The Comrades of the Past: the Soviet Enlightenment Between Negation
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Aleksandr Bogdanov and Systems Theory
Democracy & Nature, Vol. 6, No. 3, 2000 Aleksandr Bogdanov and Systems Theory ARRAN GARE ABSTRACT The signi cance and potential of systems theory and complexity theory are best appreciated through an understanding of their origins. Arguably, their originator was the Russian philosopher and revolutionary, Aleksandr Bogdanov. Bogdanov anticipated later developments of systems theory and complexity theory in his efforts to lay the foundations for a new, post-capitalist culture and science. This science would overcome the division between the natural and the human sciences and enable workers to organise themselves and their productive activity. It would be central to the culture of a society in which class and gender divisions have been transcended. At the same time it would free people from the deformed thinking of class societies, enabling them to appreciate both the limitations and the signi cance of their environments and other forms of life. In this paper it is argued that whatever Bogdanov’s limitations, such a science is still required if we are to create a society free of class divisions, and that it is in this light that developments in systems theory and complexity theory should be judged. Aleksandr Bogdanov, the Russian revolutionary, philosopher and scientist, has a good claim to being regarded as the founder of systems theory.1 His ‘tektology’, that is, his new science of organisation, not only anticipated and probably in uenced the ideas of Ludwig von Bertalanffy—who must have been familiar with his work,2 but anticipated many of the ideas of the complexity theorists. As Simona Poustlinik commented at a recent conference on Bogdanov: It is remarkable the extent to which Bogdanov anticipated the ideas which were to be developed in systems thinking later in the twentieth century. -
Garage Museum of Contemporary Art Presents: If Our Soup Can Could Speak: Mikhail Lifshitz and the Soviet Sixties
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: IF OUR SOUP CAN COULD SPEAK: MIKHAIL LIFSHITZ AND THE SOVIET SIXTIES March 7–May 13, 2018 This exhibition celebrates the fiftieth anniversary of the scandalous publication of The Crisis of Ugliness by Soviet philosopher and art critic Mikhail Lifshitz. The book, which first appeared in 1968, was an anthology of polemical texts against Cubism and Pop Art—and one of the only intelligent discussions of modernism’s social context and overall logic available in the Soviet Union—making it popular even among those who disagreed with Lifshitz’s conclusions. The result of a three-year Garage Field Research project, If our soup can could speak takes as its starting point Lifshitz’s book and related writings to re-explore the vexed relations between so- called progressive art and politics in the twentieth and twenty-first centuries, as well as the motivations and implications of Lifshitz’s singular crusade against the modern classics. His appraisal of the crisis in twentieth-century art differs fundamentally from the standard attacks on modernism in government-issue Soviet art criticism, and in fact can be read as their direct critique. All the while, Lifshitz is in constant dialogue and debate with the century’s leading intellectuals in the West (Heidegger, Benjamin, Adorno, Horckheimer, Levi-Strauss, and others), searching for answers to the questions they posed from the perspective of someone with a unique inner experience of the Stalinist epoch’s revolutionary tragedy. The exhibition unfolds as a narrative of archival documents, art works, and text fragments, which are situated in a sequence of ten interiors that could be seen as spatial forms for landmark moments in the evolution of modernism, or in Lifshitz’s thinking. -
What Is Systems Theory?
What is Systems Theory? Systems theory is an interdisciplinary theory about the nature of complex systems in nature, society, and science, and is a framework by which one can investigate and/or describe any group of objects that work together to produce some result. This could be a single organism, any organization or society, or any electro-mechanical or informational artifact. As a technical and general academic area of study it predominantly refers to the science of systems that resulted from Bertalanffy's General System Theory (GST), among others, in initiating what became a project of systems research and practice. Systems theoretical approaches were later appropriated in other fields, such as in the structural functionalist sociology of Talcott Parsons and Niklas Luhmann . Contents - 1 Overview - 2 History - 3 Developments in system theories - 3.1 General systems research and systems inquiry - 3.2 Cybernetics - 3.3 Complex adaptive systems - 4 Applications of system theories - 4.1 Living systems theory - 4.2 Organizational theory - 4.3 Software and computing - 4.4 Sociology and Sociocybernetics - 4.5 System dynamics - 4.6 Systems engineering - 4.7 Systems psychology - 5 See also - 6 References - 7 Further reading - 8 External links - 9 Organisations // Overview 1 / 20 What is Systems Theory? Margaret Mead was an influential figure in systems theory. Contemporary ideas from systems theory have grown with diversified areas, exemplified by the work of Béla H. Bánáthy, ecological systems with Howard T. Odum, Eugene Odum and Fritj of Capra , organizational theory and management with individuals such as Peter Senge , interdisciplinary study with areas like Human Resource Development from the work of Richard A. -
Blood, Water and Mars: Soviet Science and the Alchemy for a New Man
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Spring 2019 Blood, Water and Mars: Soviet Science and the Alchemy for a New Man Sophie Y. Andarovna Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the European History Commons, History of Science, Technology, and Medicine Commons, Intellectual History Commons, and the Russian Literature Commons Recommended Citation Andarovna, Sophie Y., "Blood, Water and Mars: Soviet Science and the Alchemy for a New Man" (2019). All Master's Theses. 1201. https://digitalcommons.cwu.edu/etd/1201 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. BLOOD, WATER AND MARS: SOVIET SCIENCE AND THE ALCHEMY FOR A NEW MAN __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts History ___________________________________ by Sophie Yennan Andarovna May 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Sophie Yennan Andarovna Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY ______________ _________________________________________ Dr. Roxanne Easley, Committee Chair ______________ -
Art and Technology Between the Usa and the Ussr, 1926 to 1933
THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity. -
ST, Phd Masterdoc, 14.02.2016
Bilderverbot: Adorno & the Ban on Images Sebastian Truskolaski Goldsmiths College, University of London PhD in Visual Cultures February 2016 1 Declaration: I, Sebastian Truskolaski, hereby confirm that the content of this thesis is entirely my own. Signature:_______________________________________ Date:_______________ 2 Acknowledgments: I’d like to thank my family, my supervisors and my friends who generously commented on sections of this thesis. Vielen Dank. 3 Abstract: My thesis examines the significance of Theodor W. Adorno’s recurrent reference to the Old Testament ban on making images of God: the ‘Bilderverbot’. In particular I focus on three facets of this figure that occur at prominent junctures of Adorno’s work: his ‘imageless materialism’ (Chapter One), his ‘inverse theology’ (Chapter Two) and his ‘negative aesthetics’ (Chapter Three). In each case I argue that Adorno strips the image ban of its religious associations and enlists it in the service of a broadly Marxian critique of capitalist modernity. The ban on picturing the absolute is rendered as a ban on pre-determining a future in which all historical antagonisms are reconciled. As Adorno argues, only an unflinching criticism of the present can throw into relief the contours of an ‘imageless’ Utopia. I approach Adorno’s writings with a view to his sources, many of which contain notable references to the image ban that span the history of modern German thought. They include: Marx and Lukács, Benjamin and Bloch, Kant and Hegel, as well as Hölderlin, Kafka and Schoenberg. By emphasising these elective affinities, I aim to shed light on Adorno’s singular application of the figure of the image ban to his critical project. -
Introduction 11. I Have Approached This Subject in Greater Detail in J. D
NOTES Introduction 11. I have approached this subject in greater detail in J. D. White, Karl Marx and the Intellectual Origins of Dialectical Materialism (Basingstoke and London, 1996). 12. V. I. Lenin, Collected Works, Vol. 38, p. 180. 13. K. Marx, Grundrisse, translated by M. Nicolaus (Harmondsworth, 1973), p. 408. 14. N. I. Ziber, Teoriia tsennosti i kapitala D. Rikardo v sviazi s pozdneishimi dopolneniiami i raz"iasneniiami. Opyt kritiko-ekonomicheskogo issledovaniia (Kiev, 1871). 15. N. G. Chernyshevskii, ‘Dopolnenie i primechaniia na pervuiu knigu politicheskoi ekonomii Dzhon Stiuarta Millia’, Sochineniia N. Chernyshevskogo, Vol. 3 (Geneva, 1869); ‘Ocherki iz politicheskoi ekonomii (po Milliu)’, Sochineniia N. Chernyshevskogo, Vol. 4 (Geneva, 1870). Reprinted in N. G. Chernyshevskii, Polnoe sobranie sochineniy, Vol. IX (Moscow, 1949). 16. Arkhiv K. Marksa i F. Engel'sa, Vols XI–XVI. 17. M. M. Kovalevskii, Obshchinnoe zemlevladenie, prichiny, khod i posledstviia ego razlozheniia (Moscow, 1879). 18. Marx to the editorial board of Otechestvennye zapiski, November 1877, in Karl Marx Frederick Engels Collected Works, Vol. 24, pp. 196–201. 19. Marx to Zasulich, 8 March 1881, in Karl Marx Frederick Engels Collected Works, Vol. 24, pp. 346–73. 10. It was published in the journal Vestnik Narodnoi Voli, no. 5 (1886). 11. D. Riazanov, ‘V Zasulich i K. Marks’, Arkhiv K. Marksa i F. Engel'sa, Vol. 1 (1924), pp. 269–86. 12. N. F. Daniel'son, ‘Ocherki nashego poreformennogo obshch- estvennogo khoziaistva’, Slovo, no. 10 (October 1880), pp. 77–143. 13. N. F. Daniel'son, Ocherki nashego poreformennogo obshchestvennogo khozi- aistva (St Petersburg, 1893). 14. V. V. Vorontsov, Sud'by kapitalizma v Rossii (St Petersburg, 1882). -
Revolution and Culture: the Bogdanov-Lenin Controversy (Cornell, 1988) Library of Congress Cataloging-In-Publication Data Sochor, Zenovia A
A. A. Bogdanov, 1873-1928 REVOLUTION AND CULTURE The Bogdanov-Lenin Controversy ZENOVIA A. SOCHOR Studies of the Harriman Institute CORNELL UNIVERSITY PRESS Ithaca and London Copyright © 1988 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Pres~, 124 Roberts Place, Ithaca, New York 14850. First published 1988 by Cornell University Press. • International Standard Book Number 0-8014-2088-1 Library of Congress Catalog Card Number 87-25063 Printed in the United States of America Librarians: Library of Congress cataloging information appears on the last page of the book. The paper in this book is acid-free and meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. To my parents, Joseph and Maria Sochor STUDIES OF THE HARRIMAN INSTITUTE Columbia University The W. Averell Harriman Institute for Advanced Study of the Soviet Union, Columbia University, sponsors the Studies of the Harriman Institute in the belief that their publication contributes to scholarly research and public understanding. In this way the Institute, while not necessarily endorsing their conclusions, is pleased to make available the results of some of the research conducted under its auspices. A list of the Studies appears at the back of the book. Contents Preface ix Part I Points of Departure 1. The Bogdanov-Lenin Controversy 3 2. Cultural Prerequisites of Revolution 21 3. Bogdanovism 42 Part II After October: Which Way to Socialism? 4. -
Politics of Culture in the U.S.S.R.: Art and the Soviet Government
THE POLITICS OF CULTURE IN THE U.S.S.R.: Art and The Soviet Government Cindyj. Fox- A commissar with only one leg, one arm, and one eye wanted his portrait painted. A Soviet painter painted him with one leg, one arm, and one eye - and was shot for bourgeois naturalism. A second Soviet painter painted the commissar with two legs, two arms, and two eyes and was shot for reactionary idealism. A third Soviet artist posed the commissar in profile, showing the good leg, good arm, and good eye and was given a medal for socialist realism. Aline E. Saarinen, "U.S. Art for Moscow," The New York TimesJune 14, 1959, p. 9. In the Soviet Union art and politics are inseparable. Professor ErnstJ. Simmons, an expert in Russian literature, who attempted without success to negotiate library and educational exchanges with Soviet officials in 1947, noted that "culture in the Soviet Union is political, and there is a direct correlation between all cultural manifestations and Soviet domestic and international politics. In short, the determination of cultural policies rests entirely with the government."' Artistic aesthetics and hence style are dictated by the exigencies and purposes of politics. In general terms, government policy has dictated three basic styles of twentieth century Russian art, two inspired by creative trends from abroad and the third in accord with government condemnation of Western artistic values.2 The first phase was a continuation of nineteenth century trends. Iconography, adopted from the Byzantine culture, was promoted by the state to inspire the masses. Thus the residences of the Tsar and the homes of most Russian families were filled with icons. -
Alexander Bogdanov and the Soviet Avant-Garde
Prelude: Towards an Alternative Philosophical Genealogy of the Soviet Avant-Garde One of the most discussed concepts of the Soviet avant-garde – variously characterized as “construction,” “tectonics,” “production,” or “life-building” – may seem to refer 01/09 simultaneously to the formalist method in art and to a theory of social constructivism that departs from the idea of the “new Soviet man” and ends up with Stalin’s “engineers of the human soul.” The simultaneity of formalism and social constructivism normally explains the coexistence of the constructivist aesthetic program and the utilitarian politics of Maria Chehonadskih productivist art. As Benjamin Buchloh writes, constructivism passes from the expanded modernist aesthetics that “did not depart much The further from the modernist framework of bourgeois aesthetics than the point of Stofflichkeit of establishing models of epistemological and semiotic critique,” to the new industrialized the Universe: forms of art.1 Optimism about technology and media leads constructivists to totalitarian Stalinism.2 Yve-Alain Bois goes so far as to argue Alexander that the total instrumentalization of art is e inevitable when the critical modernist tradition is d r 3 Bogdanov and a abandoned. In other words, the great G - t achievements of the Soviet avant-garde conform n a v to the standards of European modernist A the Soviet t epistemologies, while utilitarian aesthetics and e i v its function in the context of Stalinism signifies a o S break or a black hole, which the narrative of art Avant-Garde e h t history can only explain by turning to ethical and d h n i a moral arguments against propaganda and k s v d o instrumentalization. -
The Culture of People's Democracy
The Culture of People’s Democracy Historical Materialism Book Series Editorial Board Sébastien Budgen, Paris Steve Edwards, London Marcel van der Linden, Amsterdam Peter Thomas, London VOLUME 42 Lukács Library Editors Tyrus Miller and Erik Bachman 1945–1948 The titles published in this series are listed at brill.com/hm The Culture of People’s Democracy Hungarian Essays on Literature, Art, and Democratic Transition, 1945–1948 By György Lukács Edited and translated by Tyrus Miller LEIDEN • bostoN 2013 Library of Congress Cataloging-in-Publication Data Lukács, György, 1885–1971. The culture of people’s democracy : Hungarian essays on literature, art, and democratic transition, 1945-1948 / by György Lukács ; edited and translated by Tyrus Miller. p. cm. — (Historical Materialism book series, 1570–1522 ; v. 42) Includes bibliographical references and index. ISBN 978-90-04-21727-0 (hardback : alk. paper) — ISBN 978-90-04-23451-2 (e-book) 1. Socialism and culture. 2. Socialism and literature. I. Title. HX523.L827 2012 199’.439—dc23 2012029699 ISSN 1570-1522 ISBN 978-90-04-21727-0 (hardback) ISBN 978-90-04-23451-2 (e-book) Copyright translated essays 2013 by Estate of György Lukács. Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
And Post-Soviet Literature and Culture
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Pavel Khazanov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Eastern European Studies Commons, English Language and Literature Commons, European History Commons, and the European Languages and Societies Commons Recommended Citation Khazanov, Pavel, "Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture" (2017). Publicly Accessible Penn Dissertations. 2894. https://repository.upenn.edu/edissertations/2894 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2894 For more information, please contact [email protected]. Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Abstract The return of Tsarist buildings, narratives and symbols has been a prominent facet of social life in post- Soviet Russia. My dissertation aims to explain this phenomenon and its meaning by tracking contemporary Russia’s cultural memory of the Imperial era. By close-reading both popular and influential cultural texts, as well as analyzing their conditions of production and reception, I show how three generations of Russian cultural elites from the 1950s until today have used Russia’s past to fight present- day political battles, and outline how the cultural memory of the Imperial epoch continues to inform post- Soviet Russian leaders and their mainstream detractors. Chapters One and Two situate the origin of Russian culture’s current engagement with the pre-Revolutionary era in the social dynamic following Stalin’s death in 1953.