Futurism

Deutung und Bewertung des Rilkeschen Lebenswerkes, insbesondere seiner »Duineser Elegien«, sind nach wie vor durch eine erstaunliche Unsicherheit gekennzeichnet. Dies erklärt sich wohl vor allem aus der weitgehenden Vernachlässigung bewußtseins- wie literaturgeschichtlicher Zusammenhänge in der bisherigen Forschung. Die Arbeit stellt daher die »Duineser Elegien« in den Kontext von Rilkes Gesamtwerk und versucht, ihre Eigenart und ihren Rang vor dem Hintergrund der deutschen Lyrik zwischen Jahrhundertwende und dem Beginn der zwanziger Jahre zu bestimmen. Da sie dabei die wesentlichen Züge der europäischen Modeme einbezieht, enthält die Studie auch den Entwurf einer Geschichte der modernen Lyrik und leistet einen wichtigen Beitrag zur Formulierung eines Epochenbegriffs der »Modeme«. Mit Hilfe ausgewählter philosophischer wie literarischer Texte der Zeit skizziert sie ein Entwicklungsmodell, das den französischen Symbolismus, die deutsche Jahrhundertwende, die »klassische Modeme« und die Avantgarde (Futurismus, Expressionismus, Wortkunst und Dada) in ein überzeugendes Verhältnis zueinander bringt, und zeigt Grundstrukturen der modernen Lyrik auf.
In ständigem Wechsel mit diesen Kontexten werden die »Duineser Elegien« eingehend analysiert. Nach rezeptionsgeschichtlichen und rezeptionsästhetischen Vorüberlegungen untersucht die Arbeit im Detail das Motivgeflecht des Werkes, Rilkes Verwendung von Mythos, Metapher, Vergleich und Symbol sowie die Bauformen des Zyklus und die intendierte Leserhaltung. Sie weist nach, wie Rilkes Deutung der condition humaine, sein neuer Wirklichkeitsbegriff und Subjektivitätsentwurf, und der poetische Diskurs der »Elegien« zusammenhängen und grenzt sie von den radikaleren Experimenten der Avantgarde ab.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

The storytelling of Futurists in Venice Biennale, topic of the first exhibition organized for the 52 Art Biennial after the renovation of Palazzo Giustinian.

La storia del Futurismo alla Biennale di Venezia non è mai stata scritta. Macchina di Visione. Futuristi in Biennale è un progetto che esplora i meccanismi di regia della Biennale di Venezia, e le ragioni della sua governance, attraverso l'analisi diacronica della partecipazione di artisti, idee e opere futuriste al Salone Internazionale. Nell'anno in cui si celebra il centenario del primo manifesto e in occasione della 53. Esposizione Internazionale d'Arte, la Biennale coglie l'opportunità di presentarsi al pubblico come ente che ha progressivamente costruito la fortuna critica del movimento. Lo fa con una mostra princeps a Ca' Giustinian, nella rinnovata sede istituzionale della Biennale. Giacimento di questa mostra sono lettere, prefazioni ai cataloghi, manifesti, fotografie, filmati, nastri audio e oggetti di arredo che attestano la presenza del Futurismo alla manifestazione veneziana. Un lungo excursus, dal 1910 al 1995, svela il ruolo giocato dalla Biennale nell'accoglienza, nella sollecitazione e nella promozione del pensiero futurista. E illustra forme e risultati di un dialogo ora polemico ora conciliante, comunque cruciale per comprendere le politiche sui valori e i gusti del Salone. Segno che la ricerca sul più importante gruppo di avanguardia in Italia non si è affatto esaurita. È invece un lascito leggibile - e in maniera sorprendente - nella trama di alcune pratiche, dentro fenomeni di ritualità, negli accenti di consenso e di dissenso espressi verso e dalla controparte Biennale. Lo studio-catalogo offre elementi di teoria a partire dalla disamina concreta dei documenti, permettendo di dire che l'eredità culturale non si trasmette, si conquista.

Nel saggio si precisa, attraverso l’esame di dati filologici finora inediti o poco considerati, l’evoluzione dell’opera
di Balla tra la fine del 1912 e del 1913. Si tratta del periodo più cruciale per l’evoluzione del Futurismo dell’artista,
che attraverso l’elaborazione delle Compenetrazioni iridescenti e conseguentemente delle Velocità astratte, raggiunge
una novità espressiva autonoma e originale non solo all’interno del movimento ma delle avanguardie storiche
europee. Le fasi e i tempi di questa fondamentale elaborazione mostravano finora incertezze e contraddizioni,
che nel saggio vengono risolte non solo nella precisa progressione cronologica, ma nello svolgimento concettuale
che evidenzia il significato delle Compenetrazioni. Nella seconda parte del saggio, grazie a un documento inedito
(il primo inventario delle Compenetrazioni iridescenti redatto nello studio di Balla), si ricostruisce il nucleo di opere
eseguite nel 1912-1913, e si delinea un nucleo di riprese successive operate dall’artista per incrementarne il gruppo
(eseguite tra la fine anni Quaranta e l’inizio anni Cinquanta), da iscriversi nel clima del rinnovato interesse da parte
dei giovani artisti e della critica del dopoguerra per il Futurismo “astrattista” e particolarmente per la figura dello
stesso Balla, che viene allora considerato un pioniere dell’astrazione non-oggettiva.

Neo-Modernismos-o artista-engenheiro no século XXI-Helena Barbas A 20 de Fevereiro de 1909, Marinetti 1 lançava o seu «Manifesto do Futurismo» publicado no jornal Le Fígaro em Paris, onde refere no ponto 4: 4. Afirmamos que a magnificência do mundo foi enriquecida por uma beleza nova: a beleza da velocidade. Um carro de corrida com a capota adornada com grossos tubos semelhantes a serpentes de hálito explosivo... um automóvel a rugir, que parece correr sobre a gravilha, é mais belo que a Vitória de Samotrácia. Fernando Pessoa/Álvaro de Campos, dezanove anos mais tarde, adapta esta ideia dandolhe um sentido algo diferente: O Binómio de Newton é tão belo como a Vênus de Milo. O que há é pouca gente para dar por isso. óóóó-óóóóóó óóó-óóóóóóó óóóóóóóó (O vento lá fora.) 2 Independentemente das consequências que qualquer destes textos acabasse por ter em termos de movimentação e teorização literárias, podem ambos ser lidos como um elogio a objectos fabricados em resultado de elaborações do pensamento humano. Os poetas não vêem diferença entre o acto de invenção que está na origem do fabrico de uma máquina, de uma equação matemática, de qualquer prática artística. Ou seja, a criatividade é idêntica nas humanidades (no caso, a arte da escultura) e nas ciências (a matemática em Pessoa, a engenharia em Marinetti), igualmente louvadas pela poesia. Artes e Ciências A divisão usual é feita entre as matemáticas, ou ciências redutíveis a uma equação matemática, e as humanidades, coisa menos séria, porque se movem num campo mais pantanoso, e não são passíveis de ser provadas para além de qualquer dúvida por uma equação rigorosa. Distingue-se entre as matérias que trabalham com verdadeiro/falso, preto/branco, sim/não, e as que se movimentam no espaço do «talvez», do indeterminado.

In 2013, I proposed using drones to extinguish future forest fires. Admittedly, both the idea and the technology were crude, and proposing an idea like this is not the same as implementing a solution. During the first few minutes, between the time when a fire first starts and when it reaches a point of being out of control, is a containment window where only a few gallons of water or a few pounds of fire retardant is necessary to put the evil genie back into its bottle. Using a fleet of surveillance drones, equipped with special infrared cameras, fires can be spotted during the earliest moments of a containment window, signaling a fleet of extinguisher drones to douse the blaze before anything serious happens. Drones specifically designed for extinguishing forest fires have the potential to eliminate virtually 100% of the devastating fires that dominate newspaper headlines every summer. But is that what we want?

In his 2006 novel Against the Day, set around the turn of the twentieth century, Thomas Pynchon renegotiates his relationship with modernism. His juxtaposition of postmodernism and modernism conforms to Timothy Vermeulen and Robin van den Akker’s account of metamodernism. De Bourcier reads the Kafkaesque story of Lew Basnight through Slavoj Žižek’s opposition between modernist absence and “The Obscene Object of Postmodernity.” The chapter examines Pynchon’s engagement with the technological contexts of modernism, focusing on his fictional inventions the Tesla device and the Integroscope, and deploying theorisations of technology by Walter Benjamin and Friedrich Kittler. It shows that Pynchon juxtaposes Divisionism—a school of painting influenced by scientific investigations into colour such as Ogden N. Rood’s Modern Chromatics—with Kit Traverse’s embroilment in Futurism and Fascism.

Theurgy of the Word: On the Early Avant-garde Manifesto and Notions of Magic in Russian Futurism and Symbolism

The publication of Filippo Tommaso Marinetti’s founding manifesto of Italian Futurism in 1909 marked the beginning of an extensive publication of such texts all over Europe, as poets and artists responded to the new genre in different ways. The programmatic writings of the Russian avant-garde present one of the most interesting examples of the critical response to Marinetti’s activities. This accounts not least for the writings of the Cubo-Futurists, who emphasized that the regeneration of modern culture needed to have its origin in the autonomous sphere of the aesthetic. The movement’s writings are symptomatic of the transformation of the manifesto into an autonomous and artistic linguistic medium, meant to generate a profound spiritual revolution, in the project of the historical avant-garde. The texts are furthermore a clear example of the continuity in the process leading from Symbolism to the European avant-garde, as can clearly be seen from the important role that modern occultism and not least the notion of theurgy played in the new aesthetics.

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Af goðkynngi orðsins. Um yfirlýsingar evrópsku framúrstefnunnar og galdratrú í rússneskum fútúrisma og symbólisma

Útgáfa stofnunaryfirlýsingar ítalska fútúrismans eftir Filippo Tommaso Marinetti árið 1909 hratt af stað bylgju slíkra texta víðsvegar um Evrópu, þar sem skáld og listamenn brugðust við hinni nýju bókmenntagrein með ólíkum hætti. Yfirlýsingar rússnesku framúrstefnunnar eru eitt forvitnilegasta dæmið um gagnrýnin viðbrögð við skrifum Marinettis og á það ekki síst við um skrif kúbó-fútúristanna, sem lögðu áherslu á að endurnýjun menningarinnar þyrfti að eiga uppruna sinn í sjálfstæðu rými skáldskaparins. Textar hreyfingarinnar eru lýsandi dæmi um hvernig yfirlýsingin verður að sjálfstæðum og listrænum textamiðli í starfsemi sögulegu framúrstefnunnar, sem ætlað er að knýja fram andlega byltingu. Textarnir eru jafnframt skýrt dæmi um samfelluna sem greina má í færslunni frá symbólisma til framúrstefnu í evrópskri menningu, eins og glögglega kemur í ljós þegar sjónum er beint að hlutverki nútímadulspeki og einkum hugmyndarinnar um goðkynngi í hinni nýju fagurfræði.

Lecture at the University of Colorado at Boulder:
Architect’s roles and profiles will need to change in order to meet the changing nature of our society, the technologies driving it and the expectations of our clients. Professor Peter Russell describes the impact of technologies on Architecture as an object, a profession, a process, a business and as a field of study.

Bir sanat tarihi arastirmasi olan ve sanat egitimine katki saglamayi amaclayan bu makalede, Futurizm sanat akimina ve bu akimin olusumunda fotografin onemine yonelik bir degerlendirme yapilmistir. Futurizm, 1909 yilinda Marinetti tarafindan yayinlanan bir manifestoyla Italya’da ortaya cikan avangart bir sanat akimidir. Etkisi 1944 yilinda Marinetti’nin olumune kadar surmustur. Resim, heykel, muzik, siir, edebiyat, tiyatro, mimarlik, fotograf ve sinema gibi birНok farkli disiplin iНerisinde etkisini gostermis olan Futurizm, Vortisizm, Konstruktivizm, Suprematizm ve Dada hareketlerine kaynaklik etmistir. Dunyayi degistirme amaci tasiyan Futurist sanatНilar, cesareti, saldirganligi ve isyani yucelterek, gecmise ve geleneksel sanat anlayisina meydan okumuslardir. Teknolojinin makinelerle birlikte modern hayata getirdigi hareketi, enerjiyi, degisimi, hizi ve dinamizmi yapitlarina konu edinmislerdir. Bu anlamda bir makine tarafindan uretilen fotografik goruntu, geleneksel olmayan uslubu, ...

Following the death of 17-year-old Leelah Alcorn, a transgender teen who committed suicide after forced “conversion therapy,” President Barack Obama called for a nationwide ban on psychotherapy aimed at changing sexual orientation or gender identity. The administration argued that because conversion therapy causes substantial psychological harm to minors, it is neither medically nor ethically appropriate. We fully agree with the President and believe that this is a step in the right direction. Of course, in addition to being unsafe as well as ethically unsound, current conversion therapy approaches aren’t actually effective at doing what they claim to do – changing sexual orientation. But we also worry that this may be a short-term legislative solution to what is really a conceptual problem. The question we ought to be asking is “what will happen if and when scientists do end up developing safe and effective technologies that can alter sexual orientation?”

Una de las características fundamentales del futurismo fue la recuperación de los componentes acústicos de la palabra. A finales del XIX, artistas como Morgensten y Scheerbart realizaron poemas fonéticos que pretendían reivindicar la determinación acústica de la palabra. Fueron los futuristas italianos y rusos los que profundizaron en la acústica de la escritura en los poemas fonéticos de principios de siglo. En Rusia Klebnikov, después de haber lanzado el manifiesto de la palabra como tal, declarará el nacimiento del zaumismo, es decir, la palabra como simple sonido, jugando con la estructura fonovisual del verso ligado a las experiencias coetáneas sobre poesía sonora de Krucenych y el cubofuturista Zdanevich. En Italia, durante el periodo heroico del movimiento, la búsqueda de un desarrollo sonoro de la palabra es común en los artistas futuristas. Vocales y consonantes son despedazadas para conseguir el contraste sonoro y visual en una poesía en que las letras se convertían en unidades sígnicas. El principio del verso libre arranca en las páginas de la revista simbolista Poesia, que bebía de las fuentes de los poetas franceses e italianos que Marinetti, su director, había conocido en el parís de fin de siècle. "La poesía dice quiere cantar de un modo distinto y universal (…) Libre, emancipada de todos los vínculos tradicionales, ritmada con la sinfonía de los mítines, de las oficinas, de los automóviles, de los aeroplanos voladores" Otro poeta futurista, Paolo Buzzi, particularizaba en el condicionante sonoro del nuevo verso, "el verso libre no es ya un simple tipo de sílabas canoras, sino un conjunto de ritmos sobre los que constantemente influye una sensación musical… Los versos apoyados en las silabas tónicas, permiten una amplitud ilimitada de invención e inagotables hallazgos fonéticos". Marinetti, Petronio, Masnata Buzzi y Cangiullo desarrollan toda una teoría de poesía sonora bautizada como parole en libertà. En 1909 Marinetti afirmaba en su Discurso a los triestinos "nuestra poesía es poesía esencial y totalmente rebelde a las formas usadas. Es necesario destruir las formas del verso, hacer saltar en el aire los puentes de las cosas ya dichas, y lanzar las locomotoras de nuestra inspiración a la aventura a través de los ilimitados campos de lo Nuevo y el Futuro". En 1913, Luigi Russolo publica El arte de los ruidos en el que defiende el lenguaje como instrumento musical, influenciando a los poetas en la confección fonética de sus obras, "el ruido como elemento mismo del lenguaje (…) elemento que hasta ahora no ha sido considerado con la importancia que tiene (…) la búsqueda de la influencias que la música tiene en el lenguaje, en las entonaciones de la voz, en los sonidos que compone las vocales, en la variación de estos según tono y modo". El futurismo inventa una nueva literatura particularizada en el Manifiesto técnico de la literatura futurista (1912), Destrucción de la sintaxisImaginación sin hilosPalabras en libertad (1913) y El esplendor geométrico y mecánico y la sensibilidad numérica (1914). El adjetivo queda suprimido, el verbo se utilizará en infinitivo para hacer veloz el estilo narrativo.

Saggio pubblicato in “RSI- Rivista di Studi Italiani”, (Peer- reviewed), Anno XXVII, N. 1 Giugno 2009 Perugia, "Futurismo come attualità e divenire" a cura di Ignazio Apolloni e Nino Arrigo.
ISSN 1916-5412 Rivista di Studi Italiani (Toronto, Canada, online dal 2005) www.rivistadistudiitaliani.it

Dans sa révolution poétique, le germe de la poésie performative contemporaine Marinetti aurait emprunté le mot « futurisme » au poète Gabriel Alomar qui en 1904 à Barcelone a donné une conférence sous le titre de FI Futurisme. Couverture de la revue Poesia, fondée et éditée par Marinetti, 1909. La première édition du Manifeste du Futurisme, sans le prologue, publiée dès janvier 1909 par Marinetti. Le prologue sera écrit un mois plus tard, dans un style différent, lors de la publication du manifeste, le 20 février 1909, dans Le Figaro à Paris. GIOVANNI FONTANA Un vaste et significatif pan de la poésie du XX e siècle a montré un grand intérêt pour la complexité des rapports entre l'écriture et les arts, dans la perspective de ce que, dans les années soixante, on a connu comme intermédialité, grâce à l'intuition théorique de Dick Higgins. Dans la poésie, les limites de la page sont violées, et la figure du poète se pose devant la nécessité d'agir dans les espaces acoustique, visuel, scénique, pour affronter les exigences puissantes des projets fondés sur les intersections linguistiques, les contaminations, la perception multisensorielle, les rapports avec les nouvelles technologies, la complexité de la dimension de la performance. En 1913, Filippo Tommaso Marinetti, inventeur indiscutable de l'avant-garde futuriste, proposait d'introduire dans le domaine textuel une série articulée d'innovations structurelles. Il préfigurait, en particulier : « Les métaphores condensées.-Les images télégraphiques.-Les sommes de vibrations.-Les noeuds de pensées.-Les éventails tour à tour ouverts et fermés de mouvements.-Les raccourcis des analogies.-Les bilans de couleurs.-Les dimensions, poids, mesure et vitesse, des sensations.-Le plongeon du mot essentiel dans l'eau de la sensibilité sans les cercles concentriques que le mot produit.-Les repos de l'intuition, les mouvements à 2, 3, 4, 5 temps.-Les poteaux analytiques explicatifs qui soutiennent les fils de l'intuition.' » Les nouveaux « mots en liberté » bouleversaient le tableau des certitudes et des usages de la littérature.

In recent decades, the consideration of Māori law in Aotearoa New Zealand state law has taken on a new momentum. Law schools are improving their teaching of tikanga and Māori law in compulsory and specialist law papers. The judiciary more often cites Māori law as relevant to legal decisions. The Māori Land Court has normalised the use of tikanga and Māori law in its deliberations, and the District Court has new expectations for the use of tikanga Māori in its processes. This is not to say that the way Māori law is incorporated in or recognised by these institutions of the state, and state law itself, is a settled matter, however. A conversation on this is taking place in Aotearoa New Zealand, and this thesis is intended to contribute to that conversation. This thesis explores the questions of what Māori law is and what some of the objects of Māori law are. It reviews what the non-written visual means of documenting Māori law might be and how these means help to communicate Māori law...

Futurism was one of the so-called historical avant-garde movements. It was founded in 1909 by the Italian poet Filippo Tommaso Marinetti (1876-1944) and ended, in practice, with his death in 1944. Futurism aimed to accomplish an all-encompassing “revolution”, not only in different forms of art, including literature, theatre and music, but also in politics, fashion, cuisine, mathematics, and in every other aspect of human life. The New World

This paper is devoted to the radical cubo-futuristic prose poem “Lyudi v peyza- zhe” (“People in the landscape”), written by Benedikt Livshits in 1911. Some time ago M.L. Gasparov proposed an immanent analysis of this text: in my work I make an attempt to integrate it through analysis of the literary tradition which defined the themes as well as the poetics of “People in the landscape”. I especially consider the “paraphrase” given by Gasparov as a sort of “draft” of the text itself and I then try to reconstruct its connections with the broader tradition of prose poems. In the final part of my paper I show how Andrey Bely’s language experiments were an important influence on the poetics of Livshits’s text.

Статья посвящена радикальному кубофутуристическому стихотворению в прозе Б.К. Лившица «Люди в пейзаже» (1911). Имманентный анализ этого произведения, предпринятый в свое время М.Л. Гаспаровым, в нашей работе до- полняется анализом литературной традиции, определившей тематику и поэтику текста. Рассматривая «перевод» Гаспарова «Людей в пейзаже» как условный черновик произведения, мы восстанавливаем связь текста с традициями стихо- творений в прозе. В заключительной части работы мы показываем, что на уровне поэтики произведение Лившица испытало также сильное влияние языковых экспериментов А. Белого.

La Cuarta Revolución Industrial promete grandes cambios sociales. Tal cual indica Klaus Schwab, esta revolución tecnológica alterará por completo los productos que elaboramos, cómo los elaboramos, cómo interactuamos y, sobre todo, quiénes somos. Como era de esperarse, aquel potencial caracterizado por la promesa de la automatización y la interconexión de los ecosistemas físicos con los digitales (Internet de las cosas, implantes neurales, prótesis inteligentes, etc.) no solo ofrecerían beneficios, sino que, consecuentemente, también supondrían peligros. La guerra también experimentará cambios. En este escenario el biohacking, las Smart Cities, los Deep Fakes y las nanotecnologías, podrían alterar por completo lo que entendemos por conflicto bélico.

Qual è stato l'atteggiamento della stampa del tempo fascista nei riguardi della danza teatrale? Quali i discorsi, le istanze e l'immaginario che, sull'argomento, emergono dalle colonne di quotidiani e periodici? Il volume affronta simili questioni mediante l'analisi di un'imponente mole di documenti quasi totalmente inediti e capaci di aprire prospettive inusuali sulla danza italiana del primo Novecento. Dal riconoscimento della danza come autentica forma d'arte alla contrapposizione (spesso violenta) fra "tradizione" italiana e "modernità" straniera, dalla difesa della tecnica accademica all'apprezzamento per forme di danza "libera", infatti, la stampa intercetta, filtra e rielabora processi culturali di ampia portata, la cui complessità è qui presa interamente in carico e restituita mediante una costante lettura critica delle fonti. Ne risulta un lavoro intimamente "corale", in cui le voci di anonimi cronisti si intrecciano con quelle di uomini di teatro e di artisti di spicco e che, proprio in virtù del suo carattere polimorfo, riesce forse ad aprire uno squarcio sulla contraddittorietà di un'intera epoca storica, il tutto mantenendo sempre fermo il punto di vista, volutamente e proficuamente "minore", sul corpo che danza.

Creative writing, creative projects, and projects involving creativity incorporate high personal investment from students. The work generated from this input can be used as a “springboard” to deepen general learning. When conducted in English Medium Instruction classes (EMI), or in classes with related forms of teaching, the learning of English as an Additional Language (EAL) can be enhanced as a by-product (as implied by Allwright, 2013, p.6). As part of an EMI course designed by the author, second-year undergraduate comparative culture majors at a Japanese university explored aspects of creativity by researching elements of twentieth century art movements, including writing methods. From these literary guidelines students produced their own creative work, which ultimately appeared as part of a whole-class poster presentation. Among other features, students focused on the history and certain literary personalities of the movements as part of their research. The main interests of this article are learner autonomy, agency and growth generated a) from using this creative student-produced work, and b) from engagement with the research and creative material. It shares details of class activities and evaluations from the yearlong course, including examples of student literature. Learner rather than language development holds the stronger focus of the paper. However, as the lessons were conducted in a foreign language (English), aspects of language development are touched upon.

Seminário Internacional "O Dilema de Boccioni: em busca de sua obra escultórica"/International Conference
"Boccioni’s Dilemma: In Search of his Sculptural Oeuvre".
September 27 and 28, 2018
Auditório Museu de Arte Contemporânea da USP, Sao Paulo, Brasil

This article is focused on Velimir Xlebnikov’s post-revolutionary poem Tyrant Without a T, which was written in Iran, and stemmed from the Futurist’s engagement with Iranian culture. The author focuses on the relationship between Xlebnikov’s behaviour and his creative work.

Special attention is paid to the word dervish, which appears in the poem repeatedly: it is precisely with dervishism that the whole idea of the “marginalized” Muslim adept is linked. Xlebnikov’s attitude toward two heterodox Islamic figures — Mirza Ali Muhammad (Bab) and Qurrat al-‘Ayn (Tahirih) — is also examined.

The article offers a reconstruction of the ideas about dervishism current among Xlebnikov’s contemporaries. This reconstruction is based on print sources of the late nineteenth and early twentieth centuries.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

COVID-19 is a global pandemic (Jaihah) that brings hardships (Haraj). This has affected all aspects of our life. The United Nations Development Programme reported that uncertainties due to this global pandemic are manifold. Under a 'High Damage' scenario, the world could see a staggering 251 million people driven into extreme poverty by the pandemic, bringing the total number to one billion by 2030. The Singapore government had made swift and comprehensive response by forming multi-ministry task force and galvanise various organisations, at all levels, including faith-based institutions to manage and address the multiple challenges in hands. This paper highlight the 3Rs approach adopted by the government through their policies, measures and actions on various aspects of sustainability including climate and social changes and how the rest of the stakeholders come together for greater impact, with specific focus on the response from the Muslim community.

An exploration of the rhizomatic character of Indigenous Futurism. I attend here to an examination of two forms of aesthetic technique in the visual medium: "imbrication," refashioned from the historian Coll Thrust, and "adornment," derived from a meditation on maaʔíbcaa, A Híraaca (Hidatsa) verb meaning "to bead." In each case, I am tracking an aesthetic technique oriented toward revising the American pop-cultural edifice, thereby creating an "imposition" into the field of expectation within which American popular culture does its work. These aesthetic strategies impose themselves within cultural contexts wherein Indigenous presence is typically constrained or wholly absent by revising and unsettling the imputed futurescape of, in this case, the American pop-culture SF franchise Star Wars.

Con la presunzione e l’ignoranza dell’osservatore che cerca figure note ed intellegibili, ho cercato il ciclista, ho cercato una bicicletta... poi mi sono chiesto se era quello il modo giusto di osservare il quadro o se, piuttosto, non mi stavo limitando a guardarlo cercando di trovare quel che vedevo ogni giorno nel mio mondo, fatto di vere biciclette e di veri ciclisti.
Ma il senso del "Futurismo" non era la creazione dell'immagine, quanto quella dell'atmosfera, e allora non ho potuto fare altro che ammirare questo quadro che E’ davvero il “Dinamismo di un ciclista” e NON il ciclista!

Is sex work (specifically, prostitution) vulnerable to technological unemployment? Several authors have argued that it is. They claim that the advent of sophisticated sexual robots will lead to the displacement of human prostitutes, just as, say, the advent of sophisticated manufacturing robots have displaced many traditional forms of factory labour. But are they right? In this article, I critically assess the argument that has been made in favour of this displacement hypothesis. Although I grant the argument a degree of credibility, I argue that the opposing hypothesis -- that prostitution will be resilient to technological unemployment -- is also worth considering. Indeed, I argue that increasing levels of technological unemployment in other fields may well drive more people into the sex work industry. Furthermore, I argue that no matter which hypothesis you prefer -- displacement or resilience -- you can make a good argument for the necessity of a basic income guarantee, either as an obvious way to correct for the precarity of sex work, or as a way to disincentivise those who may be drawn to prostitution.

In occasione dell’uscita del libro "Con D’Annunzio a Fiume", di Mario Carli, edito da Giubilei Regnani all’interno della collana “Città di Vita” diretta da Alessandro Gnocchi e Giordano Bruno Guerri, Andrea D'Ottavi intervista il curatore della pubblicazione Carlo Leo.

This is the inaugural publication from the New Media Consortium's Horizon Project.  It resulted from the work of an advisory board of educational technologists, visionaries and others who worked to look ahead at emerging technologies for teaching, learning, and creative inquiry.

Art and war have gone hand in hand since the concept of war. From photographers to painters, writers, and scribes, documentation of war has been prevalent throughout time. Whether it be prefacing or recapping, literature has played an pivotal role in the perception of war. While pre-World War I Europeans were aware that Europe was on the brink of war, literary works such as Lay Down Your Arms, The War in the Air, and Manifesto of Futurism depicted mixed feelings of excitement, apprehension, and contempt for the horror that was to follow.