Manifestos

Toward a New Architecture is a manifesto written by Le Corbusier. The manifesto has seven essays under the title of argument. These essays can be listed as the engineer's aesthetic and architecture, three reminders to architecture, regulating lines, eyes which do not see, architecture, mass-production houses and architecture or revolution. Each of them, under an influence from Adolf Loos's ideas; are rejecting eclectism as common idea and heading to functualism.

Kamuoyuna herhangi bir konunun duyurulması için yazılan metinler olarak mani-festolar, yayımlanmaya başlandığı ilk dönemlerde daha çok toplumsal ve siyasal konularda olmakla birlikte 20. yy birlikte sanatsal yeniliklerin çağrı bildirileri halini almıştır. Geleneksel edebiyatı çağdaş edebiyatla sentezleyip, sosyal gerçekçi edebiyat anlayışına itiraz eden Hisarcılar, bir çıkış manifestosu yayımlamamıştır. Derginin ilk çıkışından 17 yıl sonra Türk edebiyatında ilk kez bir radyo programında Rıdvan Çongur’un sorduğu soruya Mehmet Çınarlı’nın verdiği cevap üzerine şekil-lenen Hisar manifestosu daha sonra derginin 38 ve 39. sayılarında “Radyoda Hisar Saati” başlığıyla yayımlanmıştır. Manifesto, politik görüşlerin sanatın konusu hali-ne gelmesine ve batılı edebiyatların taklit edilmesine itiraz eden ilkeler içermekte-dir. Ayrıca Hisarcıların sanat görüşü olan geleneksel Türk edebiyatını kaynak olarak benimseme ve yaşayan Türkçeyi savunma da manifestonun içerdiği ilkelerdendir. Bu yönleriyle “Radyoda Hisar Saati” manifestosuyla Hisarcılar, Garip’e, sosyal gerçekçi edebiyat anlayışına ve İkinci Yeni’ye itiraz etmiştir. “Biz” dilinin baskın olduğu manifesto, bir cephe oluşturarak karşı çıktığı edebiyat görüşlerini “öteki” ilan etmiştir. Bu makalede Hisarcıların manifestosu olan “Radyoda Hisar Saati” metninde belirtilen ilkelerin manifestik yönlerini ele almaya çalıştık.

Toile intergalactique qui relie les filaments des cosmes. Structures et ordres anarchiques ou hiérarchiques qui organisent l’Univers. Relations entre les mondes vivants et visibles jusqu’aux dimensions ineffables de la conscience. Ginnungagap, Hundun, Ma (間), abysse ou abyme, néant baillant, confusion boueuse, espace négatif, le chaos primaire et primordial, le vide originel, l’avant. Océan cosmique, rivières et fleuves d’âmes, individualité en gouttelettes ou atomes de pluie.

Du grec cosmo- « monde » et gon- « engendrer », la cosmogonie se fonde sur les histoires de la création, spécifiquement celle de la Terre et de l’arrivée des humain,es. Sans vouloir essentialiser, le leitmotiv que l’on retrouve, à travers les croyances multidimensionnelles, est l’Unicité qui s’est incarnée par des formes propres aux contextes spatio-tempo-culturels. Souvent, il y a question de relation entre les astres et les vivant,es de la Terre, d’Esprits-Maîtres se divisant en mitoses, de déluge et autres cataclysmes de la Nature, de taxonomies des entités entre elles, de guides offrant morales et conseils (au plus faibles), ainsi que, parfois, de omens (présages spirituels) ou explications des séquences menant à la finalité, dans le sens d’Apocalypse ou de jugement dernier. 

Ladite incarnation des formes des formules, des propos propres à la pluralité des fois diverge par ses symboles. Dans cette lancée, nous croyons que « la différence entre le symbolisme magique et le symbolisme algébrique disparaît si on croit dans l’efficacité du symbole, et elle apparaît si cette croyance est dissipée. » (Descombes, 2009: 448)   

In this roundtable from the Department of Studies in Religion at the University of Sydney, we get a variety of religious studies approaches to subject of manifestos and their creators. Join Carole Cusack, Alana Louise Bowden, Ray Radford, Sophie Roe, and Anna Lutkajtis as they unpack the discourses surrounding manifestos and topics ranging from the consumerization of religion and Anders Breivik to the Unabomber manifesto and Artaud's theatre of cruelty. It's a fascinating conversation from a great group of scholars, so have a listen! Not convinced? Try a sneak peak!

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.

Pino Masnata (1901-1968), surgeon, Futurist poet and dramatist, co-authored the Futurist Radio Manifesto with F. T. Marinetti, the founder of Futurism.

In 1933 F. T. Marinetti and Pino Masnata described a new radio art in Manifesto futurista della radio, published in the Gazzetta del Popolo of Torino. In 1935 Masnata, worried that the manifesto’s abstruse references to wave motion and the behavior of sub-atomic particles might be overlooked, wrote a 51-page gloss that begins, “The Futurist Radio Manifesto needs some explanation because it contains a synthesis of numerous modern scientific and artistic tenets. Only someone who stays informed of the current trends in human ideas can understand the full significance of our Manifesto and dispense with the explanation.”
Masnata’s gloss “Radia, not Radio” (“Il Nome Radia”) is introduced and annotated within the context of politics and science in Italy in the 1920s and 30s. Appendices to the volume include translations of Masnata’s radio sintesi and Radio Corriere’s transcription of Marinetti’s 1933 eyewitness radio broadcast of Italo Balbo’s landing of the Atlantici in Rome, as well as a brief history of early Italian radio and tables listing hundreds of Futurist radio programs and broadcast-related documents by and about the Futurists—photographs, reviews, articles, photographs, cartoons, and advertisements.

Intended audience: This previously unpublished manuscript is a source book for media studies, art and literature of the first half of the twentieth century. This book is now being used as a textbook in fields of contemporary Italian literature, history of electronic media, radio art, and twentieth century art.

Update: first edition is sold out. Some publishers' returns are available  on Alibreis.com and there are used copies offered on the web. Try this site and support new music: <http://webstore.otherminds.org/products/radia-a-gloss-of-the-1933-futurist-radio-manifesto>

In India two factors override others by their sheer magnitude:
• a building is the outcome of a handmade craft tradition and not industrial production &
• the majority of the population lives in small towns and villages and builds without architects.
The architecture of Asha & Prabhakar Baste is relevant because it addresses itself to both these issues. Their process of construction forges links with the craftsmen; and their buildings are designed to be prototypes. Their style has a simplicity, rigor, and deductive logic that paves the way for a new vernacular.

(This essay argued for Design/Build at a time when it's acceptance was frowned upon by the Indian Institute of Architects)

“A televisão possui dois defeitos: a sua radical passividade, física e imaginativa, e a distorção da realidade.”
“A televisão é má, portanto, intrinsecamente, como também o é extrinsecamente.”
“Como primeira medida, destruam o vosso aparelho de televisão.”
John Senior, A Restauração da Cultura Cristã

Queria contar um conto, mas um conto para levar a sério, como era antigamente com os contos que ouvíamos dos nossos avôs...
Agora mesmo, nesta hora em que vos escrevo, ela está ali, pendurada num lugar alto para obrigar as gentes a olhar para cima. Ali, precisamente naquele lugar, esteve já uma imagem de Santo António. Estou num café antigo, o leitor já terá adivinhado talvez, pois terá reparado que nos cafés, restaurantes ou mesmo nos tascos onde antes estavam imagens de santos, está agora uma televisão.
Nestes tempos, em que nos coube viver e em que se trocam santos por televisões, parecem andar os demónios à solta. Não, não se trata de uma metáfora: os demónios andam mesmo à solta, tomaram conta já de boa parte dos homens; quando não de um modo constante, pelo menos com intermitências... Nós sabemos que a vitória final não é deles, mas pelo caminho ficam muitas almas!
É para contar a história de um destes demónios que este manifesto é escrito. Estou certo de que só loucos ou crianças perceberão do que se trata, mas isso também é um sinal dos tempos; como diz São Paulo: “a sabedoria deste mundo é loucura diante de Deus”. (1Cor 3, 19).

Contains Julian Roberts's original 2002 Subtraction Cutting online 'school lessons':
The 'Absolute Basics of Geometry', 'Tunnel Technique', 'Plug Technique', and 'Displacement Technique';
plus Julian's 2006 Professorial Lecture notes 'Against the Grain: Adventures in Creative Pattern Cutting';
his 2010 Design Manifesto 'Pattern Landscapes';
and an 'idiots guide' to making a fabric tube in preparation for the 'Tunnel Technique', involving Julian's two cats Treacle and Lulu.

„Es wird keine Bilder mehr geben“ hieß es 1965 wörtlich im „Antiobjekt-Manifest“. Es wird keine Bilder mehr geben! war auch der Titel einer Ausstellung im Atelierhaus Salzamt zu künstlerischen Manifesten. Studierende und Lehrende der Kunstuniversität Linz stellten im April und Mai dort aus. Anna Maria Loffredo und Andreas Zeising berichten als Lehrende.

O presente artigo pretende realizar uma reflexão acerca do gênero manifesto, entendido como uma das formas textuais mais características da modernidade. Pretende-se analisar como o manifesto ultrapassou os limites de uma temática essencialmente política para abraçar a literatura e as artes plásticas, transformando-se em um instrumento de ação e de vivência estética tipicamente modernistas. A partir das relações entre texto, artista e público, o manifesto tornou-se o propulsor de uma nova literatura, aquela que se constitui principalmente como ação, gesto e contínuo devir. Abstract Resumo Palavras-chave This article intends to reflect on the genre of the manifesto, understood as one of modernity's most characteristic textual forms. It seeks to analyze how the manifesto exceeded the limits of essentially political themes to embrace literature and the fine arts, becoming an instrument of action and experience typical of the modernist aesthetic. From the relationship between text, artist and audience, the manifesto became the propeller of a new literature, one that mainly constitutes itself as action, gesture and continuous becoming Modernity,

Este é um manifesto  sobre a participação e experiência religiosa de jovens, católicos/católicxs, LGBTQUIA+ no interior das comunidades religiosas católicas. Trata-se de reivindicar um lugar  para as juventudes LGBTQIA+  no âmbito da experiência religiosa, que são, dentro da Igreja Católica, percebidos e construídos como “sujeitos desviantes”.O manifesto toma como marco os estudos de gênero, as práticas e experiências pastorais no contexto do Sínodo das Juventudes convocado pelo Papa Francisco, em 2016, e seu instrumentum laboris.

* Este manifesto compôs a comunicação apresentada pelo autor no “III Simpósio Nacional Aproximações com o mundo juvenil”, sobre a análise da trajetória de jovens lgbtquia+, em comunidades religiosas periféricas”, cujos resultados da pesquisa serão apresentados em artigo.

Este é um extrato do prólogo de O Segundo Manifesto Convivialista: Por um mundo pós-neoliberal considera que não há nada mais urgente que elaborar um pensamento e uma inteligibilidade do mundo alternativos ao que o neoliberalismo soube impor ao planeta. Precisamos de uma filosofia política (no sentido amplo do termo) que tem como desafio não significar um simples retorno ao socialismo, ao comunismo, ao anarquismo ou ao liberalismo clássicos. É tempo de esboçar um avanço coletivo e decisivo no campo das idéias. Essa é a aposta do manifesto, resultado de um trabalho que reuniu intelectuais, ativistas, escritores e artistas. São cerca de 300 personalidades de 33 países, entre eles Allain Caillé, Christian Laval, Bruno Latour, Wendy Brown, Noam Chomsky, Chantal Mouffe, Leonardo Boff, Chico Whitaker e muitos outros. Thais Florencio de Aguiar é co-signatária e tradutora da versão em português (no prelo). Link para a venda da edição francesa: https://www.actes-sud.fr/catalogue/sciences-humaines-et-sociales-sciences/second-manifeste-convivialiste

The progressive web application combines the best of web and mobile apps. It is a website built using web technologies that acts like an app. Recent advancements in the browser, availability of service workers, Cache and Push APIs have enabled web developers to allow users to install web apps to their home screen, receive push notifications and even work offline. To use a traditional app, the user must install it beforehand which includes multiple clicks making the app unappealing to the user. This problem is solved by using PWA enabled webpage. The user is given the advantage of accessing the webpage app-like by creating a desktop icon which eliminates the need for multiple clicks. The primary characteristic of this progressive web app is that it must work on all devices and must enhance on devices and browsers that allow it. They take advantage of the much larger web ecosystem, plugins and community and the relative ease of deploying and maintaining a website when compared to a native application in the respective app stores.

History bears testament to the Manifesto's planetary circulation, global readership and material impact. Interpretations of this short document have affected the lives of millions globally, particularly in the second half of the twentieth century. The text is somehow able to outline the complex theoretical foundations for the world's most enduring critique of capitalism in a comprehensible and persuasive language, and as such, readers of all classes, professions, nations and ethnicities have drawn on-and in many cases warped and manipulated-its valuable insights. Whilst arguing for the importance of the Manifesto as an anti-imperial book and exploring the reasons for its viral circulation, this chapter will also show that it is a self-reflexive text that predicts its own historic impact. It is the formal and generic-or, in fact, 'literary'-qualities of this astonishing document that have given it such primacy in the canon of anti-imperial and anti-capitalist writing. A spectre is haunting Europe-the spectre of Communism.

In Eduardo Costa's Fashion Fictions, a series begun in 1966, he has objects made that look like jewelry (including ears, toes, and strands of hair, all in 24k gold), but that are not actually meant to be worn. Instead, they function as props intended to trigger a reaction in the fashion media. It works: first in Argentina, where it was covered in the press in 1966 or 1967, and, later, in the United States, where Richard Avedon photographed the model Marisa Berenson wearing one of Costa’s creations for the March 1968 edition of Vogue and where the photographer Hiro’s images of the same object appeared on the cover of Harper’s Bazaar in October 1968. In 2019, Alessandro Michele's fall/winter collection for Gucci reactivated Costa's Fictions. This document includes a few of Costa's texts about the Fashion Fictions.

Theodore Kaczynski, better known as the Unabomber, is one of America’s most infamous domestic terrorists. His 1995 Manifesto, ‘Industrial Society and Its Future’, is well known and influential among radicals of many stripes, yet surprisingly little has been written about it. This article uncovers the origins of Kaczynski’s ideas and examines his influence on contemporary anti-tech radicalism. Using newly discovered archival material, I reveal the sources that Kaczynski deliberately concealed in the 1995 Washington Post version of his Manifesto. My excavation of his sources shows that his ideology is more novel than the common ‘eco-terrorist’, ‘green anarchist’, and ‘neo-Luddite’ labels suggest. His Manifesto is a synthesis of ideas from three well known academics: French philosopher Jacques Ellul, British zoologist Desmond Morris, and American psychologist Martin Seligman. Further, I show that it is necessary to understand Kaczynski’s distinct combination of ideas in order to understand the anti-tech radical groups that he has inspired, such as the Mexican terrorist group Individualidades Tendiendo a lo Salvaje (ITS). The ideological novelty of anti-tech radicalism has been overlooked because, like Kaczynski himself, it has been mistaken for radical environmentalism or green anarchism.

The year 1899 brought much grief to India, and especially to some of its big cities like Bombay (now Mumbai) and Calcutta (now Kolkata). That year, a major bubonic plague pandemic originating in Yunnan, China, reached the major cities of India and the plague devastated the Indian cities one after another. A fair extent of its outbreak as well as its horrific
consequences in Calcutta, where the plague broke out in March 1899, can be reconstructed through a careful survey of the letters, speeches, manifestos and other literature by and on two individuals who were closely associated with the relief work during the plague outbreak: Swami Vivekananda and his Irish disciple Margaret Elizabeth Nobel, who came to be known as Bhaginī Niveditā or Sister Nivedita. This is exactly what the present work proposes to do: it will attempt to construct a coherent narrative of the experience of the epidemic through a close reading of the first-hand accounts of the plague relief work and the sociocultural conditions of the city and the country at large at the time of the outbreak. The accounts of that difficult period, left by both these towering personalities in their passionate and vivid correspondences, as well as the literature produced by their contemporaries and the scholars of the subsequent decades, will be subjected to a rigorous survey following the comparative methodology. This will bring out the different perspectives on the experience of the plague outbreak and the resulting
narrative will serve as a mirror of sorts for the current generations who have been experiencing the outbreak of COVID-19 for the better part of the last one year. Such a reconstruction of specific generations of a people’s experience of an epidemic outbreak helps subsequent generations to reflect on the social, cultural, and psychological dimensions of the same; and that in turn may open newer pathways of understanding the present pandemic-related challenge before humanity and the ways of coping with it.

Keywords: epidemic, pandemic, plague, culture, Swami Vivekananda, Sister Nivedita, COVID-19, comparative methodology, Calcutta, India

In this paper, I explore Haraway’s theory manifesto writing in order to analyze her post-foundational ethical proposition of how to relate with others, a proposition that largely permeates her post-2000s work. Haraway prescribes a moral compass, however broad, about how “we”, as human species, should connect with humans and especially nonhumans, foregrounding unexpected kinships, multispecies flourishing, mutuality and the ability to respond to significant others. This compass configures an ethics of what I name as ‘plural relating’, a relating that regards potential partnerships with all existence on earth, irrespectively of their biological and cognitive status, from insects to dogs and bacteria to pigeons. I explore what kinds of subjectivities, relationalities and modes of resistance this project –and the broader posthumanist ethics it harbours– implies for left and broadly progressive politics today.  I argue that while useful for opening affective bridges with nonhuman others, plural relating is conceptually inconsistent and, more importantly, it advances a loose and problematic figure of bonding for grappling with current political struggles, including class exploitation, gender and race inequalities and environmental dilapidation. By paying attention on aspects of intensity and agency, I will particularly focus on how this figure of bonding runs the danger of obscuring processes of social and class antagonism, reproducing structures of domination and offering an excuse to relations of abuse.

Ce mémoire de master cherche une autre approche de l'avant-garde française en montrant les continuités dans l'esthétique surréaliste au lieu de souligner les ruptures que les auteurs eux-mêmes ont proclamées. Ce faisant, il devient évident que si le roman et la narration sont des catégories méprisées par le programme surréaliste, les deux persistent tout de même dans la création littéraire et ont même un statut emblématique pour la littérature surréaliste.
Quelles sont donc les innovations du "Paysan de Paris" ou de "Nadja" ? Une réponse représente l'intégration de documents dans le récit. En effet, la narration surréaliste semble devenir un outil d'enquête qui relève le document, le questionne et l'interprète. Ainsi, les romans surréalistes dépassent le programme réaliste et naturaliste par une insistance vigoureuse sur l'observation et le questionnement de celle-ci.

This article discuss the impact, in both the field of arts and in the history of Brazilian modern art, caused by three different manifestoes, published along the twentieth century. They are: Manifesto Antropófago, 1928, Manifesto Ruptura, launched in 1952, at the first “paulista” concretist group exhibition, and Mamãe Belas-Artes, a text originally published in 1977. Its authors did not hesitate in declaring their intention to break away from the past and from the artistic paradigms of the time. We will reflect upon the limits and reaches of our modern project, and of the specific characteristics of implementing a “space of contemporariness” among us.

How to Write an Avant-Garde Manifesto was an art manifesto originally written in 2006 and taped to the front door of the Institute of Contemporary Arts, London. It was subsequently presented at the British Library's 2008 exhibition Breaking the Rules: The Printed Face of the European Avant Garde 1900–1937 with Auto Destructive and Fluxus artist Gustav Metzger and British Library curator Stephen Bury.

"Zde máme něco, co bychom mohli nazvat referenční iluze. Podstata této iluze je tato: „reálno“ , odstraněno z realistické výpovědi jakožto denotační označované, se navrací jako označované konotační, neboť právě v momentu, kdy jsou
tyto detaily pověřeny přímo denotovat reálné, nedělají nic jiného než to, že jej beze slova označují. Flaubertův barometr a Micheletova dvířka říkají nakonec pouze toto: my jsme reálno; to, co je označováno, je tedy kategorie „reálného" (a ne jeho nahodilých obsahů). Jinak řečeno: právě nedostatek označovaného ve prospěch jediného referentu se stává samotným označujícím realismu: vzniká efekt reálného, základ onoho nepřiznaného pravděpodobná, který formuje estetiku všech běžných děl modernity."

Résumé

L’article étudie les trois manifestes de l’Oulipo (« La Lipo [Le premier manifeste] », « Le second manifeste », et « Troisième manifeste. Prolégomènes à toute littérature future »), à l’aune du lien existant entre leur date de publication et le positionnement du groupe dans le champ littéraire. Pour ce faire, cette étude resitue ces textes dans une perspective plus large, celle de l’histoire des manifestes du XXe siècle, et permet notamment de constater l’anachronisme que suppose la publication du troisième à une époque où l’on produit moins de manifestes. Publié a posteriori dans une anthologie de poésie, ce dernier relègue, par là même, le genre du manifeste au statut de document historique.

Abstract

Oulipo’s manifestoes
On the road to oblivion?

The article looks at the three manifestoes written by Oulipo (“La Lipo [Le premier manifeste]”, “Le Second Manifeste” and “Troisième Manifeste. Prolégomènes à toute littérature future”) in the context of the link between their publication date and the group’s positioning in the literary field. To that end, the author examines these works in the wider timeline of twentieth century manifestoes, focusing on the anachronistic publication of the third Manifesto at a time when there was a lull in the genre. Published much later as part of a poetry anthology, that third text turns manifestoes as a genre into mere historical documents.

Auteur : Camille Bloomfield
Titre : Les manifestes à l’Oulipo : la disparition d’une forme ?
Revue : Études littéraires, Volume 44, numéro 3, automne 2014, p. 35-46
URI : http://id.erudit.org/iderudit/1025479ar
DOI : 10.7202/1025479ar
Tous droits réservés © Université Laval, 2014

An alternative manifesto process AMPlify was an alternative manifesto process to come up with new ideas and existing good ideas for the first West Yorkshire Mayor, elected in May 2021. More than 350 people took part in some way, contributing well over 700 hours of time. Their participation ranged from joining a public zoom meeting to small groups of people having walks around West Yorkshire neighbourhoods.

Resumo Este artigo analisa a importância e a divulga-ção dos manifestos literários e visuais no mo-dernismo amazônico na década de 1920, es-pecialmente no contexto de duas revistas que circularam em Belém do Pará – A Semana e Belém Nova. Partindo das influências do manifesto como libelo artístico, passando pelo debate sobre os diferentes modernismos bra-sileiros, até chegar nos grupos intelectuais pa-raenses, objetivamos aqui analisar a produ-ção literária e pictórica como parte do reper-tório político de afirmação da identidade na-cional brasileira. Ideias de futuro, juventude, vanguarda, saber e arte indígenas, fizeram parte do repertório cognitivo de sustentação " mental " e " espiritual " desses manifestos, nas contendas com o passado e da constru-ção do presente. Palavras-chave: Modernismo; Amazônia; arte e literatura. Abstract This article analyses the importance and spreading of literary and visual manifestos in Amazonian modernism in the 1920's, especially via two magazines published in Belém do Pará: 'A Semana' (The Week) and 'Belém Nova' (New Belém). From the manifesto's influences as an artistic lampoon, the debate among the different Brazilian modernisms, and the State of Para's groups of intellectuals, we intend to analyze the literary and pictoric production as part of the political repertoire of the affirmation of the Brazilian national identity. Futuristic ideas, youthness, avant-garde, indigenous knowledge and arts, were part of the cognitive repertoire which sustained the pillars of these manifestos, both mentally and spiritually, in their contends with the past and construction of the present.

This essay argues that Riot Grrrl manifestos were instrumental in
promulgating a form of radical feminism that demonstrates the
enduring nature of feminist radicalism. In rejecting the traditional claims of the radical public sphere, Riot Grrrl manifestos insist on a vernacular feminism that strategically emphasises micropolitical action over grand narratives of resistance and revolution. While these manifestos draw on aspects of secondwave radical feminism and older forms of avant-garde culture, they push the genre of the manifesto into new territory by stressing
everyday forms of resistance, defining their imagined consistency as
porous and reactive rather than exclusive or over-determined.

This study inquires into the extent to which feminist utopias, imagined and real, can both challenge and consolidate normative sexual stratifications and power dynamics. We examined two distinct categories of alternative social arrangement—fictional "worlds without men" specifically imagined in a feminist utopic context, and existing female-dominant and female-supremacist identified BDSM sexual communities—as feminist-inspired "other spaces", exploring the ways in which such spaces attempt to challenge male supremacy in Western society.

Tragic rampage killing sprees are too often reoccurring events in the United States landscape. Since the Columbine High School massacre in 1999, dozens of children and young people have died at the hands of shooters, cited as loners, victims of bullying out for revenge against those that had wronged them; but the shooters have another and often less noted characteristic in common: Most of them are white, all of them are men. This thesis is about one of those men.
On May 23, 2014, Elliot Oliver Robertson Rodger killed six people, wounded 13, and committed suicide before police could apprehend him. Taking its departure in masculinities theory and affect theory, this thesis aims to explore the current state of hegemonic masculinity, and aims to demonstrate its influence on the motivation for Elliot Rodger’s rampage killing spree, on his justification of the crime, and on the discursive self-construction he left behind. Ultimately the thesis argues that Elliot Rodger used an ideology of hegemonic masculinity as a basis for creating a discursive self-construction as a grievable body, by blaming those he targeted: women.
The theoretical framework is constructed from theories and research by Judith Butler, Michael Kimmel, C.J. Pascoe, R.W. Connell and Lauren Berlant.

"A double is haunting the world--the double of abstraction, the virtual reality of information, programming or poetry, math or music, curves or colorings upon which the fortunes of states and armies, companies and communities now depend. The bold aim of this book is to make manifest the origins, purpose, and interests of the emerging class responsible for making this new world--for producing the new concepts, new perceptions, and new sensations out of the stuff of raw data.

A Hacker Manifesto deftly defines the fraught territory between the ever more strident demands by drug and media companies for protection of their patents and copyrights and the pervasive popular culture of file sharing and pirating. This vexed ground, the realm of so-called ""intellectual property,"" gives rise to a whole new kind of class conflict, one that pits the creators of information--the hacker class of researchers and authors, artists and biologists, chemists and musicians, philosophers and programmers--against a possessing class who would monopolize what the hacker produces.

Drawing in equal measure on Guy Debord and Gilles Deleuze, A Hacker Manifesto offers a systematic restatement of Marxist thought for the age of cyberspace and globalization. In the widespread revolt against commodified information, McKenzie Wark sees a utopian promise, beyond the property form, and a new progressive class, the hacker class, who voice a shared interest in a new information commons.

The aim of this study is to prove that invention of cinema was not when rupture with the past occurred, but with the proposal of new aesthetic and narrative models in the teens. Among the multiple contributions, we must highlight the “Futurist Cinema Manifesto”, published in 1916. It represents the first attempt to systematize the limits and boundaries of this new medium. Through the analysis of this document we will assess the role of this avant-garde in the experimental cinema and the potential impact on further film productions.

Keywords:  Avant-garde, experimental cinema, audiovisual narrative, editing, analogy, simultaneity, interdisciplinarity.


Este estudio trata de demostrar que el momento esencial de ruptura con el pasado, no corresponde a la invención del procedimiento de captación de imágenes en movimiento en la última década del siglo XIX, si no al planteamiento de nuevos modelos estético-narrativos desde el ámbito cinematográfico, a partir de la década de los años diez.  Entre las principales aportaciones llevadas a cabo, hay que destacar la publicación del manifiesto cinematográfico futurista en 1916, al constituir el primer intento de sistematización de los retos planteados por este nuevo medio.
A través del análisis de las principales aportaciones de este texto programático valoraremos el papel de esta vanguardia al ámbito del cine experimental y su posible repercusión en posteriores producciones fílmicas.

Palabras Clave
Vanguardia, cine experimental, narrativa audiovisual, montaje, analogía, simultaneidad, interdisciplinariedad.

The present paper attempts to investigate the extent of which the Romanian historical avant-garde has constantly updated itself throughout history, starting from the early reiterations in the 40s and 50s and ending with the poetry of the 2000s. In order to demonstrate this, I will asses both the socio-cultural context of Romanian post-war and post-communist transition, as well as the evolution of literary forms that allowed for the constant “updates” of the historical avant-garde in Romanian poetry. This article also debates the thesis of Peter Bürger and the way it can be applied both to the historical avant-gardes and to the poetry of the 2000s, as contemporary poetry does present the same rebellious attitude towards the institutionalised literature of its precursors.

Citado por Maiakovski y su grupo como maestro e inspirador y al mismo tiempo autor de una obra monumental donde la imaginación del futuro compite con la resonacia romántica de los tipos eslavos, la figura extraña, casi secreta, de Velimir Khlebnikov (1885-1922) aparece en el centro del pandemonio de ideas y obras artísticas que la Rusia de las primeras décadas del siglo XX. Parte del dossier "La ecuación Khlebnikov", dirigido por Daniel Samolovich, este trabajo comprende la traducción del francés de  "Sombrío y otros poemas" (1912-1914), así como la traducción  del inglés de los escritos programáticos "Cachetada al gusto del público" (1912), "Manifiesto de los Presidentes del Globo Terráqueo" (1917) , "El país de los cisnes en el futuro" (1918) y "Sobre la poesía (1920), a partir de las únicas ediciones de Khlebnikov hasta entonces disponibles en Occidente. Todos los textos llevan notas del traductor. Se presenta aquí el dossier completo.