Intersections of Art, Science, and Technology in Soviet Film and Culture

By maintaining the tension between artists’ imaginative approaches to technology in the Soviet Union (Meyerhold’s Biomechanics), film directors’ use of science such as physiology (Eisenstein’s Expressive Movement), and scientists’ own theorization of art history (Lev Vygotsky’s The Psychology of Art), this workshop aims at unpacking the historical and political forces behind Soviet film theory, film practice, and art history in relation to science and technology. While examining the juncture between art, science, and technology in post-Revolutionary Russia, with a focus on the avant-garde period until the death of Joseph Stalin, cinema is thus considered as a device beyond its medium of film (Francois Albera, Maria Tortajada: Cinema Beyond Film) and the medium-specificity of the arts is called into question.

Session 2:
 

9:30 – 10:00
Dr. Noemi Smolik (Universität zu Köln) The Relation of Painted Images to Images of Cinema: Malevich’s Writings on Cinema

10:00 – 10:30
Dr. Magdalena Nieslony (Universität Stuttgart) Evolution and Play: Models for Art History in the 1920s

10:30 – 11:00 Coffee Break
 

11:00 – 11:30
Viktoria Schindler (Freie Universität Berlin) Searching for Objective Methods of Investigation in Art: Ivan Kliun’s Scientific Approach to Artistic Media

11:30 – 12:00

Dr. Fabian Heffermehl (University of Oslo) Tarabukin reads Florenskii - On the Connection Between Mathematical and Pictorial Spaces in Russian Modernism