and, on the other hand, with the avant-garde practices in film, the theatre and the visual arts that gave artistic form to these interrogations. Directly influenced by the American avant-garde which she

in Chantal Akerman
Virginie A. Duzer

perfect example of the poet’s uniqueness. 9 According to Marjorie Perloff, it is then that Mallarmé would suddenly be seen ‘as the father of the “typographical revolution”’. 10 Claimed as a possible ancestor by various avant-garde groups, from the Futurists, 11 to the Dadaists and the Surrealists, it is also possible that Thibaudet’s 1912 mention of the Un coup de dés may have influenced the 1913 paradigm of simultaneism. Mallarmé’s presence in 1913 When Blaise Cendrars looked back at the period that is of interest to us here, he placed Mallarmé on the same

in 1913: The year of French modernism
Epstein’s philosophy of the cinema
Christophe Wall-Romana

provocation, ‘poésie en quantité industrielle’ [‘poetry in industrial quantities’] (Epstein, 1976: 247). While early on, he aligned cinema’s poetry with the specific innovations of avant-garde modernism in Proust, Cendrars, Aragon, and others, he later expanded both his sense of ‘poetry’ and of catharsis. Although he remains vague about what the aesthetic qualities of ‘poetry’ should be when they apply to cinema, Le Tempestaire might serve as a precious exemplum. As for catharsis, after being dubious of Freud’s psychoanalysis as a whole (see ‘Freud ou le nick

in Jean Epstein
Ménilmontant, Le Sang des bêtes, Colloque de chiens
Erik Bullot

connotation of the underworld, or gangland. Since French cinema has often been theorised as a centralised, hierarchical territory separated into regions, we may ask what function its outskirts and edges – which compose key elements of its history – serve.2 Does a dialectic between centre and periphery determine French cinema in a decisive way and, viewed from this angle, is this periphery or margin of French cinema analogous to a suburb? The present chapter explores this hypothesis through three singular short films each of which were influenced by avant-garde and

in Screening the Paris suburbs
Abstract only
Ory Bartal

erupted during the 1960s was channelled into avant-garde art or radical/critical design, since design, as argued by design historian John Heskett, is similar to language in that each is ‘a defining characteristic of what it is to be human’.71 Like language, design is inevitable, and our relationship to it – the degree to which we understand what is being communicated to us and to which we BARTAL_9781526139979_(colour)_PRINT.indd 19 25/02/2020 08:24 20 Critical design in Japan can express what we think, feel, and desire – has an immense influence in shaping our

in Critical design in Japan
Marcos P. Dias

[s] true: “technology has got the upper hand on the human for good”’ (Dixon, 2007 : 650). Early aesthetic machines in twentieth-century avant-garde art movements In several avant-garde art movements of the early twentieth century, electromechanical machines became not only artistic props in theatre and performance, but also prominent actants with key roles in the mediation of agency and the generation of innovative aesthetic forms and practices. For example, in relation to Futurism, Dixon ( 2007 : 9) states that: ‘Italian futurist performance theory and practice

in The machinic city
Roland Innerhofer

. Hauer integrated this technique into a universal system by assigning the tones to colours or food. The twelve-tone technique reflects a growing degree of abstraction in human perception and art that dates back to the beginning of the twentieth century. Rühm’s radio plays take up this tendency when they transform language into music. The resulting process of abstraction can be regarded as representative of the neo-avant-garde’s particular approach to radio plays. This chapter will analyse which semiotic function the acoustic material – sound, word, noise and music

in Tuning in to the neo-avant-garde
The work of Ishioka Eiko and Suzuki Hachirō
Ory Bartal

International Style that prevailed in Japan after the Second World War, and the advertising posters that depicted the new lifestyle and the official image of Japan in the 1960s. This new graphic design was inspired by avant-garde art movements like Dada, American graphic designers like Push-Pin Studio, Milton Glaser, and the ‘Big Five’ of Psychedelia, who created posters in San Francisco for the rock-and-roll bands that performed at the legendary Fillmore club, as well as the British designers associated with London’s Punk movement in the 1970s.6 In Japan too, these posters

in Critical design in Japan