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Provenance, as the foundational principle of archival studies, dictates that records with the same creator should be organized separately from those of a different creator. This idea of provenance, however, fails to consider different epistemologies of origin. Using an ethnographic study of the Palestinian diaspora in Southeast Michigan, this paper interrogates provenance through Palestinian epistemology and Palestinian futurism to theorize a transformative provenance that positions archival origins as both spatially and temporally unfixed. Rather than rejecting provenance, the concept is a useful departure point to consider how Western understandings of origin and custody can be broadened by other ways of knowing. In this article, I track the origins and custody of memories and stories, the main medium of records in this community, to highlight the culturally specific epistemologies involved in their preservation. I then propose a transformative provenance based on three qualities. First, intergenerational: Chain of custody belongs to both the past and the present, as stories belong to the time of a grandparent's past exile and a grandchild's present diaspora. Second, collective: With the spatial referent of memories being lost, ownership is shared within village kinship networks. Third, imaginative: Origins of memories exist in the past, present, and the future, as those in diaspora use memories to imagine future liberation. By grounding this analysis of Palestinian memory work within the community's conceptualizations of knowledge organization, this paper contributes to current discourse around decolonial recordkeeping, non-Western epistemology, and the management of diaspora archives. [ABSTRACT FROM AUTHOR]

Widespread concern over threats that pose an existential risk to the entire human species has provoked increasing attention and commitment to religious views of digital technology. These apocalyptic expectations of a glorious new digital world draw on American Christianity and play a visible role in tech culture and public life. The reshaping of traditional religions into new, but parallel, technological religions is characterized by a triple transformation of humanity into machines, machines into gods, and the universe into a cosmic and cosmically meaningful computer. [ABSTRACT FROM AUTHOR]

Italy’s long and stratified history offers abundant heritage resources, with Rome serving as a showcase for the architectural embodiment of political and ideological changes over time. Among these periods, the Fascist regime under Benito Mussolini initiated extensive urban and architectural renewal projects, notably exemplified by the Foro Italico, a monumental sports complex that is still actively used. The present contribution retraces the elements constituting Fascist architectural heritage in Italy and explores how Italian people comprehend and interpret the dissonant heritage site of the Foro Italico. Departing from previous approaches, this research employs a conservation perspective, exploring, among others, architectural and socio-cultural values associated with the complex. By analysing the motives underlying its unceasing use, this study seeks to understand why citizens continue to create new experiences and memories at the site despite its contentious ideological symbolism, without undergoing modern damnatio memoriae or de-commemoration processes, thus contributing to ongoing debates on heritage management and the politics of memory. [ABSTRACT FROM AUTHOR]

Context: Our world is characterized by a dynamic landscape of variations, complexities, uncertainties, and ambiguities (VUCA). These elements manifest in various domains, including politics, economics, communication, information, science, and research, all of which significantly impact our lives. It is crucial for policymakers and managers to adopt a forward-thinking approach to comprehend these VUCA elements and their implications for the future. The future will undoubtedly differ from the present and the past. However, humans possess an inherent desire to understand and anticipate the future, particularly in the face of uncertainty. Therefore, exploring and understanding the future is not just a curiosity, but a necessity. Futures Studies can serve as a valuable tool in this context, enabling us to efficiently leverage opportunities and resources to navigate the chaotic environment. Review studies play a pivotal role in this process by reviewing existing work and synthesizing knowledge in a specific field. This study aims to collate findings related to the key concepts of Futures Research, thereby contributing to our collective understanding and preparation for the future. [ABSTRACT FROM AUTHOR]

In this paper I juxtapose Heidegger's account of care with Fink's account of play. The aim of this juxtaposition is to show how Fink's account of human play sheds light on a modality of being that disrupts the futurism that characterizes the caring temporality of Dasein. In sections II and III, I argue that future projection plays a pivotal role in Heidegger's analysis of human existence. In section IV, I discuss Fink's critical reflections on the futurism of human existence. I examine how our care for our own being can have a limiting effect on how we relate to the world. In section V, I discuss some key features of human play that allow us to think of it as an eventful activity that opens up a more flexible relation to the world. In the final section, I discuss how Fink's account of play overcomes some of the issues raised in relation to Heidegger's prioritization of the future. [ABSTRACT FROM AUTHOR]

Copyright of Art Vision is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The futurist myth of speed was constructed around the possibility of a new subjectivity emanating from the altered sensations of a subject in motion. This myth of speed along with that of machinery emanated from an obsession with technological progress and its effects on the human subject. Like the majority of futurist myths, however, this subject on-the-move and his/her most typical experiences were constituted through a set of conflicting and ambiguous notions. This new subject, supposedly devoid of a hermetic identity, comprised multiple “beings,” each blurring into the new assemblages through which s/he travels. Yet, the experience of speed and the intensified perception it entails empowered the very same subject by reconstituting a strong sense of self. This paper analyzes some of Umberto Boccioni’s artworks, focusing particularly on the theme of the deconstruction and reconstruction of subjectivity via speed, movement and the type of represented mobility.

The article raises the question of the folklorism of V.V. Mayakovsky, whose artistic heritage in literary criticism from these positions has been little studied. The latent forms of penetration of the folk tradition into the poetics of the author of the beginning of the 20th century are considered. Folklore in the study is understood comprehensively, culturally and philologically expanded, taking into account the forms of myth, ritual, that is pre-genre formations. The material for the hermeneutic analysis was the poem "An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha", which is especially distinguished by literary critics in the poet's work. Much attention is paid to the problem of national topics, the archetype of the World Mountain in the verbal culture of modernism, whose representatives were acutely aware of the problem of feeling space and time, "top" and "bottom", "day" and "night". The folklore commentary on the poem also allows rethinking many issues of the poet's work from ontological and metaphysical positions. This poem has a great cultural potential for the study of solar images in the Russian poetry of the Silver Age, artistic anthropocosmism, which was associated with the philosophy of cosmism. The results of the work can also be used in teaching courses on Russian literature of the XX century, folklore, philosophy.

Modeling the theory of the Ukrainian pictorial avant-garde based on the study of the theoretical views of avant-garde artists is an urgent scientific task of art history. The theory of the avant-garde unites a number of concepts of co-existing artistic currents with its ideals of the human creator and constitutes a certain integral essence of various aesthetic and artistic features. Avant-garde art, as the art of a new and unknown future, needed a theoretical basis for explaining the nature of artistic creation, interpreting it as a synthesis of the conscious and unconscious, the role of the artist and the viewer in their dialectical unity, the importance of the artistic process in social progress. Davyd Burlyuk became a bright follower of the ideas of the avant-garde, which stood out in addition to artistic creativity and its theoretical justification. The Ukrainian avant-garde is built on David Burlyuk’s concept of movement and change. At the center of the artist’s theoretical views is the creative personality with its freedom of choice of individual self-expression. The artist’s views on the essence of avant-garde art became the theoretical basis of the avant-garde in the crowd of traditional ones, which allowed the new art to occupy its own separate place. David Burlyuk’s theoretical canons for the construction of the composition of the work by the method of shifted construction, multiple perspective, texture, color space, free drawing are the basis of the creation of a new pictorial language, new aesthetics and the reconstruction of the artistic space of culture and a contribution to its development. The formation of the worldview basis of the artist’s creativity took place on the basis of the traditions of his own national culture in organic unity with the European trends of renewal of the artistic space, which is a significant contribution to the development of the world avant-garde.

The future of philosophy and the future of humankind-in-the-world are intimately related, not only (i) in the obvious sense that all philosophers are “human, all-too-human” animals—i.e., members of the biological species Homo sapiens, and also finite, fallible, and thoroughly normative imperfect in every other way too—hence the natural fate of all human animals is also the natural fate of all philosophers, but also (ii) in the more profound and subtle sense of what I’ll call philosophical futurism. Philosophical futurism is a critical, synoptic, and speculative reflection on the fate of humankind-in-the-world, with special attention paid not only to what humankind-in-the-world (including philosophy itself) will most likely be, if things continue to go along in more or less the same way as they have been and are now going, or could conceivably be, as in science fiction or other forms of imaginative projection, but also to what what humankind-in-the-world (including philosophy itself) ought to be, and therefore (assuming that “ought” entails “can”) can be, as the direct result of our individual and collective free agency, for the purpose of rationally guiding humankind in the near future. In my essay, I very briefly present, defend, and strongly recommend a version of philosophical futurism that I call Kantian futurism.

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Foreign Language & Literature Research is the property of Central China Normal University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of GRID - Architecture, Planning & Design Journal is the property of GRID - Architecture, Planning & Design Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Context: Our world is characterized by a dynamic landscape of variations, complexities, uncertainties, and ambiguities (VUCA). These elements manifest in various domains, including politics, economics, communication, information, science, and research, all of which significantly impact our lives. It is crucial for policymakers and managers to adopt a forward-thinking approach to comprehend these VUCA elements and their implications for the future. The future will undoubtedly differ from the present and the past. However, humans possess an inherent desire to understand and anticipate the future, particularly in the face of uncertainty. Therefore, exploring and understanding the future is not just a curiosity, but a necessity. Futures Studies can serve as a valuable tool in this context, enabling us to efficiently leverage opportunities and resources to navigate the chaotic environment. Review studies play a pivotal role in this process by reviewing existing work and synthesizing knowledge in a specific field. This study aims to collate findings related to the key concepts of Futures Research, thereby contributing to our collective understanding and preparation for the future.

AI Amok (2020), directed by Yu Irie, offers an incisive exploration of artificial intelligence’s role in a near-future Japanese society and is set in the year 2030. Employing the analytical framework provided by Bordwell and Thompson’s Film Art: An Introduction, this research explores the film’s narrative construction, visual storytelling techniques, and its thematic depth, particularly focusing on the portrayal and implications of artificial intelligence. Distinct from the often distant futures depicted in science fiction cinema, AI Amok presents a vision of the future that mirrors current technological trajectories, especially in healthcare and urban development. This stands in contrast to films like Blade Runner 2049 (2017) and Her (2013), which envision more abstract futures. AI Amok thus distinguishes itself through a narrative that integrates AI into societal fabrics, confronting the ethical quandaries this integration elicits. The analysis reveals a scenario that feels immediate and tangible, offering a credible sight into the technological advancements and challenges of the near future. Moreover, the study highlights AI Amok’s nuanced depiction of AI’s roles within healthcare and government, suggesting a reflection on and projection of these technologies’ evolving paths. Unlike the overt technologization seen in The Matrix (1999) or Ex Machina (2014), AI Amok opts for more subtle visual effects to convey AI’s ubiquity, providing a unique perspective on AI’s potential to shape societal dynamics. This approach enriches the discourse on science fiction cinema, contributing a distinctive viewpoint to the ongoing debates concerning the ethical development and integration of artificial intelligence in real-world contexts.

In this article, written after visiting the exhibition of works by M.A. Vrubel at the State Tretyakov Gallery in Moscow in the winter of 2021–2022, the author shares some of his impressions of the event. Vrubel appears as an innovator who predicted and anticipated in his work many phenomena in the art of the coming 20th century. The author examines the influence of Vrubel’s creative work on the artists of the Russian avant‐garde and the perception of his works by the masters of new trends in art. The purpose of the study is to analyse various connections between the young Russian artists of the 1900s‐1910s and the art and searches of Vrubel. The novelty of the work lies in the fact that this topic has not been fully studied to date. The significant exposition of Vrubel’s works at the Tretyakov Gallery provided a lot of new material for studying the influence of the artist’s work on the masters of the Russian art of the 20th century. In the article special emphasis is placed on the consideration of the last period of the master’s work associated with his illness. From the point of view of a modern researcher this period is a significant and completely independent phenomenon that completed his work of the 19th century and opened up new opportunities for the art of the 20th century. Research material for this article is presented by the works of Vrubel shown at the exhibition in the Tretyakov Gallery in 2021–2022, the memoirs and testimonies of the artists of the early 20th century, and subsequent works of the art historians of the 20th century.

In Totò’s proletarian mask, in his incessant gesticulation, in the linguistic paradoxes that characterise it, the traces of a stratified comic culture are instinctively condensed: from Aristophanes and Plautus to the commedia dell’arte, from medieval jesters to jonglerie. All debts that have been variously indicated and investigated by scholars and that have as their common denominator the technique of improvisation codified in 1699 by the Palermitan jurist Andrea Perrucci, author of the treatise Dell’arte rappresentativa premeditata. Add to this the Marinettian allure that can be discerned in the mechanicalness of the movements and in the disarticulation of the body, which brings to mind the studies of Fortunato Depero who, in the 1910s, was interested precisely in the mechanical aspects of theatrical acting. The «physicofollia», with its examples of fast, irreverent and polyexpressive theatricality that Marinetti posed as a condition for a renewal of the theatre, provided multiple cues for overturning the modes and structures of traditional theatre and for introducing into contemporary dramaturgy those elements of estrangement that we will find in the work of Luigi Pirandello, Bertolt Brecht, Samuel Beckett, Eugène Ionesco and in surrealism.

The future of philosophy and the future of humankind-in-the-world are intimately related, not only (i) in the obvious sense that all philosophers are "human, all-too-human" animals--i.e., members of the biological species Homo sapiens, and also finite, fallible, and thoroughly normative imperfect in every other way too--hence the natural fate of all human animals is also the natural fate of all philosophers, but also (ii) in the more profound and subtle sense of what I'll call philosophical futurism. Philosophical futurism is a critical, synoptic, and speculative reflection on the fate of humankind-in-the-world, with special attention paid not only to what humankind-in-the-world (including philosophy itself) will most likely be, if things continue to go along in more or less the same way as they have been and are now going, or could conceivably be, as in science fiction or other forms of imaginative projection, but also to what what humankind-in-the-world (including philosophy itself) ought to be, and therefore (assuming that "ought" entails "can") can be, as the direct result of our individual and collective free agency, for the purpose of rationally guiding humankind in the near future. In this essay, I very briefly present, defend, and strongly recommend a version of philosophical futurism that I call Kantian futurism. [ABSTRACT FROM AUTHOR]

Copyright of Chinese Journal of Slavic Studies is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay explores how Mina Loy’s ambiguous personal, poetic, and political status provides a window into the fraught, multifarious nature of British feminist politics between 1900 and 1920. Loy’s poetry and polemic intervene in a turn-of-the-century debate being waged over the construction of women’s identity categories—a debate that also had implications for the relationship of practical politics to Modernist aesthetics. While women’s political movements were already diverse and fragmented before the 1903 split between the Women’s Social and Political Union and the National Union of Women’s Suffrage Societies, the period between this schism and the winning of the vote in 1918 was marked by an increased attention to political tactics and strategy. Reading Loy’s “Feminist Manifesto” (1914) and her multi-part parodic poem “The Effectual Marriage, or, The Insipid Narrative of Gina and Miovanni” (1915) against the backdrop of the tumultuous development of early twentieth-century feminist movements, this article demonstrates that feminism in this period is best understood not as a struggle culminating in the vote, but rather as a vicious, and often strange, battle over how to build a new rhetoric of women’s identity. [ABSTRACT FROM AUTHOR]

The article analyzes climate fiction utopia ‘Ministry for the Future’ by Kim S. Robinson. The analytical method relies on the framework of sociotechnical imaginaries proposed by Sheila Jasanoff and Sang-Hyun Kim and combines it with the critical history of science and feminist studies of care. Since in the process of writing the novel its author went through numerous consultations with scientists, in the article this oeuvre is analyzed both as a piece of science fiction and as a futurology essay. It is examined how the institutions of science are portrayed, how society of citizens is imagined and how this vision of the future remains trapped in the misconceptions regarding science that result from the Cold War modernistic propaganda of science. On the basis of this analysis, the article offers a discussion of how the imaginaries of Anthropocene are likely to repeat such tropes, unless history of science and sociology of science during the Cold War becomes a necessary part of the Anthropocene studies. [ABSTRACT FROM AUTHOR]

This article focuses on the aesthetics of European pop music in the aftermath of the 2019–23 COVID-19 pandemic. I will suggest that this created the perfect conditions for the proliferation of a new kind of pop. Euphoric in tone, post-pandemic pop has been orientated towards the dance floor, nostalgic for 1980s sounds and unconcerned with lyrical complexity. However, it is not without pathos. I will argue that the interpolation of 1980s synth-pop is a symbolic return to the AIDS crisis. I will suggest that musical codes aestheticize sadness in a way that is both familiar and distant. In this direction, film and television soundtracks are particularly potent. Russel T. Davies's It's a Sin (2021) screened at the height of the pandemic became a lens through which many understood COVID-19, with music a tool for processing loss, longing and tragedy. The proliferation of disco during this period repositioned the genre as a contemporary form. Focusing on the summer of 2023, however, I will contend that in the revival of Italo disco, we encounter futuristic sensibility, which perfectly fits the post-pandemic mood. A paradoxical gift from our 1980s ancestors, Italo could be the key to unlocking the paralysis of never-ending reminiscence. It is time to turn the lights on the disco and explore the contemporary resonance of a genre that has always existed in the shadows. [ABSTRACT FROM AUTHOR]

Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents a history and stylistic analysis of the avant-garde furnished apartment-studio of the Italian Futurist Giacomo Balla (1871-1958), commonly known as Casa Balla. The decor and the painterly interior design of the flat portray the utopian premise of 1920s Futurism, which aimed at a modern synthesis of the arts and their complete integration into reality, in an intimate way. The author of the essay describes the current state of the "Balla House", which, after many years of oblivion, has been restored and opened to the public in a new arrangement in 2021. [ABSTRACT FROM AUTHOR]

In the system of the main trends of Art Nouveau architecture (neoclassicism, neo-Romanticism, rationalism, irrationalism), futurism belonged to irrational trends in which avant-garde aesthetics, which denied Art Nouveau, was formed. Creative attitudes, artistic practice and life position of Sant’Elia lay in the mainstream of futurism, which played the role of a powerful artistic impetus. The futuristic epos of Sant’Elia was far ahead of the most rationalized architecture of the late nineteenth and early twentieth centuries. He suggested thinking in terms of the city as a design unit, rather than individual buildings or fragments of urban layouts.

Faced with a global decline in the principles of equality, freedom, transparency, and accountability, democracies must respond by turning their attention inward – and crafting a model that leads by example. Dealing with the advent of 21st-century surveillance methods is a place to start, because it presents both issues of justice and equity at home and novel national security threats abroad. This analysis offers an initial roadmap for American and aligned countries' policymakers to pursue the democratic surveillance ideal. [ABSTRACT FROM AUTHOR]

Abstract With the input of 16 experts from a variety of social studies disciplines—including anthropology, art, communication, curriculum and instruction, economics, geography, history, law, measurement and assessment, philosophy, politics, psychology, social studies education, sociology, technology, and Turkish language and literature—as well as two social studies teachers, the goal of this research is to determine the competencies that a social studies teacher should possess in 2050. This mixed-method research was designed using the exploratory sequential design and modified Delphi technique. The study group was determined using the maximum variation sampling technique. The whole Delphi process was carried out online due to the COVID-19 pandemic. The analyses showed that the participants agreed on 1 competency under the “Knowledge” theme, 24 competencies under the “Skill” theme, and 6 competencies under the “Attitude” theme regarding the competencies that a social studies teacher should possess in 2050.

Review: Marta Rakoczy Władza liter. Polskie procesy modernizacyjne a awangarda (The Power of Letters: Polish Modernization Processes and the Avant-Garde), Krakow: Wydawnictwo Uniwersytetu Jagiellońskiego, 2022. [ABSTRACT FROM AUTHOR]

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Professionalized nursing and anarchism could not be more at odds. And yet, if nursing wishes to have a future in the precarious times in which we live and die, the discipline must take on the lessons that anarchism has on offer. Part love note to a problematic profession we love and hate, part fever dream of what could be, we set out to think about what nursing and care might look like after it all falls down, because it is all falling down. Drawing on alternate histories, alternate visions of nursing history, we imagine what nursing values would look like, embracing anarchist principles. We consider examples of community survival, mutual aid, and militant joy as strategies to achieve what nursing could be if nurses put an end to their cop shit, shrugging off their shroud of white cisheteropatriarchal femininity that manifests as professionalism and civility. We conclude with a call to action and a plan for skill-building because this can all be different. [ABSTRACT FROM AUTHOR]

This article explores the dilemmas of progressive legalism during the Vietnam War years (1965–1975) by investigating the history of the Russell Tribunal. Scholars have argued that the 1960s witnessed a flourishing of anticolonial legalism, as activists sought to purge international law of its imperial origins. However, as the history of the Russell Tribunal shows, the transformation of law from a handmaiden of empire into a tool of anti-imperial resistance was not straightforward. This article examines the strategies employed by activists to overcome international law's imperial biases. It argues that activists focused on developing a 'jurisprudence for the future', a mode of activism aimed at constructing international rules and norms that challenged, rather than sustained, European domination. By advocating for a future-oriented activism, tribunal members sought a temporary solution to the predicament of law's imperial leanings. They defended their use of international law by asserting that their protests would contribute to the emergence of a future and more emancipatory international law. Nevertheless, an examination of the World Tribunal on Iraq (2003–2005) reveals that this envisioned future international law has yet to materialize. This article highlights the significance of futurism in the history of anticolonial lawyering and suggests that scholars should evaluate the limitations of a future-oriented legal activism. [ABSTRACT FROM AUTHOR]

This article looks at the relationship between the scholar and collector Nikolai Khardzhiev and the artist Kazimir Malevich, tracing the origins and the development of the friendship between the two men. The text also examines the various ways in which Khardzhiev protected and preserved the artist's legacy, not only by collecting and interpreting his paintings, drawings, and manuscripts, but also by pointing out the mistakes and misunderstandings that surrounded Malevich and his work, especially in the literature about the artist produced in the West. [ABSTRACT FROM AUTHOR]

Apparently, the most common debate in post-revolutionary Iran is the debate between "Tradition" and "Modernity," which ultimately has manifested in the two fronts of "Traditionalism or Fundamentalism" and "Reformism or Moderation." These two fundamental dichotomies have shown themselves in every crisis and transformation, and political parties and movements in Iran have grown and been able to attract public opinion and create a social base on the basis of this general rift in Iranian society. The present study aims to answer the main question of ‘How the future structuring and configuration of political movements in the Islamic Republic of Iran will be?’ And ‘What scenarios can be envisioned in this regard?’ To this aim, a qualitative document analysis method was used and data collected using the tool of fishing from various sources. Additionally, by employing the scenario-writing method, it delves into examining the future structuring and configuration of political movements in the Islamic Republic of Iran. Hence, three scenarios or configurations in the arrangement of political forces in Iran are conceivable: Continuation of the arrangement and structuring of political movements in the form of fundamentalism and moderation, reinterpretation and reconstruction of the principles and discursive elements of political movements known as fundamentalist and reformist and formation of a new arrangement and configuration. [ABSTRACT FROM AUTHOR]

Object. The evolution of the art of modernism and avant-garde is analyzed and the bases of their stylistic specification is described. It is elucidated the conceptual essence of the relations between modern and avant-garde as two concepts of the first stage of the evolution of modern art. They show the internal contradiction of the process of artistic creativity. Scientific novelty. Philosophical and aesthetic concepts of modernism and avant-garde are considered. It is noticed that each concept is characterized by a variety of styles that reflect specific ideas and trends of their time. The divergence between these concepts is manifested in the difference in the methods of expression, as well as in the attitude to the socio-cultural traditions and the history of art. The development of the stylistics of modernism from cubism to expressionism and from futurism to surrealism is determined. This process takes place when the means of expression typical for modernism are outlined more embossed and candidly. «Analytical and synthetic» painting from cubism to expressionism manifests itself through the dynamics of compositions, the intensity of lines, the contrast of colours, which embody the mysticism and energy of simplified forms. On the way from futurism to surrealism, the search for ways to represent the reality carries out a kind of “murder” of painting, using an unexpected combination of images, transformation effects, automatism in painting. The analysis of dadaism, suprematism and constructivism revealed that the formation of the stylistics of avant-garde takes place on the way from the philosophy of anti-art through the assertion of the aesthetic idealization of abstract forms to the philosophy of the constructivity of art in socio-cultural space and time. Results. It is determined that the conceptual relationship between the modern and the avantgarde describes the internal contradiction of the process of artistic creativity, the possibility of the realization its socio-cultural and technical and technological aspects. It is elucidated that the evolution of stylistics from sensuous and irrational to abstract and logical, from the absolutization of form to the conceptuality of content reveals the logic of the contradiction between modernism and avant-garde as a reflection of the diversity of philosophical ideas and socio-cultural standards of the epoch. It is shown that the styles of modernism from cubism and expressionism to futurism and surrealism were manifested as the attempts to express the sensuous and emotional aspects of the world through bright colours, dynamic forms and irrational images. Avant-garde in the styles of dadaism, suprematism and constructivism focused mainly on abstraction, decomposition of form and conceptual elements of art. Conclusions. Philosophical reflections on the stylistic specification of artistic trends can help to reveal the logic of the emergence and development of artistic styles during the evolution of forms and techniques of modern art, in particular postmodernism and contemporary art. [ABSTRACT FROM AUTHOR]

The subject of the article is to investigate the influence of futuristic architectural concepts on the work of the Russian cubofuturist Velimir Khlebnikov. The theme of the presence in the poet's formal poetry of elements convergent with an organic tendency in design and architecture, developed in the circles of Russian constructivists, is of particular importance here. The research material consists of both poetic and journalistic-prose texts, in which the author directly refers not only to urban architecture, but also shows a deep understanding of the essence of the phenomena of the city and home. The research showed the relationship between the form of the text and its semantic potential in imaging urban space. The work in its empirical part is focused on theoretical and literary research, with particular emphasis on the analysis of versification patterns of poems. [ABSTRACT FROM AUTHOR]

An interview with Mumbai-based contemporary artist Sahej Rahal discusses the potential of artificial intelligence-driven simulations and images to engage issues of temporality. The interview considers the AI simulation Anhad (2023), in which a tripedal figure is both driven by noises in the gallery and creates a haunting song with each step. It examines the implications of the work’s juxtaposition of various modes of temporality within and beyond an Indian political landscape dominated by a Hindu nationalist, authoritarian regime. Moving to a suite of AI-generated still images called Black Origin (2022), the conversation assesses the challenge artificial intelligence makes to photography. It contextualizes those images as they were presented in an exhibition that both reflected on the seventy-fifth anniversary of India’s independence and speculated about the country’s future. [ABSTRACT FROM AUTHOR]

This study investigates the link between futurism and the environment from a historical perspective by studying how the future of 'nature' is imagined in two Egyptian speculative texts written during the 20th century, specifically, an essay entitled 'Baʿd miʾat sana' ('One Hundred Years After') written by the Lebanese writer and intellectual Jurjy Zaydan in 1900 and the novel as-Sayyid min Haql al-Sabanikh (The Gentleman from the Spinach Field), published by the writer and journalist Sabri Musa in 1987. Although written more than 80 years apart, both texts speculate what Egypt will be like in the future, and both anticipate a 'return to nature' (al-rujūʿ ila al-tabiʿa). Borrowing insights from Middle Eastern environmental history and utopian-dystopian literary studies, the study places the texts within a larger speculative literary trend in the Arab region and elsewhere that interlaces with changing notions of environmental futures. Besides, it interprets the futuristic imagination of the two authors in light of the environmental and urban transformations occurring in Egypt during the 20th century. The comparative analysis of the two texts shows that while Zaydan anticipated a utopian future world where humans could rule and exploit 'nature' to progress towards a better future, thus reproducing in large part a colonial environmental imaginary, Musa's dystopian vision is based on a conception of the human than does more harm than good to 'nature', and on the belief that 'nature' could eventually revolt against human control. [ABSTRACT FROM AUTHOR]

An interview with Mumbai-based contemporary artist Sahej Rahal discusses the potential of artificial intelligence-driven simulations and images to engage issues of temporality. The interview considers the AI simulation Anhad (2023), in which a tripedal figure is both driven by noises in the gallery and creates a haunting song with each step. It examines the implications of the work’s juxtaposition of various modes of temporality within and beyond an Indian political landscape dominated by a Hindu nationalist, authoritarian regime. Moving to a suite of AI-generated still images called Black Origin (2022), the conversation assesses the challenge artificial intelligence makes to photography. It contextualizes those images as they were presented in an exhibition that both reflected on the seventy-fifth anniversary of India’s independence and speculated about the country’s future.

Directions (styles) in culture have different reserves of strength and different inertia. Among them there is a unique one capable of revival. It is classicism, which is characterized by a timeless understanding of the laws of harmony and beauty based on the forms and images of ancient art of Greece and Rome. Classicist thinking and classicism did not leave European culture in the 20th and 21st centuries, but its forms changed. The grafting of art nouveau, avant-garde and postmodernism into classical art and architecture did not pass without a trace. Antagonists shook the established norms and left, while classical art and architecture expanded the range of creative possibilities and revived, preserving the basic principles.

To explain traumatic events and situations in opposition to the official and prevailing versions, conspiracy theories establish casual links dating back to the past where the plot responsible of the present evil was presumably forged. This relationship with the past has been studied, unlike its other temporal horizon, the future. This article addresses that nexus through the analysis of a corpus of conspiracy discourses about the Covid-19 pandemic. In their references to the hideous social-political implications of the health crisis, three dystopic visions were identified: the world government; the fertility dystopia; and the technodystopia. As the results show, the enunciators are well-versed in using dystopian conventions for criticising power. Moreover, their social and political heterogeneity suggests certain democratisation of futurist imagination. Finally, this kind of conspirationism is prone to reduce the future to a unique grim scenario, an extreme case of defuturization, according to Niklas Luhmann’s terminology. Para explicar hechos o situaciones traumáticas en oposición a las versiones oficiales, las teorías conspirativas establecen conexiones causales que se adentran en el ayer en donde se gestó el complot responsable de los males. Esta relación con el pasado ha sido estudiada, cosa que no ocurre con el futuro. El presente artículo aborda el vínculo del conspiracionismo con el porvenir a través del análisis de diversos discursos sobre la pandemia de Covid-19. En sus descripciones de los regímenes odiosos que se impondrían con la excusa de la crisis sanitaria, detectamos tres visiones distópicas: el gobierno mundial; la distopía natalista; y la tecnodistopía. Su examen permite observar que sus enunciadores critican los poderes establecidos mediante un uso diestro de las convenciones distópicas; segundo, su heterogeneidad acredita cierta democratización de la imaginación futurista; y tercero, el conspiracionismo pandémico se muestra proclive a reducir el mañana a un único escenario calamitoso: un caso extremo de desfuturización según la terminología de Niklas Luhmann.

The term "brand", which is closely associated with the concepts of "branding," signifies the vision and identity surrounding a product during its design phase in the marketing sector. The most effective way to define a brand's identity is through its three-dimensional perception. The architectural space, acting as the storefront of the brand, holds significance in visually presenting the initial perception of the product. This study examines the interaction between the product design that has propelled the branding of a globally renowned handbag company and its spatial design, utilizing the method of observational analysis. The esteemed handbag brand, which has maintained its classical style for years, has been trying to attract attention by incorporating futuristic models since 2019, thereby rejuvenating its image. The study focuses on the examination of architectural design criteria that reflect the corporate identity.