Moles, Baudrillard, Boudon, van Lier, Wahl, Morin: Les objets (1969/71) [French, Spanish]

Communications is a biannual social sciences journal founded by Georges Friedmann, Roland Barthes, and Edgar Morin. Soon after its start in 1961 it became a reference publication for media studies and semiotics in France and internationally.

Its first 1969 issue was dedicated to the theory of objects, positioning it “at the confluence of sociology, political economy, social psychology, marketing, philosophy, design and aesthetics” (p 141). At the same time the journal argued for the relevance of the study of objects for governmental institutions such as “the Ministry of Industrial Production, the Ministry of Transport, the customs authorities, the courts, the counterfeits studies, or the National Industrial Property Institute” (p 141).

It can be read as a post-May 1968 attempt to use the concept of object as an agent linking social sciences in order to increase their impact on direct political change, and as well as an early echo of what more than a decade later came to be known as the actor-network theory.

Two years later the magazine appeared in its Spanish translation in book form.

Communications 13
Publisher Centre d’études des communications de masse, École pratique des hautes études, and Seuil, Paris, 1969
139 pages

Les objets (French, 1969), View online
Los objetos (Spanish, trans. Silvia Delpy, 1971/1974)

Martin Puchner: Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (2005)

“Poetry of the Revolution tells the story of political and artistic upheavals through the manifestos of the nineteenth and twentieth centuries. Ranging from the Communist Manifesto to the manifestos of the 1960s and beyond, it highlights the varied alliances and rivalries between socialism and repeated waves of avant-garde art. Martin Puchner argues that the manifesto–what Marx called the ‘poetry’ of the revolution–was the genre through which modern culture articulated its revolutionary ambitions and desires. When it intruded into the sphere of art, the manifesto created an art in its own image: shrill and aggressive, political and polemical. The result was “manifesto art”–combinations of manifesto and art that fundamentally transformed the artistic landscape of the twentieth century.

Central to modern politics and art, the manifesto also measures the geography of modernity. The translations, editions, and adaptations of such texts as the Communist Manifesto and the Futurist Manifesto registered and advanced the spread of revolutionary modernity and of avant-garde movements across Europe and to the Americas. The rapid diffusion of these manifestos was made “possible by networks–such as the successive socialist internationals and international avant-garde movements–that connected Santiago and Zurich, Moscow and New York, London and Mexico City. Poetry of the Revolution thus provides the point of departure for a truly global analysis of modernism and modernity.”

Publisher Princeton University Press, 2005
Translation/Transnation series
ISBN 1400844126, 9781400844128
336 pages
via delery

Reviews: Gregory Byala (Bryn Mawr Review of Comparative Literature), Randy Martin (The Drama Review), Matthew Rebhorn (Modern Drama), Laura A. Winkiel (Modernism/Modernity), Gavin Grindon (Papers of Surrealism).

Publisher

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See also the entry on Marxist aesthetics on Monoskop wiki.

A Peer-Reviewed Journal About, 3(1): Post-Digital Research (2014)

“This issue of the journal addresses the messy and paradoxical condition of art and media after digital technology revolutions and critically reflects on the term “post-digital”. The issue is the outcome of a process where a number of researchers, artist-researchers and Ph.D.’s have collaborated in presenting and exchanging ideas around the subject. This follows an earlier call from transmediale festival, Berlin, and a research event at Kunsthal Aarhus. The issue does not present a uniform interpretation of the notion, but includes a variety of positions related to the use of the term, its application within various fields, and how it is reflected in artistic research.”

With contributions by Jamie Allen, Christian Ulrik Andersen, Josephine Bosma, James Charlton, Budhaditya Chattopadhyay, Geoff Cox, Florian Cramer, Annet Dekker, Jonas Fritsch, David Gauthier, Robert Jackson, Magnus Lawrie, Alessandro Ludovico, Kieran Nolan, Lotte Philipsen, Søren Pold, Eric Snodgrass, Bodil Marie Stavning Thomsen and Winnie Soon.

Edited by Christian Ulrik Andersen, Geoff Cox and Georgios Papadopoulos
Publisher Digital Aesthetics Research Center, Aarhus University, Aarhus, in collaboration with reSource transmedial culture Berlin/transmediale, Berlin, Jun 2014
Creative Commons Attribution-NonCommercial-ShareAlike license
ISSN 2245-7755

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