This article explores the Soviet-era Latvian film Four White Shirts (Četribalti krekli, 1967, director Rolands Kalniņš) as a cinematic response to the ideological tension between artistic freedom and state-imposed labour. In the Soviet Union of the 1960s, artists were required to work within state structures, which limited independent creative expression. Analyzing the film through the lens of confluence—a metaphor for the merging of artistic intent, censorship, and institutional influence—this study argues that the film creates symbolic spaces of escape through its genre hybridity and spatial construction. Although banned upon completion, the film was not destroyed; it was screened in 1987 and later gained international recognition as it was featured in 2018 in the Cannes Classics programme. The film’s belated recognition underscores its lasting cultural significance and reflects broader dynamics of resistance, memory, and legitimacy in Soviet and post-Soviet art.
The object of the study is an electronic nomad who creates and posts elements of their own existential spectacle on messenger channels and social media pages. It is formed on the basis of episodes recorded through mobile devices from the nomad's life, both real and possible. In such an existential play, the electronic nomad performs several roles simultaneously, acting as a playwright, director and actor. A certain part of the episodes turns out to be staged, imagined and/or desired, but did not happen in reality. The design helps to make images and information look as attractive as possible, allowing them to process their textual, visual, graphic and audio components. The nomad positions his image in the play as a reference, while at the same time giving expert assessment or mentoring recommendations on current social issues. The nomad deliberately makes the existential play available to a large audience of subscribers, seducing them with private publicity, but at the same time showing the "will to power." In the existential performance of the electronic nomad, certain risks are revealed that do not allow him to realize existence and intention towards transcendence. As a result, the nomad does not understand himself, and his existential performance in messengers and social networks turns into a personal drama.
Объектом исследования является электронный кочевник, который на каналах в мессенджерах и страницах в социальных сетях создает и размещает элементы собственного экзистенциального спектакля. Он формируется на основе зафиксированных посредством мобильных устройств эпизодов из жизни кочевника, как реальных, так и возможных. В подобном экзистенциальном спектакле электронный кочевник исполняет одновременно несколько ролей, выступая в качестве драматурга, режиссера и актера. Определенная часть эпизодов оказывается постановочной, воображаемой и/или желаемой, но не происходившей в реальности. Максимально привлекательный вид образам и информации помогает придать дизайн, позволяющий обработать их текстовую, визуальную, графическую и звуковую составляющие. Свой образ в спектакле кочевник позиционирует в качестве эталонного, одновременно давая экспертную оценку или наставнические рекомендации по поводу актуальных социальных проблем. Экзистенциальный спектакль кочевник намеренно делает доступным для большой аудитории подписчиков, обольщая их приватной публичностью, но проявляя при этом «волю к власти». В экзистенциальном спектакле электронного кочевника обнаруживаются определенные риски, не позволяющие ему осуществить экзистирование и интенцирование к трансценденции. В итоге кочевник не понимает самого себя, а его экзистенциальный спектакль в мессенджерах и социальных сетях оборачивается личной драмой.
Olena Vosnesenska, Nathalie Robelot-Timtchenko, Vivien Marcow Speiser
et al.
Mitigating the consequences of the collective trauma of war is a challenge for Ukrainian society. This article is the result of the work that has been done in Ukraine during the war and emanated from panel discussions from art therapy conferences in which the authors participated in March 2023, 2024, and 2025. These international, interdisciplinary, scientific, and practical conferences were held within the framework and sponsorship of the All-Ukrainian Art Therapy Association, together with First Aid of the Soul and the International Association for Creativity and Arts in Education and Therapy. The article contains a reflective analysis of using art therapy toward mitigating the consequences of collective traumatization of the Ukrainian people due to the war. Trauma in this context is considered as a systemic phenomenon, and the bearer of trauma is not only an individual experience but also extends to a social group—all of those who have experienced collective trauma over several generations.
Searching for the humanity African descents lost through European colonisation, Post-1994 South Africa continues the struggles in large-scale protests that have become it’s defining feature. And not much in the way of scholarly rigour interrogates this antagonism. Privileging the narrative of hope as a humanistic approach for nation building, creative interventions from radical social movements have not been intellectually engaged as such, but have been characterised as backward and unlawful, therefore requiring violence as a mediating force. But the slow and constant growth of radical black studies in the midst of post-colonial scholarship has been met with academic resistance.
This is because the ‘post’ in the post-colonial is an open-ended accommodation that expands by way of inter- and trans-disciplinary scholarship required to conform to already established methodologies, while black studies pose more disciplinary challenges informed by anti-colonial-slavery movements. In this article, I argue that the call for ‘Rhodes Must Fall’ and a decolonised curriculum was not for an expansion of the current disciplinary measures of learning rooted in colonial scholarship, but a push for an anti-colonial method of learning. I argue that current attempts at accommodating by way of expanding post-coloniality are rooted in the academy’s self-reflection’s self-perpetuating mechanism. I contend that there exists outside the academy what I call ‘creative radical interventions’ that come from black social movements. Land occupations that result from community protest such as the ‘Rhodes Must Fall’ student movement’s ‘Shackville’ was one of the many testing grounds at the call for an embrace for theories emanating from outside institutional disciplinary confines.
Contribution: As the curriculum expands towards more disciplines, with it comes methodologies which I posit cannot deal with what it means to accommodate protests that resist academic disciplinary measures. Looking at creative interventions from social movements, this article interrogates what it means to be creative beyond academic disciplinary confines.
This study analyses the moderating impact of psychological entitlement on the relationships between organisational identification, moral identity centrality and organisational engagement of Millennials. It addresses the knowledge gap pertaining to the organisational engagement of Millennials. Although engagement is conceptualised as a multidimensional construct, organisational engagement has only recently received the focus of attention of researchers. Despite Millennials being considered an entitled generation, psychological entitlement remains largely an unexplored area. The survey involved 285 Millennial Master of Business Administration (MBA) students in two leading universities in Sri Lanka. The data was analysed using Structural Equation Modeling. The results indicated no support for the premise that psychological entitlement moderated the relationships between organisational identification or moral identity centrality and organisational engagement of Millennials. The results provide valuable insights into the organisational engagement of Millennials and address some of the gaps in understanding the impact of psychological entitlement on organisational engagement.
Quejío, obra de teatro dirigida por Salvador Távora, representada por La Cuadra de Sevilla y asesorada por el escritor, director y crítico José Monleón, se estrenó en 1972. A partir tanto de los textos generados por el grupo y sus asesores --entrevistas, artículos y otras publicaciones--, como de aquellos producidos por parte de la crítica nacional e internacional --noticias, críticas, etc.--, se formula una cuidada imagen de la obra teatral que demuestra un gran interés por la identificación de la misma con lo "popular". En el presente artículo se indaga en este concepto como principal elemento de cohesión en la difusión de Quejío.
For more than two decades, educational policies in Portugal have primarily focused on improving student outcomes, reducing school absenteeism, and preventing school abandonment. Another factor has been the overemphasis on literacy and numeracy, which has resulted in an unbalanced weighting of these school subjects on instructional time. As a result, instruction time for non-essential classes, such as music and visual arts, was reduced. What effect do these policies have on the drawing abilities and visual literacy of those who pursue visual arts studies in higher education? To date, there has been a plethora of studies on drawing in its didactic, neurological, and physiological components, with findings that strengthen and support the idea that drawing plays a central role in the development of conceptual thinking and abductive reasoning. These findings are significant when advocating for drawing as a learning tool in S.T.E.M., but also, for drawing to play a different role in education overall. To determine whether these policies impact the competencies, skills, and visual literacy of those who pursue visual arts studies, we surveyed higher education teachers regarding their perceptions of student drawing skills as they begin college degrees ranging from fine arts to design. Some survey findings point to weak areas, particularly in perspective drawing and preparatory drawings and sketches. The teachers suggested that the causes were mostly political. These findings should be investigated further, specifically through follow-up interviews and a survey of first-and second-year students enrolled in the courses taught at the educational institutions under analysis.
Este artigo pretende estabelecer uma reflexão sobre o desenvolvimento de táticas de ocupação e intervenção coletivas em espaços institucionais a partir da análise de um evento artístico realizado no primeiro semestre de 2022 intitulado Multiverso Colaborativo. Tal ação reitera a consolidação de um circuito alternativo e heterogêneo de artes visuais no Rio de Janeiro e suas formas de resistência e de busca por um “desbunde” ou novo posicionamento “contracultural”, herdeiro do campo artístico experimental das décadas de 60 e 70. Por fim, este estudo de caso pretende contribuir epistemologicamente com os debates sobre a construção da memória e da identidade do local, alinhavados por uma metodologia da pesquisa extraída dos campos da história, crítica, e teoria da arte.
Reseña de la obra Aprendizaje humanista a través de la historia de Penadés, A. (2020). Viaje a la Grecia clásica. Del monte Athos a Termópilas. Córdoba. Almuzara. 380 páginas. ISBN: 978-84-18089-85-5
Para comentar o ensaio "Primo Lévi, razão, narração, lacunas”, de Jeanne Marie Gagnebin, exploro a herança iluminista do narrador sóbrio e meticuloso de É isto um homem? e proponho uma aproximação entre esse livro e Dialética do esclarecimento, de Adorno e Horkheimer. Considero que as duas obras, publicadas em 1947, logo após o fim da II Guerra Mundial, lidam com uma questão histórica subjacente: Como o projeto europeu das Luzes, que levou à queda do Antigo Regime e fundamentou as constituições dos Estados democráticos modernos, pode ter resultado no totalitarismo, no fascismo, na barbárie?
El cambio de paradigma que trae consigo la revolución digital ha traído consigo la transformación de las viejas herramientas de la comunicación. Sus límites tanto técnicos como discursivos se han ampliado y con esto su capacidad discursiva a crecido. Arrog, es un videojuego peruano desarrollado por Hermanos Magia y Leap Game Studio, que busca, desde una nueva mirada a la muerte y aprovechando el espacio de libertad discursiva que otorgan los videojuegos independientes, contrastar este concepto con nuestra contemporaneidad y el fenómeno de su trasparencia.
Os textos especulativos sobre a faculdade mimética constituem esboços
preparatórios para o projeto de Infância em Berlim por volta de 1900, e em particular para o primeiro capítulo de sua primeira versão datilografada (1932-1933), intitulado Mummerehlen. A problemática das “semelhanças não sensíveis” atravessa o texto, que pode ser compreendido como uma tentativa de domínio de seu poder mágico de tornar presente, isto é, como um exercicio de colocar à distância as forças míticas da imagem. Pois, deixando entrever o horizonte teórico implicado nas semelhanças artisticamente produzidas, Benjamin explicita e deforma o quadro mimético da representação, explicitando o valor cognitivo da obra. A modernidade destas memórias de infância está justamente em tematizar essa tensão entre poesia e teoria sobre a qual se constitui sua estrutura enigmática.
The article is written in the first person, as an exercise in reflection, from the breadth of political responsibility of an arts education teacher, involved in the crossroads of a controversial time where the dignity and indispensability of the artistic presence in schools faces an ultra liberal offensive that intends to erase it, in favor of a utilitarian school that feeds the needs of the hegemonic system and provides docile and dormant subjects. The controversies that face human dignity in the contemporary world require us to understand that, in the educational field, we do not search for a model that opposes them but that we can create possibilities of confrontation with the new.
O presente trabalho tem como objetivo a criação de uma coleção do vestuário feminina, inspirada nas obras de Arte de Aleijadinho e nas características do movimento Barroco. Os procedimentos metodológicos da pesquisa recaem no enfoque qualitativo, pela obtenção de dados descritivos mediante contato direto e interativo com o problema, público-alvo e a fonte de inspiração. Para o desenvolvimento do produto utilizou-se a metodologia projetual de Baxter (2005). Os resultados obtidos podem ser observados em peças da coleção, nos detalhes das linhas, das formas e cores que representam o artista, à devoção à religião, ao amor e a busca da felicidade.