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In this challenging essay, Maarten Doorman argues that in art, belief in progress is still relevant, if not essential. The radical freedoms of postmodernism, he claims, have had a crippling effect on art, leaving it in danger of becoming meaningless. Art can only acquire meaning through context; the concept of progress, then, is ideal as the primary criterion for establishing that context. The history of art, in fact, can be seen as a process of constant accumulation, works of art commenting on one another and enriching one another's meanings. It is these complex interrelationships and the progress they create in both art and its observers that Doorman, in a display of great philosophical erudition, defends.

Avant-Garde (Aesthetics) --- Avant-Garde (Esthetica) --- Avant-Garde (Esthétique) --- Progress --- Progrès --- Vooruitgang --- Aesthetics. --- Avant-garde (Aesthetics). --- Progress. --- Aesthetics --- Avant-garde (Aesthetics) --- Philosophy --- Philosophy & Religion --- Social progress --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Modernism (Art) --- Civilization --- Regression (Civilization) --- Social stability --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics --- philosophy --- kunst en kunstgeschiedenis --- filosofie --- historical treatment of fine and decorative arts

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CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivancevic and Canadian cultural theorist Marc James Leger. In December of 2014 Leger invited Zivancevic to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde -- And What It Means Today. Taken with each other's idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book -- Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I'm Taken: The E-Pistolary Poetry of Kit le Minx and Cad -- but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors' quest for "harmony" in an altogether imperfect world and literary medium. In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers' superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist's exploration of anti-art and a poet's claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan's theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another's basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually.

Avant-garde (Aesthetics) --- Leger, Marc James, --- Živančević, Nina, --- correspondence --- psychoanalysis --- Jacques Lacan

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Using Sweden as a case study, this book combines theories of family practices, care and childhood studies with the personal perspectives of nannies, au pairs, parents and children to provide new understandings of what constitutes care in nanny families.

Child care. --- Care of children --- Childcare --- Children --- Care --- Care and hygiene --- Personnes au pair --- Garde d'enfants --- Enfants --- Aspect social --- Soins --- Child care --- Nannies --- Social aspects --- Nursemaids --- Nurserymaids --- Nurses (Child care workers) --- Child care workers --- Attitude envers les enfants --- Enfance --- Enfant --- Et les enfants --- Progéniture --- Relations avec les enfants --- (attentats-suicides) --- (droit) --- Babysitting --- Garde des enfants --- Services de garde d'enfants --- Assistants maternels --- Relais assistants maternels --- Garde des enfants d'âge scolaire --- Garderies --- Travail non rémunéré --- Services marchands à domicile --- Jeunes filles au pair --- Personnel de la petite enfance --- Activités para-universitaires --- Jeunesse --- Au cinéma --- Dans l'art --- Livres et lecture --- Loisirs --- Psychologie --- Statut juridique --- Langage --- Garde --- Travail

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Lessons in Perception seeks to clarify notoriously elusive themes of the avant-garde with the use of existing research from the field of psychology. There is a long-standing history of reference to psychological concepts in relation to avant-garde film, such as its unique relationship to memory, visual perception, narrative comprehension, and synesthesia. Yet direct analysis of these topics in light of existing psychological research remains largely unexplored until now. More broadly, the aim of the book is to frame avant-garde filmmaking practice as a form of "practical psychology." In doing so, two principal arguments are proposed: first, that many avant-garde filmmakers draw creative inspiration from their own cognitive and perceptual capacities, and touch on topics explored by actual psychologists; secondly, that as practical psychologists, avant-garde filmmakers provide "lessons in perception" that offer psychological experiences that are largely unrehearsed in commercial cinema.

Performing Arts / Film / History & Criticism --- Performing arts --- Show business --- Arts --- Performance art --- cognitive humanities --- avant-garde cinema --- psychology --- Limousin dialect --- Stan Brakhage --- Synesthesia

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Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.

Philosophy --- Film --- Motion pictures --- Cinéma --- History. --- Histoire --- History and criticism --- ostrannenie --- defamiliarisation --- Avant-garde --- Bertolt Brecht --- Distancing effect --- Futurism --- History of film --- Russian formalism --- Viktor Shklovsky