Schumpeter: Theorist of the Avant-Garde

This paper argues that Schumpeter’s 1911 edition of ‘Theory of Economic Development’ can be fruitfully read as a theory of the avant-garde, in line with such theories developed by artistic avant-garde around the same time, in particular by the Italian Futurists. In particular it will show that both Schumpeter and other avant-garde theorists sought to break with past (1), identify an avant-garde who could force that break (2), find new ways to represent the dynamic world (3), embrace the new and dynamic (4) and promote a perpetual dynamic process, instead of a specific end-state or utopia (5). This new reading helps us to understand the cultural meaning of this seminal text in economics. Secondly it greatly facilitates our understanding of the differences with the later interwar German edition and English edition, which were more cautious in their embrace of the new, less focused on the individual qualities of the entrepreneur and placed more emphasis on historical continuity. Thirdly this reading suggests a different reason for the bifurcation between Schumpeter and the rest of the Austrian school of economics. Traditionally this split is explained by Schumpeter’s affinities with the Lausanne School, this paper instead suggests that the crucial break between Schumpeter on the one hand and Böhm-Bawerk, Wieser and later members of the Austrian School on the other hand is their theory of and attitude toward social change

War and dissociation : the case of futurist aesthetics

Thanks to their deliberate engagement in state propaganda Italian Futurists deserved a prominent spot in the history of military aesthetics in the 20th century. However, under what looked like an unequivocal expression of support for war, lied a deep philosophical disagreement concerning its existential and epistemological value. The bone of contention concerned the effects of warfare on perception and, consequently, the means of its depiction. The author analyses this intellectual disagreement within the group and focuses, in particular, on its philosophical implications

Sonia Delaunay’s Robe Simultanée: Modernity, Fashion and Transmediality.

This article considers Sonia Delaunay’s “simultaneous dress” of 1913. Delaunay’s art and fashion are significant not only since they unfold from a context of radical fin-de-siècle thought relating to psychophysics and the fourth dimension, but crucially, she relocated the site of knowledge to the body. For Delaunay, this move restored emphasis to embodiment as the active producer of experience, and also as the condition from which subjectivity is issued. Delaunay refigured her body into something simultaneous and dynamic with its environment, and consequently refashioned her own conception of ‘Self’ as transient, relative, and intersubjective. Indeed, Delaunay believed existing Western visual codes of linear perspective established models of space and time that could not articulate the dynamism and simultaneity of modern culture. Instead, she fashioned her autobiographical experiences through color, temporality, and rhythm. Delaunay’s robe simultanée is a complex nexus, entwining her own biography, modern philosophies of color and reality, the relocation of the body as the site of knowledge and meaning, and the sensate, lived experience of Parisian modernity

Esporte, futurismo e modernidade Sport, futurism and modernity

Este estudo tem por objetivo discutir as relações entre o esporte e o Futurismo, um dos mais ruidosos, influentes e polêmicos movimentos da vanguarda artística européia no pré Primeira Grande Guerra. Cremos que tal discussão pode nos permitir melhor desvendar os papéis ocupados por essas importantes práticas sociais (esporte e arte), a partir de seus diálogos, na construção do ideário e do imaginário da modernidade nas décadas iniciais do século XX. Para alcance do objetivo, dialogamos com as idéias de Peter Burke (2004) sobre a possibilidade de construir uma "história cultural da imagem" ou uma "antropologia histórica da imagem". Optamos ainda por conceder ênfase à análise de obras e manifestos da primeira fase do Futurismo. Esperamos, assim, dar prosseguimento a nossos esforços de promoção de uma "arqueologia social" do fenômeno esportivo, desvendando sua presença nas mais diferentes redes e teias sociais.<br>This study objective is to discuss the relations between sport and Futurism, one of the noisiest, influential and controversial movements of the European artistic vanguard. We believe that by this study we can discuss about the importance of these social practices (sport and art), considering the dialogues between them, as well as the construction of modernity imaginary in the 20th century first decades. Aiming this objective, we search to dialogue with Peter Burke ideas (2004) about the possibility of building a "cultural history of the image" or a "historical anthropology of the image". We have emphasize masterpieces and manifests analyses of Futurism first phase. We hope that our efforts can contribute to the promotion of a "social archaeology" of the sport, unmasking its presence in the social context

Bacon and Bergson on Time and Motion

he bearing of Bergsonian thought on Bacon’s paintings has become apparent as a result of Deleuze’s study, Francis Bacon: Logique de la sensation (1981). But aside from Deleuze’s application, there is a lot to recommend constructing a parallel between Bacon and Bergson as figures in their own right. This article explores Bergson’s approaches to temporality and the idea of immediate experience, and applies these to Bacon’s oeuvre, especially with respect to the artist’s antithetical views about an interpretation of narrative, the violence in his work and the phenomenology of the body

Tower Cranes and Organization Studies

This is a paper about different ways of revealing materials, and a theory of organization. It moves through a kaleidoscope of perspectives which reveal the tower crane as made through its relations with a series of different ways of seeing – engineering and mathematics, capitalist economics, and a workplace labour process. It employs a wide variety of sources, including some interviews that I have done with crane drivers. I then move into an account of the modernist fascination with technology, particularly Soviet constructivism. The latter provides the theoretical scaffolding which allows me to see the crane as a temporary stabilization of structure, and structure as an arrangement of planes and lines of force which allows certain moves just as it prevents others. This is a way of saying that an adequate understanding of ‘organization’ requires thinking multiples and relations. Nodding towards Deleuze and Guattari towards the end, I suggest that cranes are good to think with for these multiple purposes, but that any assemblage would do.</p