Understanding Constant's New Babylon: a Place That Can Never
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The Game of War, MW-Spring 2008
The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text. -
Cosmonauts of the Future: Texts from the Situationist
COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263. -
Constant Nieuwenhuys-August 13, 2005
Constant Nieuwenhuys Published in Times London, August 13 2005 A militant founder of the Cobra group of avant-garde artists whose early nihilism mellowed into Utopian fantasy Soon after the war ended, the Cobra group burst upon European art with anarchic force. The movement’s venomous name was an acronym from Copenhagen, Brussels and Amsterdam, the cities where its principal members lived. And by the time Cobra’s existence was formally announced in Paris in 1948, the young Dutch artist Constant had become one of its most militant protagonists. Constant did not hesitate to voice the most extreme beliefs. Haunted by the war and its bleak aftermath, he declared in a 1948 interview that “our culture has already died. The façades left standing could be blown away tomorrow by an atom bomb but, even failing that, still nothing can disguise the fact. We have lost everything that provided us with security and are left bereft of all belief. Save this: that we live and that it is part of the essence of life to manifest itself.” The Cobra artists soon demonstrated their own exuberant, heretical vitality. Inspired by the uninhibited power of so-called primitive art, as well as the images produced by children and the insane, they planned an idealistic future where Marxist ideas would form a vibrant union with the creation of a new folk art. Constant, born Constant Anton Nieuwenhuys, discovered his first motivation in a crucial 1946 meeting with the Danish artist Asger Jorn at the Galerie Pierre, Paris. They exchanged ideas and Constant became the driving force in establishing Cobra. -
The Image of God and Parental Images : a Dialogue Between Theology and Psychology
Bulkeley, Stephen Gilbert Timothy (1981) The image of God and parental images : a dialogue between theology and psychology. PhD thesis. http://theses.gla.ac.uk/2080/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] THE IMAGE OF GOD AND PARENTAL IMAGES I A DIALOGUE BETWEEN THEOLOGY AND PSYCHOLOGY A Theais submitted to the Faculty of Divinity of the University of Glasgow for the degree of Doctor of Philosophy. Stephen Gilbert Timothy BULK LEY JANUARY1981. LIST OF CONTENTS List of Contents i Acknowledgements ii Summary iii Abbreviations iv Introduction 1 Excursus One: "Image" 7 PARTONNR: PSYCHOLOGY:PARENTAL IMAGES AND TIlE IMAGE OF COD. Chapter Ones "Background and Theories. " 13 Chapter Two: "Review of Empirical Findings.,, 29 Chapter Threes "Empirical Study. " 41 Chapter Flour: "Discussion. " 62 PART TWO s TIME MOTHERHOODOF COD AND THEOLOGICAL TRADITION. Chapter Five: "God and Gender. " 73 Excursus Two: "Wisdom. " 85 Chapter Six: "The Bible. " 125 Chapter Seven: "The Patristic Period. " 172 Chapter Eights "The Middle Ages. " 192 Chapter Nines "Mary and Divine Motherhood. -
Chronology of the Lettrist International and the Situationist International
Appendix 4 Chronology of the Lettrist International and the Situationist International 1951 – In April, Guy Debord meets Lettrist leader Isidore Isou and several other Lettrists at the Cannes Film Festival. – In the summer, Debord graduates from high school in Cannes, moves to Paris, and joins Isou and the Lettrists. – Throughout 1951, Debord spends much of his time at his favorite bar, Chez Moineau, where he meets several people who would become important to him during that time, including Gil Wolman, Michele Bernstein, Ivan Cht- cheglov, Eliane Papai, and Jean-Michel Mension. 1952 – In February, Wolman screens his only film L’Anticoncept. – In June, Debord screens his first film, Howls in Favor of Sade; the audience erupts in anger, halting the screening. – In October, Debord, Wolman, and two other Lettrists perpetrate the “No More Flat Feet!” scandal against Charlie Chaplin, an action Isou distanced himself from in a newspaper article. – In December, Debord, Wolman, and other Lettrists split from Isou to form the Lettrist International (LI). 1953 – In early 1953, Debord artistically manifests the LI’s contempt for wage slav- ery when he scrawls “Ne Travaillez Jamais!” (“Never Work!”) on a wall on the rue de Seine. – In October, Chtcheglov presents Debord with his poetic manifesto, “Formu- lary for a New Urbanism.” © koninklijke brill nv, leideN, 2019 | DOI: 10.1163/9789004402010_014 James Trier - 9789004402010 Downloaded from Brill.com09/30/2021 07:21:04AM via free access 422 Appendix 4 1954 – In June, the LI publishes the first issue of Potlatch, which will continue to be published semi-regularly through much of 1957, when the Situationist International is formed. -
The Henry Moore Foundation Review Contents
Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Tim Llewellyn 7 Financial Statement 2005 – 2006 8 Henry Moore Collections and Exhibitions Anita Feldman Bennet 11 Restoration of Hoglands David Mitchinson 12 Henry Moore Institute Penelope Curtis 15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth 16 Grants Programme 20 Publications 23 General Information Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary. -
08 Stiger CD
UvA-DARE (Digital Academic Repository) To replace or not to replace? Photographic material in site-specific conceptual art Stigter, S. Publication date 2005 Document Version Final published version Published in ICOM Committee for Conservation: 14th Triennial Meeting The Hague, 12-16 September 2005. - I Link to publication Citation for published version (APA): Stigter, S. (2005). To replace or not to replace? Photographic material in site-specific conceptual art. In I. Verger (Ed.), ICOM Committee for Conservation: 14th Triennial Meeting The Hague, 12-16 September 2005. - I (pp. 365-370). James & James. http://www.inside- installations.org/OCMT/mydocs/STIGTER%20To%20replace%20or%20not%20to%20replace .pdf General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by -
To Realize Art: Notes for a History of the Situationist International
156 83RD ACSA ANNUAL MEETING HlSTORYiTHEORYlCRlTlClSM 1995 To Realize Art: Notes for a History of the Situationist International LIBERO ANDREOTTI Georgia Institute of Technology Philosophy must never forget that it has always spoken Pavillon des Temps Nouveaux (1937).2In 1953 he founded its part in the most burlesque and melodramatic setting the IMIB as an alternative to Max Bill's more technical school - Attila Kotani at Ulm, guilty in his view of having sold-out the Bauhaus idea to industrial capitalism. In its short life-span of only three In Theoy of the Avant-garde, Peter Burger argues that years, this "center for free and experimentalresearch " had been Futurism, Dada, and Surrealism aimed at "the sublation of art able to attract several leading European artists, including into life." A similar consideration might well be made about Matta and Enrico Baj, and had already exhibited some of its the Situationist International (SI), a movement of great ambition and influence whose reflections on art, the city, spontaneity, and the spectacle, have insured it a vital but largely hidden role in 20th century art and politics. ' In what follows I propose to sketch briefly the history of this group from its beginnings in 1957 to its participation (some would say its leading role) in the May '68 events in France, which marked the zenith of SI activity and also the beginning of the group's decline (it was formally dissolved in 1972 by its only two remaining members, Guy Debord and Gianfranco Sanguinetti). More specifically, I would like to emphasize 1) the urban dimension of many SI practices, as seen in the notions of "derive," "psychogeography," and "unitary ur- banism," 2) the importance of play as a technique of diversion and re-appropriation, evident especially in the notion of "detoumement," and 3) the global scope of SI activities, which ranged from poetry to architecture, fiom cinema to urbanism, and which developed as part of the group's totalizing (in Lukacs' sense) critique of capitalist consumer culture. -
Nomadic Urbanities: Constant’S New Babylon and the Contemporary City
Graduate Journal of Asia-Pacific Studies 4:2 (2004), 29-52 Nomadic Urbanities: Constant’s New Babylon and the Contemporary City Julie NICHOLS Centre for Middle East and Asian Architecture (CAMEA), University of Adelaide, Australia. CONTEMPORARY URBAN environments are characterised by shifting relationships with place. A theoretical understanding of ‘place’, in the contemporary context, provides opportunities to investigate the conceptual dialectic of nomadity and urbanity. The concept of ‘nomadity’ includes in its scope both physical and virtual movement; the practice of traversing real space to the capacity of roaming in virtual space. Nomadity, therefore, signifies a dynamic and temporal relationship with locality, characteristic of contemporary urban populations. Urbanity, by comparison, is defined as ‘the state, condition, or character of a town or city’. 1 Understood in a contemporary sense, as signifying stasis by being settled in a place, urbanity becomes the antithesis of nomadity. The notions of town or city are often associated with a type of settlement. The historic connotations of the term settlement relate to fortification and safety as well as to an urban establishment fixed permanently in a desired place. 2 In this paper, nomadic urbanities are introduced to reflect on the rapidly evolving nature of urbanism in today’s globalised world. Nomadity, urbanity and travel are modern issues, and may be translated by city dwellers through imaginings, representations or as physical urban environments. This is not necessarily a trend related to specific regions, but can be localised by certain examples. The focus of this paper is the Southeast Asian city and how it is then situated within the global context. -
THE SPECTACLE 2.0 Reading Debord in the Context of Digital Capitalism the Spectacle 2.0: Reading Debord in the Context of Digital Capitalism
CDSMS EDITED BY MARCO BRIZIARELLI AND EMILIANA ARMANO THE SPECTACLE 2.0 Reading Debord in the Context of Digital Capitalism The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism Edited by Marco Briziarelli and Emiliana Armano University of Westminster Press www.uwestminsterpress.co.uk Acknowledgements The spectacle thus unites what is separate, but it unites it only in its separateness (Thesis 29, 1967) Dobbiamo convincerci che oggi, quanto al risveglio del fattore sogget- tivo, non possiamo rinnovare e continuare gli anni Venti, ma dobbiamo cominciare da un nuovo punto di partenza, sia pure utilizzando tutte le esperienze che sono patrimonio del movimento operaio e del marxismo. Dobbiamo renderci conto infatti chiaramente che abbiamo a che fare con un nuovo inizio, o per usare un’analogia, che noi ora non siamo negli anni Venti del Novecento ma in un certo senso all’inizio dell’Ottocento, quando dopo la rivoluzione francese si cominciava a formare lentamente il movi- mento operaio. Credo che questa idea sia molto importante per il teorico, perché ci si dispera assai presto quando l’enunciazione di certe verità pro- duce solo un’eco molto limitata. (Ontologia dell’Essere Sociale, G. Lukács) Un ringraziamento particolare va a Christian Fuchs per aver discusso in pro- fondità il progetto editoriale e per averlo sostenuto in quanto editore e revisore. Siamo altresì grati a Kylie Jarrett e Eran Fisher per averci incoraggiato nelle fasi iniziali di ideazione. iv The Spectacle 2.0 Alla stesura di questo libro hanno anche collaborato, del tutto involontari- amente, Romano Alquati, Tom Bunyard and Jonathan Crary. -
Diversity & Art: a Virtual Tour
Diversity & Art: A Virtual Tour ChristiaaN Karel Appel The NetherlaNds (1921-2006) UNtitled Work ChristiaN Karel Appel’s art was stroNgly iNspired by the spoNtaNeity fouNd iN the art of childreN aNd the meNtally challeNged, as well as tribal aNd primitive creatioNs. As most of CoBrA artists, Appel was preoccupied with the impact of World War II, aNd hoped that his whimsical creatioNs would alleviate some of the hopelessness brought oN by the horrors that took place at the heart of “civilized” Europe. Especially seNsitive to the sufferiNg of childreN, Appel used bright aNd bold colors, both iNtuitive aNd calculated brushstrokes, creatiNg highly expressive art fraught with joy aNd mischief, hopiNg to exude optimism aNd mitigate the darkness aNd disillusioNmeNt that prevailed iN Europe. A multifaceted artist, Appel worked with paiNtiNg, sculpture, staiNed glass, aNd poetry. IN the US, he collaborated with AlleN GiNsberg, oNe of the most respected AmericaN poets of the Beat MovemeNt, iNcorporatiNg his poetry iNto his art. He also created haNd-woveN wool aNd silk tapestries, a media that allows depth aNd scale, weaviNg images aNd stories through a symbolic use of threads that ruN through all humaNity. About the Artist This major Dutch artist was borN iN Amsterdam, the capital city of The NetherlaNds, aNd begaN paiNtiNg at a very youNg age. From 1940 to 1943, he studied at the State Academy of FiNe Arts, while his couNtry aNd most of Europe were uNder Nazi occupatioN, aN experieNce that left aN iNdelible mark oN both the artist aNd the maN. IN 1948, Appel co-fouNded the CoBrA art movemeNt aloNg with artists Asger JorN, CoNstaNt NieuweNhuys, aNd ErNest MaNcoba, South Africa’s first Black moderN artist aNd CoBrA’s oNly AfricaN member. -
9780816644629.Pdf
COLLECTIVISM AFTER ▲ MODERNISM This page intentionally left blank COLLECTIVISM ▲ AFTER MODERNISM The Art of Social Imagination after 1945 BLAKE STIMSON & GREGORY SHOLETTE EDITORS UNIVERSITY OF MINNESOTA PRESS MINNEAPOLIS • LONDON “Calling Collectives,” a letter to the editor from Gregory Sholette, appeared in Artforum 41, no. 10 (Summer 2004). Reprinted with permission of Artforum and the author. An earlier version of the introduction “Periodizing Collectivism,” by Blake Stimson and Gregory Sholette, appeared in Third Text 18 (November 2004): 573–83. Used with permission. Copyright 2007 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Collectivism after modernism : the art of social imagination after 1945 / Blake Stimson and Gregory Sholette, editors. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8166-4461-2 (hc : alk. paper) ISBN-10: 0-8166-4461-6 (hc : alk. paper) ISBN-13: 978-0-8166-4462-9 (pb : alk. paper) ISBN-10: 0-8166-4462-4 (pb : alk. paper) 1. Arts, Modern—20th century—Philosophy. 2. Collectivism—History—20th century. 3. Art and society—History—20th century. I. Stimson, Blake. II. Sholette, Gregory. NX456.C58 2007 709.04'5—dc22 2006037606 Printed in the United States of America on acid-free paper The University of Minnesota is an equal-opportunity educator and employer.