Este trabalho apresenta uma investigação sobre a fotografia produzida por artistas nos anos 1960 e 1970, a partir de uma análise discursiva dos textos que os próprios artistas escreveram na época. Proponho que a especificidade da concepção de fotografia dos anos 1960 e 1970 é resultado de um processo complexo: habitando uma exterioridade selvagem da disciplina das artes visuais naquele momento, a fotografia é escolhida por artistas como uma estratégia importante em uma disputa discursiva pelas definições de arte que resulta na sua formação como objeto para a disciplina das artes visuais. Esta investigação se desdobra em três capítulos: As Fontes de Pesquisa; A Fotografia-Qualquer; Fotografia e Práticas Artísticas – os Discursos dos Artistas nos Anos 1960 e 1970. No primeiro capítulo desenvolvo uma discussão sobre o texto de artista e sua relevância para a compreensão da arte produzida nas décadas de 1960 e 1970, pela análise comparativa de quatro livros que reúnem textos de artistas da época, com o intuito de explicitar o modo como estes escritos são incluídos no campo teórico das artes visuais, pela sua republicação, que se coloca como uma reapresentação (com um consequente deslocamento de seus contextos originais, edição e, muitas vezes, recortes), o que interfere em sua existência e significado para o conhecimento artístico. Nos capítulos 2 e 3, apresento o resultado de uma investigação que teve como objetivo extrair dos discursos dos artistas, datados dos anos 1960 e 1970, qual o papel que a fotografia desempenhava em suas práticas artísticas no contexto maior da arte daquele período. Persigo a ideia da fotografia como um dispositivo de despersonalização do artista como gênio criador, como figura especial que produz objetos especiais e, portanto, distingue-se das outras pessoas. Esta qualidade da fotografia-qualquer é enfatizada em textos de artistas dos referidos anos em uma celebração da possibilidade da anti-arte que resultava da utilização da fotografia como medium, na apropriação do que havia de menos especial em termos de técnica e material para a produção de imagens e se contrapunha à arte que eles chamavam de tradicional ou convencional. Ainda centralizo minha atenção, nos textos dos artistas, no modo como eles abordam seus trabalhos, a fim de destilar daí três papéis que a fotografia pode desempenhar em suas práticas artísticas: a fotografia como documento; a fotografia integrada à prática artística; a fotografia como trabalho de arte. Enquanto tendências extraídas dos modos de apropriação da fotografia como medium para a produção, esses agrupamentos têm a função de organizar, por semelhança e diferença, as abordagens discursivas dos artistas sobre suas práticas, a partir de como eles elaboraram seu fazer e determinaram o lócus de seu trabalho – em outras palavras, o que, para cada um deles, constitui o trabalho de arte propriamente dito em meio aos vários elementos que compõem sua prática artística. A fotografia na arte existe em virtude do discurso – tanto visual quanto textual – que a toma como objeto, e, neste sentido, estava sendo inventada para aquele momento, nos escritos e trabalhos dos artistas. A presença da fotografia na prática artística das décadas de 1960 e 1970, abordada a partir dos discursos dos artistas, revelou-se como um processo complexo de estabelecimento da fotografia como um objeto para o saber artístico, do qual se pode falar e para o qual se forma um vocabulário específico, possibilitando que ela se coloque como mais um medium para a produção artística, entre outros e em relação a eles. / This thesis presents an investigation into the photography produced by artists in the 1960s and 1970s, based on a discursive analysis of texts that the artists themselves wrote at the time. I propose that the specificity of the conception of photography from the 1960s and 1970s is the outcome of a complex process: inhabiting a wild exteriority of the visual arts discipline at that moment, photography is chosen by artists as an important strategy in a discursive dispute for definitions of art which results in its constitution as an object to the visual arts discipline. This investigation unfolds in three chapters: Sources of Research; The Photography-Whatever; Photography and Artistic Practices – Discourses of Artists in the Years 1960 and 1970. In the first chapter I carry out a discussion on the artist’s text and its relevance for understanding the art produced in the 1960s and 1970s, by means of a comparative analysis of four books that gather texts of artists of the time, in order to clarify how these writings are included in the theoretical field of visual arts, through their republication, which arises as a re-presentation (with a consequent displacement from their original contexts, editing, and often cuts), and so interferes with their existence and meaning for the artistic knowledge. In chapters 2 and 3, I present the result of a research that seeks to extract, from speeches of artists dating from the 1960s and 1970s, the role played by photography in their artistic practices in the larger context of art of that period. I pursue the idea of photography as a device of depersonalization of the artist as creative genius, as a special character who produces special objects and therefore distinguishes himself from other people. Such quality of the photography-whatever is stressed in texts of artists from those years in a celebration of the possibility of anti-art that resulted from the usage of photography as a medium, through an appropriation of the least special techniques and materials available at that time for the production of pictures and was opposed to the art that they called traditional or conventional. I also focus my attention, in the artists’ texts, in how they approach their own work, in order to withdraw three roles that photography can play in their artistic practices: the photograph as a document; the photograph integrated into the artistic practice; the photograph as an art work. While trends drawn from the ways of appropriation of photography as a medium for production, these groups have the task of organizing, by similarity and difference, the discursive approaches of the artists about their practices, based on how they developed their doing and determined the locus of their work – in other words, that which, for each of them, constitutes the work of art itself among the various elements that comprise his artistic practice. Photography in the arts exists by virtue of the discourse – both visual and textual – that takes it as an object, and in this sense it was being invented for that time, in the writings and works of the artists. The presence of photography in the artistic practice in the 1960s and 1970s, approached by means of a research into the discourses of artists, has shown itself as a complex establishment process of photography as an object to the artistic knowledge, an object of which one can speak and for which a specific vocabulary is formed, enabling it to place itself as a new medium among others (and in relation to them) for artistic production.

A pesquisa parte da análise fílmica para responder às perguntas: como a cidade aparece no moderno cinema brasileiro que surge nos anos 1960? Como estas questões se colocam numa década de extrema tensão política e cultural do Brasil? A premissa é que, na metrópole de crescimento tentacular e maior pólo industrial do Brasil, o jargão do progresso encobre a urbanização precária de uma sociedade desigual. Os filmes rodados neste meio oferecem um campo notável para compreendermos como a modernização conservadora revela sua face no cinema. Além do trabalho sobre os filmes, a tese procura averiguar em qual medida as obras analisadas estabelecem continuidades ou rupturas em relação à produção anterior, na forma plástica e nas narrativas. Os resultados revelam que sendo a utopia um problema na representação da cidade no cinema brasileiro, no caso de São Paulo o desajuste das personagens se deve a que o progresso da cidade resulta de um desenvolvimento que combina modernidade econômica com uma elite aferrada ao poder. / With filmic analysis as its point of departure, the research attempts to respond to the following questions: how is the city portrayed in the modern Brazilian cinema that emerged during the 1960s? How are these questions framed in a decade of such extreme political and cultural tension in Brazil? The premise is that, in the nations largest industrial hub, a metropolis of tentacular growth, the jargon of progress covers up the precarious urbanization of an unequal society. The films shot in this environment provide notable source material from which to understand how conservative modernity shows its face in cinema. In addition to its treatment of the films, the thesis also seeks to ascertain to what extent the analyzed works continue from or break with the earlier production in both their plastic form and narratives. The results show that, as utopia is a problem in the representation of the city in Brazilian cinema, in the case of São Paulo in particular, the maladjustment of the characters stems from the citys progress as a result of an urban development that combines economic modernity with a power-hungry elite.

Esta dissertação se propõe a investigar, no campo da arquitetura e urbanismo, os empregos do termo \"utopia\" num período em que este foi especialmente movente e dissensual: o final dos anos 1950 até o início dos anos 1970, no contexto europeu. Elegeu-se, para estudo de caso, as proposições da Internacional Situacionista e do Superstudio. Acompanharemos de forma mais detida os escritos situacionistas desde a fundação do movimento (1957) até cerca de 1961, período em que as discussões do grupo estão voltadas para a arquitetura, o urbanismo e a arte. No caso de Superstudio, priorizaremos a sua produção desde o seu surgimento (dezembro de 1966) até 1973, que é quando o interesse do grupo migra do tema da utopia para o estudo de modos de vida vernaculares e não-urbanos. A eleição destes dois grupos diz respeito à forma bastante distinta com que cada um lida com a questão das utopias, ao mesmo tempo que o lastro marxista comum nos permite traçar uma série de comparações, marcando as suas aproximações e divergências / This dissertation proposes to investigate, in the field of architecture and urbanism, the The term \"utopia\" in a period in which it was especially Dissensual: the late 1950s to the early 1970s in the European context. The case of the Situationist International and the Superstudio. We will more closely follow the situationist writings from the Foundation of the movement (1957) until about 1961, when discussions of the Focus on architecture, urbanism and art. In the case of Superstudio, We will prioritize its production from its inception (December 1966) until 1973, Which is when the interest of the group migrates from the theme of utopia to the study of modes of Vernacular and non-urban life. The election of these two groups concerns the Quite different from what each one deals with the question of utopias, at the same time That the common Marxist ballast allows us to draw a series of comparisons, marking Their approximations and divergences.

On 6 May 1966 the ‘Trial of the Century’ came to an end. Chester Assizes court convicted Ian Brady and Myra Hindley for the murders of 12-year-old John Kilbride, 10-year-old Lesley Ann Downey, and 17-year-old Edward Evans. The court found Brady guilty on all three murder charges and sentenced him to three concurrent life sentences. Hindley received two life sentences for the murders of Downey and Evans, and a further seven years for being an after-the-fact accomplice in Brady’s murder of Kilbride. Following the description already given to the police investigation and trial, the newspapers gave Brady and Hindley the infamous label of the ‘Moors Murderers’ straight after the trial. The Moors murders have become a part of British folklore since the 1960s, but the case itself has hitherto received surprisingly little attention from academic historians. Following Martin Wiener’s injunction for historians to pay closer attention to murder stories, this doctoral thesis presents a cultural history of the Moors murders case. My study analyses the courtroom arguments, media coverage and post-trial books about the case, to interrogate broader themes of moral and cultural change in 1960s Britain. My thesis emphasises the multi-vocal nature of representations of both the case and the murderers in order to challenge the linear and progressive historiographies of the 1960s, associated in particular with Arthur Marwick. The thesis examines four major facets of the Moors murders story, dedicating a chapter to each. The first chapter explores how the news media (primarily the press, but also broadcast media) negotiated the story. The first detailed empirical analysis of newspaper coverage of the case reveals the limitations of studies structured primarily around social class. The thesis follows Stuart Hall and A.C.H. Smith in arguing that analyses of the press should not be reduced to a simple differentiation between popular, middle-brow and high-brow but should instead consider the ‘personalities’ of each publication and the moral relationships constructed with readers. Furthermore, the chapter engages with Adrian Bingham’s recent argument about the moral politics of the press, exploring his assertion that the popular press balanced commercial profits alongside a commitment to maintain their reputation as ‘family newspapers’. The chapter argues that content of the press coverage of the Moors murders case generated far greater concerns than the suspect practices of journalists. Chapters two and three focus in turn on the diverse representations of Ian Brady and Myra Hindley. Commentators debated the origins of the evil behind the murders, with some highlighting his illegitimacy, others his reading of ‘dangerous’ books, the writings of the Marquis de Sade especially. Hindley’s role was hotly contested: most commentators emphasised how she had changed under Brady’s influence, but disagreed over the extent of her own involvement in the murders. The thesis reveals for the first time how images of Nazi Germany shadowed the case. The thesis thus contributes to historical investigations of permissiveness in post-war England, engaging with debates about censorship, child-rearing, the changing role of women, and the popular memory of the holocaust. The fourth and final chapter analyses the tensions generated around a murder story which took place in urban settings, but which became indelibly associated with the rural locations of the moors. The story mobilised a distinctive combination of gothic imagery with a long literary heritage, and the more recent language of social realism.

In 1957 a number of women's organizations were involved in planning a government-sponsored Festival of Women - an event that indicates contemporary awareness of and interest in the changing position of women. This study is similarly concerned with the position of women in the 1950s and 60s, relating constructions of the 'modern' woman in women's magazines to post-war developments, such as increasing levels of consumption and changing leisure patterns. There are two major themes in the thesis: the housewife and the modern. The study illustrates the centrality of 'the housewife' while accentuating the breadth and complexity of post-1945 women's roles and identities, with a focus on two sites pivotal to constructions of femininity in women's magazines: the home and appearance. The study also explores how women's magazines shaped the modern, emphasizing the range of ways in which this notion was constructed and understood. The concept of social capital is used to examine the significance of the modern, looking at why it was so important and its connection with ideas of exclusion and belonging.The study looks at two magazines. Home and Country was the magazine of the National Federation of Women's Institutes, and hence it targeted rural women. Woman's Outlook, on the other hand, was the Women's Co-operative Guild magazine, aimed at working-class Guild members. Through comparisons between the two and with Woman, a mass-circulation weekly magazine, the thesis demonstrates that their respective rural and Co-operative identities were distinctive features that contrast with the urban and mass consumption viewpoints evident in other titles. These rural and Co-operative identities heavily influenced the perspectives of the organizational magazines and created alternative visions of the modern. The relationship of these features to post-war British modernity has received little attention, with historians' focus on the urban and the individual consumer positioning the countryside and the Co-operative movement as antithetical to the modern. However, this study reveals that rural and Co-operative interpretations of the modern enhance and develop understandings of key themes in 1950s and 60s British history such as national identity, consumer culture, generation and age. The thesis situates Home and Country and Woman's Outlook within broader social and cultural networks and shows the extent to which women's magazines operated as cultural intermediaries. The study also engages with a number of intersecting bodies of literature, such as revisionist accounts of domesticity and recent work on women's organizations, and contributes to various discussions including housing in post-war Britain and feminist analyses of fashion and beauty. This multifaceted investigation generates new insights into both the housewife and the modern, insights which offer a more complex and nuanced account of 1950s and 60s Britain and the position of women.

La recherche se focalise sur l’étude comparative de l’érotisme dans deux romans : La Marge d’André Pieyre de Mandiargues et La Pornographie de Witold Gombrowicz. Conformément à la nouvelle approche comparative (Apter, Casanova, Moretti) et dans une perspective culturelle et littéraire, le projet explore la façon dont l’érotisme peut être entendu (ou malentendu) dans l’histoire des idées, dans la critique littéraire et dans les œuvres littéraires. À partir d’une enquête épistémologique, de l’histoire contrastive du contexte littéraire franco-polonais et des enjeux critiques développés par Bataille, Foucault, Barthes et Deleuze, le projet montre les différences culturelles dans la représentation de l’érotisme littéraire. En outre, il compare la façon dont Mandiargues et Gombrowicz défendent la nécessité et le danger de l’érotisme dans la littérature, à travers leur écriture critique. Enfin, grâce à l’analyse des deux romans, l’étude tend à expliquer la dynamique de l’érotisme littéraire compris comme un thème tantôt descriptif tantôt narratif. Les deux romans montrent comment le rêve érotique peut être exploré à travers la temporalité narrative ou à travers l’espace et, par conséquent, comment ils peuvent conduire à des interprétations photographiques ou cinématographiques. Cette recherche vise à mettre en évidence le rôle de ces écrivains dans une discussion sur l’ars erotica contemporain dans la littérature mondiale et cherche à encourager l’étude de l’érotisme dans la littérature comparée. / The research focuses on the comparative study of eroticism in two novels: The Margin by André Pieyre de Mandiargues and Pornografia by Witold Gombrowicz. Following the new comparative approach (Apter, Casanova, Moretti) from a cultural and literary perspective, the project explores the ways in which eroticism can be understood (or misunderstood) in the history of ideas, in literary criticism and finally in literary works. Starting from an epistemological inquiry, the contrasting literary histories of Poland and France and theoretical approaches developed by Bataille, Foucault, Barthes and Deleuze, the project shows the cultural differences in representing eroticism in literature. Furthermore it compares how Mandiargues and Gombrowicz defend the necessity and the danger of eroticism in literature through their critical writing. Finally, thanks to a deep textual analysis of the two novels, the study seeks to explain the dynamics of literary eroticism understood as a theme that is either descriptive or narrative. The two novels show how the erotic dream can be explored through narrative temporality or space and consequently lead to photographical or cinematographical interpretations. This research intends to highlight the role of these writers in the discussion of contemporary ars erotica in global literature and to encourage the study of eroticism in comparative literature.

This thesis focuses on the British music scene in the 1960s. Popular music was one of the main manifestations of consumerism and influenced the behavior of most young people. The aim of the thesis is to explain the extent in which popular music played a role in the establishment of a consumer society and, above all, the impact caused by interpreters and music groups on the lifestyle of their listeners and audiences.The thesis also examines how the British music developed in the Sixties and how it was characterized.The thesis is based on the assumption that the 1960s' is a key decade in the postwar history of modern society, a time when fundamental changes occurred in the value systems of most Western societies, notably the British. New generations of young people associated with economic prosperity surfaced at that time, fostering the development of the phenomenon of consumer society, thus changing people's lifestyles.The first part of the thesis is dedicated to economic and social assumptions of the development of the consumer society. The second part of the thesis addresses the social structure of the British society, focusing on the youth - arguably, the social extract that was most appealed by popular music. The core part of the thesis analyses the British music scene in the 1960s, with focus on the music groups and also the music industry and its impal on the lifestyle of youth.

The Contribution to the Problems of Public Activities of the Student Movement in the United States of America in the 1960s In many aspects, the 1960s were a turning point in the history of the post-war world. Great number of political, as well as social and cultural turbulences took place during the decade, changing the world in a significant way. Social movements (which student movement was a part of - and an important one, one should add) contributed to these changes in many ways. After the "silent fifties" which almost completely lacked any form of political or social involvement of ordinary citizens, the sixties brought wave after wave of social disturbances, commotions, and even riots. First the civil rights movement, then the anti-war and student movements, tried to transform the American society into a better one. Students gathered around the issue of the Vietnam War, turning it into a cornerstone of their political agenda and even though they participated in a number of other (often more constructive) activities, these got necessarily overshadowed by the war issue. In order to gain more members, the student movement was forced to adopt more militant and violent kind of actions, which eventually estranged its members to the majority society. When we take into consideration the distorted lens of the...

This dissertation is a study of the experimental artistic practice of the group called Dvizhenie (The Movement) that was active in Moscow between 1964 and 1976 and associated with the Kinetic movement. The period of the group’s activity coincided with a political transition in the USSR from later stages of The Khrushchev’s Thaw characterised by cultural liberation and political reforms into The Stagnation era already defined by Leonid Brezhnev’s rule and subsequently a more conservative and stricter governmental attitude towards artistic production. In this period of a little more than a decade, The Movement group was a single experimental union in the USSR that enjoyed public success and achieved a rapid transformation of their activities from small-scale exhibitions into public state commissions. In the course of this transition, the members of the group formed an entirely new artistic language that was neither similar to Socialist Realism nor to the tendencies of Abstract painting, which gained importance in the circles of experimental Soviet artists at the time. Instead, they turned to the aesthetics of Kinetic art, science- fiction and design and found inspiration in a dialogue with Russian Avant-garde tradition. The narrative of the dissertation follows the specificity of the experimental group’s development in the defined stages and analyses how the group met with the challenges of censorship and opportunities of ideological collaborations. On a broader scale, the dissertation offers an investigation into the functions of experimental thinking in the USSR in the 1960s and evaluates the role of futuristic planning and artists’ dialogue with the restored tradition of the 1920s Avant-garde projects.:Table of Contents List of illustrations...............................................................................................5 Acknowledgements...........................................................................................13 Introduction.....................................................................................................15 State of Research.............................................................................................21 Methodology....................................................................................................29 Chapter I. 1960s Alternative Culture: in the USSR and Abroad...................................53 1.1. Defence of individualism: The Thaw (1954–1968)...........................................53 1.2. Open work against individualism: 1960s movement of Kinetic art......................65 1.3. In transition to Kinetic art: the formation of The Movement group.......................71 Chapter II. Theory and Practice Of The Movement...................................................81 2.1.Theoretical principles of the group: synthesis, symmetry, and movement.............81 2.2.“Towards Synthesis In Arts”, 1964, Moscow...................................................90 2.3.Architects or artists, 1965, Leningrad..........................................................102 2.4. Kurchatov Institute of Atomic Energy, 1966, Moscow.....................................107 Chapter III. The Movement’s Performances and Theatre Productions........................115 3.1.Artistic strategies of performance in The Movement’s practice..........................115 3.2.Humans and machines............................................................................123 3.3. Manifestation of the synthesis principle in performances................................135 3.4.The symbolism of history in The Movement’s productions...............................139 3.5.Escapism of the nature performances.........................................................143 3.6.The strategy of an artefact in Infante’s work.................................................150 Chapter IV. Sciences, State, and Culture..............................................................154 4.1.Kinetic art in urban and exhibition designs...................................................154 4.2. Agitational art at the 1967 October Festival.................................................159 4.3. Value of creativity and designs for “Orlenok”, 1968.......................................170 4.4.Exhibition designs..................................................................................172 4.5.Art and the Stagnation period in the USSR..................................................182 Chapter V. Futurism In The Movement’s Projects..................................................187 5.1. Artificial environments of the next century....................................................187 5.2. The future is cybernetic...........................................................................192 5.3. The power of play..................................................................................195 5.4. Rationalising the unknown: transhumanism and space travel in The Movement’s futurism.........................................................................................................199 3 5.5. Why we need another utopia?..................................................................207 Chapter VI. The Movement: Separate and Abroad.................................................217 6.1. The Movement as a part of the global network.............................................217 6.2. The Movement as a part of dissident art and contemporary interpretations........222 6.3. Separate ways: Infante, Nussberg, Koleichuk..............................................231 Epilogue........................................................................................................243 Bibliography...................................................................................................252 Illustrations....................................................................................................265

This dissertation is a study of the experimental artistic practice of the group called Dvizhenie (The Movement) that was active in Moscow between 1964 and 1976 and associated with the Kinetic movement. The period of the group’s activity coincided with a political transition in the USSR from later stages of The Khrushchev’s Thaw characterised by cultural liberation and political reforms into The Stagnation era already defined by Leonid Brezhnev’s rule and subsequently a more conservative and stricter governmental attitude towards artistic production. In this period of a little more than a decade, The Movement group was a single experimental union in the USSR that enjoyed public success and achieved a rapid transformation of their activities from small-scale exhibitions into public state commissions. In the course of this transition, the members of the group formed an entirely new artistic language that was neither similar to Socialist Realism nor to the tendencies of Abstract painting, which gained importance in the circles of experimental Soviet artists at the time. Instead, they turned to the aesthetics of Kinetic art, science- fiction and design and found inspiration in a dialogue with Russian Avant-garde tradition. The narrative of the dissertation follows the specificity of the experimental group’s development in the defined stages and analyses how the group met with the challenges of censorship and opportunities of ideological collaborations. On a broader scale, the dissertation offers an investigation into the functions of experimental thinking in the USSR in the 1960s and evaluates the role of futuristic planning and artists’ dialogue with the restored tradition of the 1920s Avant-garde projects.:Table of Contents List of illustrations...............................................................................................5 Acknowledgements...........................................................................................13 Introduction.....................................................................................................15 State of Research.............................................................................................21 Methodology....................................................................................................29 Chapter I. 1960s Alternative Culture: in the USSR and Abroad...................................53 1.1. Defence of individualism: The Thaw (1954–1968)...........................................53 1.2. Open work against individualism: 1960s movement of Kinetic art......................65 1.3. In transition to Kinetic art: the formation of The Movement group.......................71 Chapter II. Theory and Practice Of The Movement...................................................81 2.1.Theoretical principles of the group: synthesis, symmetry, and movement.............81 2.2.“Towards Synthesis In Arts”, 1964, Moscow...................................................90 2.3.Architects or artists, 1965, Leningrad..........................................................102 2.4. Kurchatov Institute of Atomic Energy, 1966, Moscow.....................................107 Chapter III. The Movement’s Performances and Theatre Productions........................115 3.1.Artistic strategies of performance in The Movement’s practice..........................115 3.2.Humans and machines............................................................................123 3.3. Manifestation of the synthesis principle in performances................................135 3.4.The symbolism of history in The Movement’s productions...............................139 3.5.Escapism of the nature performances.........................................................143 3.6.The strategy of an artefact in Infante’s work.................................................150 Chapter IV. Sciences, State, and Culture..............................................................154 4.1.Kinetic art in urban and exhibition designs...................................................154 4.2. Agitational art at the 1967 October Festival.................................................159 4.3. Value of creativity and designs for “Orlenok”, 1968.......................................170 4.4.Exhibition designs..................................................................................172 4.5.Art and the Stagnation period in the USSR..................................................182 Chapter V. Futurism In The Movement’s Projects..................................................187 5.1. Artificial environments of the next century....................................................187 5.2. The future is cybernetic...........................................................................192 5.3. The power of play..................................................................................195 5.4. Rationalising the unknown: transhumanism and space travel in The Movement’s futurism.........................................................................................................199 3 5.5. Why we need another utopia?..................................................................207 Chapter VI. The Movement: Separate and Abroad.................................................217 6.1. The Movement as a part of the global network.............................................217 6.2. The Movement as a part of dissident art and contemporary interpretations........222 6.3. Separate ways: Infante, Nussberg, Koleichuk..............................................231 Epilogue........................................................................................................243 Bibliography...................................................................................................252 Illustrations....................................................................................................265