An account of a major international art movement originating in the former Yugoslavia in the 1960s, which anticipated key aspects of information aesthetics. New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a nonaligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices. Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art. Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies' five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group's relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group's eventual eclipse by other “new art practices” including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies' works and exhibitions.

An account of a major international art movement originating in the former Yugoslavia in the 1960s, which anticipated key aspects of information aesthetics.

NEW YORK TIMES BESTSELLER • Are you an Upholder, a Questioner, an Obliger, or a Rebel? From the author of Better Than Before and The Happiness Project comes a groundbreaking analysis of personality type that “will immediately improve every area of your life” (Melissa Urban, co-founder of the Whole30). During her multibook investigation into human nature, Gretchen Rubin realized that by asking the seemingly dry question “How do I respond to expectations?” we gain explosive self-knowledge. She discovered that based on their answer, people fit into Four Tendencies: • Upholders meet outer and inner expectations readily. “Discipline is my freedom.” • Questioners meet inner expectations, but meet outer expectations only if they make sense. “If you convince me why, I’ll comply.” • Obligers (the largest Tendency) meet outer expectations, but struggle to meet inner expectations—therefore, they need outer accountability to meet inner expectations. “You can count on me, and I’m counting on you to count on me.” • Rebels (the smallest group) resist all expectations, outer and inner alike. They do what they choose to do, when they choose to do it, and typically they don’t tell themselves what to do. “You can’t make me, and neither can I.” Our Tendency shapes every aspect of our behavior, so using this framework allows us to make better decisions, meet deadlines, suffer less stress, and engage more effectively. It’s far easier to succeed when you know what works for you. With sharp insight, compelling research, and hilarious examples, The Four Tendencies will help you get happier, healthier, more productive, and more creative.

In Search of the Federal Spirit examines federal theory in the context of the new federal models that have sprung into existence since the end of the Cold War. It utilises the federal spirit as a conceptual lens through which to explore the revival of federalism in the post-Cold War era - especially in the 1990s - and it seeks to place the emergence of these new models in the theoretical context of federal state formation. By examining the approaches of five major contributors to the nature and meaning of federalism - Kenneth Wheare, William Livingston, William Riker, Carl Friedrich, and Daniel Elazar - the book identifies several different expressions of the federal spirit that together constitute its basic political values and principles rooted in liberal democracy. The book explains how and why the federal spirit can survive and prosper only in conditions of liberal democracy which allow these federal values and principles to be freely expressed. In this way the book will connect the five distinctive approaches to understanding federalism and their peculiar interpretation of the federal spirit to the emergence of the new models. This chain of reasoning leads us to look not only at federal state formation based upon formal federal constitutions but also to include the evolution of federal political systems that are an integral part of the post-Cold War revival of federalism. The new federal models are the Russian Federation, Belgium, the European Union, Ethiopia, Bosnia-Herzegovina, Nigeria, Venezuela, and Iraq while Spain, Italy, South Africa, Argentina, and the United Kingdom have each fashioned their own form of federal system in practice. The logic of the argument based upon the federal spirit leads not only to a revisionist framework of analysis to explain the key conditions of future federal state formation but it also prompts a major reconsideration of the conventional conceptual framework of analysis in federalism and the proposal of a new classification of "federal democracies". Confirmation of the firm links between federalism and liberal democracy is further underlined by a detailed examination of the conceptual relationships between civil society, political culture, and liberal democratic constitutionalism. The federal spirit is shown to be multidimensional in its properties and the book concludes with three cases studies of Ethiopia, Bosnia-Herzegovina, and Iraq that establish federalism as essentially a way of thinking - a mindset - about creating political stability in deeply divided societies by creating federations.

Tendencies brings together for the first time the essays that have made Eve Kosofsky Sedgwick "the soft-spoken queen of gay studies" (Rolling Stone). Combining poetry, wit, polemic, and dazzling scholarship with memorial and autobiography, these essays have set new standards of passion and truthfulness for current theoretical writing. The essays range from Diderot, Oscar Wilde, and Henry James to queer kids and twelve-step programs; from "Jane Austen and the Masturbating Girl" to a performance piece on Divine written with Michael Moon; from political correctness and the poetics of spanking to the experience of breast cancer in a world ravaged and reshaped by AIDS. What unites Tendencies is a vision of a new queer politics and thought that, however demanding and dangerous, can also be intent, inclusive, writerly, physical, and sometimes giddily fun.

This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary." The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova. The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.