Journal articles: 'Modern primitivism'

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Knapp, James F. "Primitivism and the Modern." boundary 2 15, no. 1/2 (1986): 365. http://dx.doi.org/10.2307/303444.

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Povey, John, Robert Goldwater, and Katia Samaltanos. "Primitivism in Modern Art." African Arts 20, no. 3 (May 1987): 14. http://dx.doi.org/10.2307/3336470.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00389.x.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1995): 30. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00389.x.

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Lodder, Matt. "The myths of modern primitivism." European Journal of American Culture 30, no. 2 (August 30, 2011): 99–111. http://dx.doi.org/10.1386/ejac.30.2.99_1.

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Berman, Nancy. "From Le sacre to Les noces: Primitivism and the Changing Face of Modernity." Canadian University Music Review 20, no. 1 (May 16, 2013): 9–21. http://dx.doi.org/10.7202/1015645ar.

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The function of the primitivist aesthetic in modern French culture shifted dramatically from the pre- to the post-war period. Whereas the primitivism of the Ballets russes's Le sacre du printemps was understood by its contemporaries to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les noces was perceived to some extent as a manifestation of both the classicist "call to order" and the mechanistic aesthetic of the post-war period. Indeed, Les noces was one of many cultural products by means of which post-war modernists extolled the virtues of the machine age.

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Piccolomini, Manfredi. "Vico, Sorel, and Modern Artistic Primitivism." New Vico Studies 4 (1986): 123–30. http://dx.doi.org/10.5840/newvico1986410.

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Jeihouni, Mojtaba, and Nasser Maleki. "Far from the madding civilization: Anarcho-primitivism and revolt against disintegration in Eugene O’Neill’s The Hairy Ape." International Journal of English Studies 16, no. 2 (December 12, 2016): 61. http://dx.doi.org/10.6018/ijes/2016/2/238911.

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<p>Anarcho-primitivism contends that modern civilization deprives people of their happiness, which is why it seeks to reconstruct civilization on a primitive basis, one that holds concrete promises of happiness. It argues that a harmonious relation with human nature and external nature needs to be established by translating technological societies into societies that are free of hierarchy, domination, class relationships, and, simply put, of modern structures. Anarcho-primitivists intend to reinstate a primitive outlook in the modern era and recover the authenticity and wholeness lost to the tyranny of civilization. The radical nature of Yank’s anti authoritarianism in Eugene O’Neill’s The Hairy Ape (1921) demonstrates that he is totally at a loss about the positive functions of industrialism. We argue that Yank expresses a deep resentment toward civilization that is barely hidden in the play. This leads us to suggest that Yank’s objective is not dissimilar from that of anarcho primitivists: he values his individuality and tries to subvert the social forces that are arrayed against it. Like anarcho-primitivists, he is determined to bring down the pillars of the material culture in favor of a primitive life, where free subjectivity or individuation becomes the integral gift of society.</p>

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KLESSE, CHRISTIAN. "Modern Primitivism': Non-Mainstream Body Modification and Racialized Representation." Body & Society 5, no. 2-3 (June 1999): 15–38. http://dx.doi.org/10.1177/1357034x99005002002.

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Perchard, Tom. "Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz." Popular Music 30, no. 1 (January 2011): 25–45. http://dx.doi.org/10.1017/s0261143010000644.

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AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian visual art. Indeed Panassié used the term ‘primitive’ himself, and positively. But this article traces the ultra-conservative writer's intellectual and religious formation to show that, rather than contemporarynegrophilie, it was a religious and cultural heritage quite distant from the modern European encounter with blackness that first informed Panassié's primitivism. Although this re-reading does not aim to ‘rehabilitate’ someone who remains a troublesome and reactionary figure, the article nevertheless goes on to explore how, in his primitivist rejection of European modernism, Panassié sometimes pre-empts important arguments made by the postmodern jazz scholarship that would seem to marginalise the critic's historical contributions.

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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.

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Plekhanova, Irina I. "Naive and Game in Primitivism as a Strategy for Overcoming Post-Modern Relativism." Journal of Siberian Federal University. Humanities & Social Sciences 11, no. 3 (March 2018): 396–413. http://dx.doi.org/10.17516/1997-1370-0235.

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Price, Sally, Frances S. Connelly, and Colin Rhodes. "The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725-1907." African Arts 29, no. 1 (1996): 18. http://dx.doi.org/10.2307/3337442.

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Cohen, Erik. "Body Piercing in “Modern Primitivism” and in Thailand's Vegetarian Festival: A Comparative Study." Tourism Culture & Communication 12, no. 2 (April 1, 2012): 51–68. http://dx.doi.org/10.3727/109830413x13575858951040.

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Robinson, Joyce Henri. "The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725-1907. Frances S. Connelly." Studies in the Decorative Arts 4, no. 1 (October 1996): 130–33. http://dx.doi.org/10.1086/studdecoarts.4.1.40662515.

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Carvalho, Alexandre Galvão. "The ancient economy, Modernity and the East and West relationship: the contributions of Karl Marx and Max Weber." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (March 24, 2018): 484–505. http://dx.doi.org/10.31669/herodoto.v3i1.

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The work of Karl Marx (1818-1883) and Max Weber (1864-1920) on the economy and society of the ancient world inaugurate a new perspective in relation to the economists of the 18th and 19th centuries and in debates about the old economy locked in Germany in the late 19th century. Different from neoclassical economists and the modernists and primitivism, these authors will defend the thesis of a radical break between the old world and the modern. A discontinuity marked, for Marx, the birth of the capitalist system, and for Weber, of modern capitalism. In addition to this similarity, these thinkers have reinforced the Eurocentric view by stating that the cultural and political roots of modern west lie in Classical Antiquity, reinforcing a tradition of thought of deep rifts between the ancient societies of the East and the societies of the Greco-Roman world, much contested in current historiography.

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Carvalho, Alexandre Galvão. "The ancient economy, Modernity and the East and West relationship: the contributions of Karl Marx and Max Weber." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (March 24, 2018): 484–505. http://dx.doi.org/10.31669/herodoto.v3i1.

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The work of Karl Marx (1818-1883) and Max Weber (1864-1920) on the economy and society of the ancient world inaugurate a new perspective in relation to the economists of the 18th and 19th centuries and in debates about the old economy locked in Germany in the late 19th century. Different from neoclassical economists and the modernists and primitivism, these authors will defend the thesis of a radical break between the old world and the modern. A discontinuity marked, for Marx, the birth of the capitalist system, and for Weber, of modern capitalism. In addition to this similarity, these thinkers have reinforced the Eurocentric view by stating that the cultural and political roots of modern west lie in Classical Antiquity, reinforcing a tradition of thought of deep rifts between the ancient societies of the East and the societies of the Greco-Roman world, much contested in current historiography.

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McKellar, Elizabeth. "All Roof, No Wall: Peter Boston, A-Frames and the Primitive Hut in Twentieth-Century British Architecture, c. 1890–1970." Architectural History 62 (2019): 237–69. http://dx.doi.org/10.1017/arh.2019.9.

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AbstractA very particular type of modern house in Britain — A-frames of the 1950s and 1960s — emerged from a much longer history of British and Scandinavian-German primitivism centred on the cruck-frame. This article focuses on a small number of architect-designed examples and introduces one of the main proponents of the type, Peter Boston (1918–99). The tension between the A-frame's familiarity as a universal dwelling type and its adoption as a signifier of modernity is a central theme. In the British twentieth-century context, the ‘modern’ included a strong vernacular element, and the new A-frames, which formed part of the ‘timber revival’ of the 1950s and 1960s, were informed by a long-standing interest in the history of cruck-framed construction from the Arts and Crafts onwards, which in turn was part of a wider pan-north European building culture.

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Nocoń, Jolanta. "Linguistic and communication education at Polish lessons during the period of cultural change. Musings on the curriculum." Acta Universitatis Lodziensis. Folia Litteraria Polonica 56, no. 1 (March 31, 2020): 19–30. http://dx.doi.org/10.18778/1505-9057.56.02.

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The article discusses the challenges posed in the 21st century in terms of linguistic and communication education in terms of teaching Polish as the mother tongue. The author posited that socialisation cannot replace education, which is why one of the major goals of linguistic education in terms of the mother tongue is to satisfy the linguistic and communication needs of pupils resulting from the cultural transformations happening in the modern world. The new tasks which Polish teachers face include the development of the so-called new communicational competence, which enables communication in a world dominated by the media, including digital media, and to counter the process of lowering the standards of verbal communication, including verbal aggression and language primitivism.

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Head, Raymond. "Holst – Astrology and Modernism in ‘The Planets’." Tempo, no. 187 (December 1993): 15–24. http://dx.doi.org/10.1017/s0040298200003247.

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The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.

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Alexander, Jeffrey C. "Recovering the primitive in the modern: The cultural turn and the origins of cultural sociology." Thesis Eleven 165, no. 1 (July 16, 2021): 10–19. http://dx.doi.org/10.1177/07255136211032829.

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This essay provides an intellectual history for the cultural turn that transformed the human sciences in the mid-20th century and led to the creation of cultural sociology in the late 20th century. It does so by conceptualizing and contextualizing the limitations of the binary primitive/modernity. In the 19th and early 20th centuries, leading thinkers – among them Marx, Weber, Durkheim, and Freud – confined thinking and feeling styles like ritual, symbolism, totem, and devotional practice to a primitivism that would be transformed by the rationality and universalism of modernity. While the barbarisms of the 20th century cast doubt on such predictions, only an intellectual revolution could provide the foundations for an alternative social theory. The cultural turn in philosophy, aesthetics, and anthropology erased the division between primitive and modern; in sociology, the classical writings of Durkheim were recentered around his later, religious sociology. These intellectual currents fed into a cultural sociology that challenged the sociology of culture, creating radically new research programs in the late 20th and early 21st centuries.

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Luisetti, Federico. "Notes on the Biopolitical State of Nature." Paragraph 39, no. 1 (March 2016): 108–21. http://dx.doi.org/10.3366/para.2016.0187.

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Foucault's notion of biopower and his reflections on barbarism and savagery in ‘Society Must Be Defended’ are part of Western philosophy's theorization of the state of nature. In order to show the implications of this epistemic constellation, the article concentrates on the semantic history of primitivism, providing an alternative genealogy for the biopolitical paradigm and ‘Italian Theory's’ engagement with life and nature. From this perspective, Leopardi stands out as a precursor to contemporary ‘Italian Theory’. Leopardi's fascination with Rousseau's ethnographic exoticism and his meditations on the Discourse on the Origin of Inequality can be seen as a critique of the colonial foundations of European modern philosophy and an attempt to envision another state of nature, beyond the tenets of the social contract tradition.

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Case, Jay R. "And Ever the Twain Shall Meet: The Holiness Missionary Movement and the Birth of World Pentecostalism, 1870–1920." Religion and American Culture: A Journal of Interpretation 16, no. 2 (2006): 125–59. http://dx.doi.org/10.1525/rac.2006.16.2.125.

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AbstractPentecostalism first appeared as a global movement, built with both modern and antimodern materials provided by the American holiness missionary movement. On the anti-modern side, radical holiness spirituality and theology infused the worldviews of its advocates with supernaturalism, primitivism, and an apocalyptic eschatology. It resisted modern trends toward systematization, bureaucratization, and centralized control. Furthermore, radical holiness minimized the significance of modern categories of nation, ethnicity, race, and civilization. On the other side, radical holiness depended on the modern disintegration of traditional religious deference, used modern techniques for promoting audiencedriven or democratized patterns of authority, and effectively equipped its followers for the pragmatic methodologies of modernity by skillfully making use of transportation networks, fund-raising techniques, and mass media to reach large audiences.American holiness missionaries carried these characteristics overseas, where non-American advocates adapted them to their particular circumstances. Both American and non-American adherents promoted radical holiness in ways that confounded reigning categories of identity, power relations, and conceptions of East and West. Radical holiness granted religious authority to Chinese men, Indian girls, spirit-filled Zulus, working-class Chileans, female evangelists, and African-American leaders, as well as white American males, without consciously mobilizing its followers along lines of national, ethnic, gendered, racial, or class identity. It demanded that its followers leave "heathenism," but it did so without utilizing the imperialist era discourse of civilization that upheld western cultural superiority and non-western cultural inferiority. In terms of its national or racial characteristics, then, early leaders from diverse backgrounds used tools from the American holiness movement to bring a non-American movement, world Pentecostalism, into existence.

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Pireddu, Nicoletta. "Handing out beauty: Gabriele D’Annunzio’s ritual squanderers." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 16, 2017): 413–31. http://dx.doi.org/10.1177/0014585817698400.

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D’Annunzio’s approach to beauty has largely unnoticed connections with the anti-modern anthropological discourse on symbolic economy that at the turn of the 20th century begins to reject instrumentality in life and representation. From the cultural primitivism of his time, D’Annunzio develops a consistent reflection on the aesthetic and ethical significance of ritual exchange that informs his search for a higher morality through art. Focusing on the nexus of art, giving, and temporality, this article addresses the intuitions and the contradictions of unconditional expenditure in D’Annunzio’s works, analyzing the leitmotif of the hand as an ambivalent carrier of lavishness and power. From Trionfo della morte to Il fuoco, from Le vergini delle rocce to his autobiographical writings, the implications of D’Annunzio’s argument contribute to an extended theoretical debate that interrogates the role of value in aesthetic and social practices—from Nietzsche, Mauss, and Bataille to Heidegger and Derrida. Can art’s luxurious dissipation truly break the circle of speculation and restitution?

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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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Gutkin, David. "The Modernities of H. Lawrence Freeman." Journal of the American Musicological Society 72, no. 3 (2019): 719–79. http://dx.doi.org/10.1525/jams.2019.72.3.719.

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H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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Steavu, Dominic. "Cosmogony and the Origin of Inequality." Medieval History Journal 17, no. 2 (October 2014): 295–335. http://dx.doi.org/10.1177/0971945814545008.

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The present article examines how classical, early medieval and medieval Taoist sources theorise inequality as an outcome of cosmogonic processes, and how these same sources project eliminating inequality through a reversal of those processes. The first part of the article considers utopias from the Laozi daode jing [Formula: see text] (Laozi’s Scripture on the Way and its Virtue) and Zhuangzi [Formula: see text] (Book of Master Zhuang) and from the early medieval writings of Ji Kang [Formula: see text] (223–262) and Bao Jingyan [Formula: see text] (3rd to early 4th centuries). From these, a number of themes common to Taoist utopias emerge, namely communitarian primitivism, the condemnation of knowledge, and the endorsement of a de-civilising programme of cosmogonic reversion which aims for a return to the golden age of natural spontaneity. The second part of the article is devoted to the mature utopian vision of the ninth-century Wunengzi [Formula: see text] (The Incapable Master). In addition to elaborating on previous themes, the Wunengzi contributes two new ideas to Taoist utopian discourse: first, the distinction between intelligence, which develops naturally, and human knowledge, which is an artificial contrivance; and second, the conviction that an ideal society is achievable through engagement with existing political structures. The conclusion examines basic similarities between Taoist utopias and early modern to modern European counterparts, challenging the validity of Eurocentric notions of a ‘Taoist anarchism’.

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Cooper, Melinda. "‘[W]hen the highway catches up with us’: Negotiating late modernity in Eleanor Dark'sLantana Lane." Queensland Review 23, no. 2 (December 2016): 207–23. http://dx.doi.org/10.1017/qre.2016.30.

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AbstractEleanor Dark's last published novel,Lantana Lane(published 1959), is not usually included in accounts of Australian modernism. The novel's strong criticisms of modernity, its regional focus and the Cold War context complicate its inclusion as a modernist text. However, revised understandings of modernism generated in the past few decades of scholarship allow for a reinvestigation of Dark's novel as a response to the conditions of late modernity. In particular, Dark explores the pressures exerted on local space by modern capitalism in a period of post-war reconstruction, showing how the national and global scales encroach upon and threaten to annihilate local particularity. Through drawing on a number of broadly modernist practices, including those of entanglement, suspension, metageography and primitivism, Dark pushes back against modernity's narratives of progress and attempts to recover space for the literary and the small scale.Lantana Lanedemonstrates how ‘regional modernisms’ written from ‘peripheral’ locations can draw attention to the uneven distribution of modernity within national and global space, and offer alternative — if provisional — sites of attachment.

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Bozilovic, Nikola. "Social construction of “other” as “primitive”." Filozofija i drustvo 24, no. 2 (2013): 193–210. http://dx.doi.org/10.2298/fid1302193b.

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The author of this paper deals with the problem of cultural difference through the analysis of the relationship ?us? - ?others?. He searches for the answer to the question why the culture of other peoples or individuals are often considered inferior in many societies. This type of treatment leads to the extreme where the position of the ?other? is reduced to the level of ?primitive? (less valuable, lowly, and brutal). In such a context, the author analyzes theoretical concepts of the Enlightenment rationalism of the 18th century and the anthropological evolutionism of the 19th century, believing that the roots of the negative assessment of the ?other? can be found in them. Namely, the majority of these theories conduct a hierarchization of culture according to the time and value principles, from which peoples and cultures can be classified as ?primitive? and ?civilized?. European modernism provided the vision of history as one of linear growth, which led to modern cultures being a priori declared more valuable and culturally more sublime. However, modern cultures are also classified among themselves according to value principles. The differentiation of cultures is performed using various stereotypes, and the idea of progress as rational improvement in the sphere of material culture, science, and technology legitimizes the transformation of the different (other) into primitive. From this prejudice, according to the author, emerges the Eurocentric thought on the exclusiveness of the European culture, which latently justifies colonialism and other negative phenomena coming from the European civilization. Primitivism is being presented as an objective state, while it is, in fact, the case of a social construction which has the aim of proclaiming the ?other? as ?primitive?.

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STEPANOV, V. M., and K. V. STEPANOVA. "SEARCHING NEW PARADIGMS OF ECOLOGIZATIONOF SOCIAL DEVELOPMENT (METHODOLOGICAL ASPECT OF THE PROBLEM)." Economic innovations 22, no. 3(76) (September 20, 2020): 110–15. http://dx.doi.org/10.31520/ei.2020.22.3(76).110-115.

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Topicality. At the present stage of social development, characterized by complication of relations between society and nature and degradation of the natural environment, the problem of ecologization of all spheres of human activity is actualized. In these circumstances, the importance of methodological understanding of present economic and environmental issues and ensuring the sustainability of social development is increasing.Aim and tasks.The aim of this paper is to study new approaches to the paradigms and meanings of sustainable development, its economic, environmental, social and technological dimension. In order to achieve this goal, the paper discusses set of issues including trends in social development and development of new approaches to solving problems of society.Research results. The paper analyzes the problems of theoretical and methodological basis of ecologization of social development. Attention is paid to the modern realities of economic and ecological relations, which are characterized by the presence of elements of primitivism, insufficient study of complex non-linear problems, which complicate ecologization of social development.We stress the need to take into account current trends of development, such as, for example, "catastrophizing" of the modern world, activation of the intellectual potential of the community in order tosolve environmental problems and provide economic security, growing attentionof scientists to the problems of instability and non-linearity of development and the need to move from the linear understanding of the world to paradigms of non-linearity. The problems of searching of new approaches and paradigms on the World Economic Forums in recent years are discussed.Conclusion. The analysis of modern economic-ecological relations demonstrates the need to understand environment as a complex non-linear system, to search new paradigms of social development and strategies for economic-ecological harmonization. From the point of view of a non-linear approach to ecologizaiton, one of the basic conditions is the change of imperatives, movement from the policy of "force pressure" to the co-evolution of economic, environmental and socio-political systems.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Calo, Mary Ann. "“Seeing” the Harlem Renaissance: Observations on the Position of Visual Art in Harlem Renaissance Studies." Prospects 27 (October 2002): 427–45. http://dx.doi.org/10.1017/s0361233300001277.

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The matrix of ideas and questions that inform scholarship on the Harlem Renaissance as remained fairly consistent across several generations. For example, among the more commonly asked questions over the years have been: Was the Harlem Renaissance modernist or even modern in worldview or artistic form? Did it signal in any real sense the rebirth of a people or was it simply the invention of an intellectual elite with a naive faith in the transformative power of art? What was the relation of the Harlem Renaissance to American cultural and racial ideology? To what extent can we think of it as chronologically or geographically determined, that is, did it begin and end in Harlem in he 1920s? What is the role in this renaissance of an enlightened consciousness about Africa, its people, its art, and its culture? To what degree can we regard the Harlem Renaissance as symptomatic of an emergent black nationalism or move toward cultural separatism within America or the African diaspora? What are we to make of the interracial dynamics within the Harlem Renaissance? How are we to understand the problematic fascination with primitivism and folk culture that preoccupied not only participants in the Harlem Renaissance but also many of its subsequent critics? How did the Harlem Renaissance expand our notions of black subjectivity and identity? What was its relation to the sociopolitical agendas of the early 20th century? And, finally, did it succeed or did it fail? This list is by no means exhaustive, but in the decades that

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Viatte, Germain. "Primitivisme et art moderne." Le Débat 147, no. 5 (2007): 112. http://dx.doi.org/10.3917/deba.147.0112.

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Nugraha, Media Fitri Isma. "PRIMITIVISME IKAN POLYPTERUS SEBAGAI WARISAN MANUSIA MODERN." Media Akuakultur 5, no. 2 (December 31, 2010): 138. http://dx.doi.org/10.15578/ma.5.2.2010.138-143.

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Tinjauan ini mensintesa historis dan diversitas ikan purba Polypterus yang berasal dari Afrika sebagai komoditi budidaya ikan hias. Sejarah evolusinya sangat unik, muncul sejak pertengahan Miocen (10 juta tahun), hubungan parentalnya berada pada posisi transisional sister-takson antara Teleostei dan Tetrapoda. Primitivismenya menyisakan divergensi momental sains hampir satu abad dalam determinasi dimorfisme seksualnya. Bersifat nokturnal, tahan terhadap kondisi habitat ekstrim tetapi mudah dibudidayakan. Polypterus jantan memiliki sirip anal tebal dan condong ke hipural konjungsi sirip ekor. Seekor betina mampu bertelur 100–300 butir dan menetas kurang dari 3 hari. Benih Polypterus sudah dapat beradaptasi dengan pakan tambahan sekitar 10 hari pasca menetas, dan dalam perkembangan gonad jantan dan betina akan terbentuk sempurna setelah berumur 10 bulan. Fosil hidup Polypterus telah menjadi warisan dunia, adopsi dan asuhan penggemarnya tersebar ke-5 benua, dapat dilaporkan bahwa harga per ekor dipatok variatif antara US$40–US$70. Kegemaran kita membudidayakannya, berarti telah menyelamatkan populasi ikan ini agar terhindar dari kepunahan. Atas dasar konsesi dan semangat terhadap warisan spesies dunia itu, BRBIH Depok telah mengoleksi dan sukses memproduksi satu sub spesies, satu varian intergenetik-albino dari populasi Polypterus senegalus senegalus dan 3 spesies intragenerik lainnya.

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Cortez, Luciano. "Quase pintura: poesia e visualidade em Pau Brasil, de Oswald de Andrade." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 94–104. http://dx.doi.org/10.17851/2317-2096.13.1.94-104.

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Resumo: A reconstituição dos dados da paisagem revelam os modos operatórios do discurso poético de Oswald de Andrade para traduzir o mundo em poesia. Essa tradução se fez por meio da transposição de recursos de linguagem próprios às artes plásticas das vanguardas européias de inícios do século XX para o universo da palavra. Seu resultado foi uma poesia capaz de reproduzir no plano verbal o dinamismo do mundo moderno. Em Oswald de Andrade isso implicou a elaboração de uma poesia com sabor primitivista próximo ao que reconhecera na pintura cubista.Palavras-chave: Oswald de Andrade; Pau-Brasil; pintura e literatura.Résumé: La reconstitution des donnés du paysage révélent les modes opératoires du discours poétique de Oswald de Andrade pour traduire le monde en poésie. Cette traduction est faite par moyen de la transposition de ressources de la language propres aux arts plastiques des avant-gards européenes du debut du XXème siècle a l’univers de la parole. Son résultat a été une poésie capable de reproduire dans le plan verbal le dynamisme du monde moderne. Chez Oswald de Andrade, ça a eu, par conséquence, l’elaboration d’une poésie avec une saveur primitiviste, proche a laquelle qu’il avait reconnu dans la peinture cubiste.Mots-clés: Oswald de Andrade; Pau-Brasil; peinture et literature.

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Cabral, Claudia Costa, and Helena Bender. "Usos do primitivismo. Pedra, barro e arquitetura moderna." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 24, no. 43 (August 31, 2017): 80. http://dx.doi.org/10.11606/issn.2317-2762.v24i43p80-97.

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Apesar de problemáticas, as noções de “primitivo” e “primitivismo” foram categorias essenciais para a arte e a arquitetura moderna na América Latina, tanto para produtores (arquitetos e artistas), quanto para seus intérpretes (historiadores e críticos). Estiveram fortemente associadas tanto à contribuição latino-americana para uma modernidade universal quanto à apreciação historiográfica dessa contribuição. Este texto tem por objetivo cercar determinados “usos do primitivismo” na arquitetura sul-americana, que coincidem com a presença de materiais naturais, como a pedra e o barro, e de técnicas construtivas pré-industriais. Embora essa presença possa ser discutida apenas nos termos de uma relação com o “vernáculo”, adota-se propositalmente a noção de “primitivismo”, por exibir um impasse (de certa forma indiferente ao vernáculo) de uma ligação intelectual, e não natural, com a tradição. O trabalho finaliza com algumas notas sobre a proposta de Lucio Costa para a casa operária de Monlevade no Brasil (1936) e as alternativas do grupo Austral para a casa rural argentina (1939).

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Das, Jyotirmoy, Sangeeta Kakoty, and Majidul Ahmed. "A Study on Modern Cryptographic Primitives and Signature Schemes." IRA-International Journal of Technology & Engineering (ISSN 2455-4480) 5, no. 3 (December 27, 2016): 70. http://dx.doi.org/10.21013/jte.v5.n3.p3.

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<div><p class="Default"><em>The access to digital data by the users has increased in recent times with the advent of data communication technologies and its popularization. The data which is in digital form has to pass through insecure channels, for example when a user accesses the Internet, the privacy of data becomes a major issue. The area of Information Security has to play a crucial role when it comes to protecting the privacy of digital data. Cryptography is one such part of Information Security field where a sender’s message gets encrypted and the message gets decrypted at the receiver’s end. From time to time, various cryptographic schemes have been developed among which the Private Key Cryptography and Public Key Cryptography techniques are prominent. Moreover many special Signature Schemes which are part of cryptographic protocols have been providing security in dealing with digital transactions. This paper focuses on the use of modern cryptographic schemes and their importance in digital data communication system.</em></p></div>

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Anderson, Warwick. "Hermannsburg, 1929: Turning Aboriginal “Primitives” into Modern Psychological Subjects." Journal of the History of the Behavioral Sciences 50, no. 2 (March 2014): 127–47. http://dx.doi.org/10.1002/jhbs.21649.

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Park, SeongJae, Hyuck Han, and Heon Y. Yeom. "Knowing the Cost of Synchronization Primitives on Modern Hardware." Journal of KIISE 45, no. 11 (November 30, 2018): 1210–15. http://dx.doi.org/10.5626/jok.2018.45.11.1210.

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Mujica Pinilla, Ramón. "Primitivos modernos: Picasso, Manuel Mujica Gallo y el I.A.C." Illapa Mana Tukukuq, no. 2 (November 17, 2017): 9–24. http://dx.doi.org/10.31381/illapa.v0i2.1177.

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Uno de los rubros del arte moderno más fascinante para el historiador de las ideas estéticas es el uso contemporáneo de simbolos y formas pertenecientes a la así llamadas culturas primitivas. Este fenómeno se inició en lo s albores del siglo XX y fue la consecuencia tardía e indirecta de las nuevas corrientes teóricas en la etnografía europea. A lo largo de la segunda mitad del XIX, diversos etnógrafos Etward Tylor, Sir john Lubbock, William Oldsfield, Gottfried Semper -entre otros- elaboraron un replanteamiento total sobre los orígenes, evolución, función y s ignificado del arte en los pueblos tradicionales ajenos o alejados de la civilización occidental. Ya para 1885 los museos etnográficos europeos contaban con un registro completo de todos los tipos y manifestaciones de arte primitivo en el mundo -objetos que estilísticamente pasaban del naturalismo a la abstracción formal más extrema- y que servirían posteriormente de modelo o inspiración visual para la plástica moderna de Gauguin, Matisse, Kandinsky, Klee y Picasso, entre otros.

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Bogdan, Henrik. "Introduction: Modern Western Magic." Aries 12, no. 1 (2012): 1–16. http://dx.doi.org/10.1163/147783512x614812.

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AbstractMan kann verteidigen, dass das Konzept der Magie als Antithese zur westlichen Kultur auf vier polemischen Diskursen basiert. Zunächst gibt es die Annahme, dass Magie eine Form von 'primitivem' abergläubischem (oder nicht-rationalem) Denken ist. Zweitens gibt es die Ansicht, dass Magie etwas aus anderen Teilen der Welt und daher ein fremdes Element in der westlichen Kultur ist. Drittens gibt es den Diskurs über Magie als etwas, das im Gegensatz zum christlichen Glauben steht. Der vierte und letzte Diskurs ist die bezüglich der inhärent böse Natur der Magie. Die Dialektik zwischen polemischen und apologetischen Diskursen über Magie und die bedeutende Rolle der wissenschaftlichen Literatur in dieser dialektischen Beziehung sind wichtig, um Konstruktionen der modernen westlichen Magie zu verstehen.

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Kotukh, E. V., V. M. Kartashov, O. G. Khalimov, D. P. Tsapko, and A. V. Samoilova. "ANALYSIS OF MODERN REQUIREMENTS TO NEW GENERATION OF CRYPTOGRAPHIC PRIMITIVES." Telecommunications and Radio Engineering 75, no. 7 (2016): 643–57. http://dx.doi.org/10.1615/telecomradeng.v75.i7.70.

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Lioutikov, Rudolf, Guilherme Maeda, Filipe Veiga, Kristian Kersting, and Jan Peters. "Learning attribute grammars for movement primitive sequencing." International Journal of Robotics Research 39, no. 1 (November 17, 2019): 21–38. http://dx.doi.org/10.1177/0278364919868279.

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Movement primitives are a well studied and widely applied concept in modern robotics. However, composing primitives out of an existing library has shown to be a challenging problem. We propose the use of probabilistic context-free grammars to sequence a series of primitives to generate complex robot policies from a given library of primitives. The rule-based nature of formal grammars allows an intuitive encoding of hierarchically structured tasks. This hierarchical concept strongly connects with the way robot policies can be learned, organized, and re-used. However, the induction of context-free grammars has proven to be a complicated and yet unsolved challenge. We exploit the physical nature of robot movement primitives to restrict and efficiently search the grammar space. The grammar is learned by applying a Markov chain Monte Carlo optimization over the posteriors of the grammars given the observations. The proposal distribution is defined as a mixture over the probabilities of the operators connecting the search space. Moreover, we present an approach for the categorization of probabilistic movement primitives and discuss how the connectibility of two primitives can be determined. These characteristics in combination with restrictions to the operators guarantee continuous sequences while reducing the grammar space. In addition, a set of attributes and conditions is introduced that augments probabilistic context-free grammars in order to solve primitive sequencing tasks with the capability to adapt single primitives within the sequence. The method was validated on tasks that require the generation of complex sequences consisting of simple movement primitives using a seven-degree-of-freedom lightweight robotic arm.

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Cohen, Joshua I. "Fauve Masks: Rethinking Modern “Primitivist” Uses of African and Oceanic Art, 1905–8." Art Bulletin 99, no. 2 (April 3, 2017): 136–65. http://dx.doi.org/10.1080/00043079.2017.1252241.

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Queiroz, Marcos de Souza. "O paradigma mecanicista da medicina ocidental moderna: uma perspectiva antropológica." Revista de Saúde Pública 20, no. 4 (August 1986): 309–17. http://dx.doi.org/10.1590/s0034-89101986000400007.

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Objetivou-se analisar, sob um ponto de vista antropológico, o paradigma "mecanicista" dominante na medicina ocidental moderna. Faz-se comentário crítico sobre o positivismo que sustenta este paradigma. Foi mostrado também como ele desenvolveu-se historicamente a ponto de dominar a percepção médica sobre saúde, doença e terapêutica, e como essa percepção deixou modernamente de compreender um amplo espectro da realidade a que se propõe compreender. Foram analisados alguns sistemas médicos "populares" e "primitivos", mostrando como eles incorporam o social no campo da medicina. Enfatiza-se a necessidade da medicina ocidental moderna recuperar o social e o cultural (como dimensões que moldam inevitavelmente a doença, os tratamentos e a cura) para sair da crise em que se encontra. Nesse sentido, recorrer à história e aos sistemas médicos "populares" e "primitivos" tem o propósito de contribuir para isso.

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Marret, Christine. "Le primitivisme moderne : appropriations, emprunts et détournements. Les Carnets des Demoiselles d'Avignon." Genesis 15, no. 1 (2000): 29–42. http://dx.doi.org/10.3406/item.2000.1156.

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Paul, Sebastian, and Melanie Niethammer. "On the importance of cryptographic agility for industrial automation." at - Automatisierungstechnik 67, no. 5 (May 27, 2019): 402–16. http://dx.doi.org/10.1515/auto-2019-0019.

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AbstractCryptographic primitives do not remain secure, they deteriorate over time. On the one hand increasing computing power leads to more powerful attacks on their underlying mathematical problems. On the other hand quantum computing threatens to break many widely used cryptographic primitives. The main goal ofcryptographic agilityis to enable an easy transition to alternative cryptographic schemes. Considering the long lifetime of products within industrial automation, we argue that vendors should strive for cryptographic agility in their products. In this work we motivate cryptographic agility by discussing the threat of quantum computers to modern cryptography. Additionally, we introduce the reader to the concept of post-quantum cryptography. Ultimately, we demonstrate that cryptographic agility requires three elements: 1) cryptographic application programming interfaces, 2) secure update mechanisms and 3) documentation of cryptographic primitives. By providing practical concepts we show how to meet these requirements in software-based systems.

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Yan, X. T., K. Case, and R. H. Weston. "A Generalized Approach to the Modelling of Modular Machines." Proceedings of the Institution of Mechanical Engineers, Part B: Journal of Engineering Manufacture 208, no. 3 (August 1994): 191–203. http://dx.doi.org/10.1243/pime_proc_1994_208_078_02.

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This paper describes a method of graphically simulating modular machines within a computer aided design environment. This forms part of a much larger Science and Engineering Research Council (SERC) funded programme aimed at advancing modern practices when designing and building manufacturing machines. A generalized approach to the synthesis of the generic features of various kinematic motion pairs is presented and prismatic and revolute motion primitives generalized in their functional and geometric aspects. A hierarchical ring and tree data structure has been designed and implemented to comprehensively represent these motion pairs and to simulate their performance. More complex modular manufacturing machines can be represented using information from a library of up to three degree of freedom motion modules. Seven two degree of freedom motion primitives and twelve three degree of freedom motion primitives with articulation configurations have been analysed and included in the motion primitive library. The configuration of modular machines comprised of physically separate but logically connected distributed motion primitives are described. Examples of a two-finger industrial robot gripper and a three-finger industrial robot hand are used to demonstrate the general principles.

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Daher, Andrea. "A invenção capuchinha do selvagem na época moderna." Revista de História, no. 177 (March 8, 2018): 01. http://dx.doi.org/10.11606/issn.2316-9141.rh.2018.127576.

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Da experiência colonial francesa no Maranhão do início do século XVII, a França Equinocial, resultou a publicação de duas importantes narrativas pelos missionários capuchinhos Claude d’Abbeville e Yves d’Évreux. Esse corpus de obras francesas é marcado por transcrições em língua tupi, em particular de arengas de chefes indígenas. O índio tupinambá que surge dotado de fala nessas narrativas missionárias é também fruto de uma “herança” do relato do calvinista Jean de Léry, ao qual se atribui, legitimamente, a “invenção do selvagem”. Por sua vez, muito longe do pessimismo dogmático do huguenote sobre as possibilidades de conversão dos índios, marcado de primitivismo, a escrita missionária dos capuchinhos também contribuiu, utopicamente, para a “invenção do selvagem” na França, no interior da experiência mística que suas descrições encenam.

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Silva, Marilza Bulhões. "AMAZÔNIA EM DESENVOLVIMENTO ENTRE O PROGRESSO E O REGRESSO: UM OLHAR CRÍTICO SOBRE A MEMÓRIA BIOCULTURAL." Revista em Agronegócio e Meio Ambiente 10, no. 4 (December 12, 2017): 1161. http://dx.doi.org/10.17765/2176-9168.2017v10n4p1161-1177.

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O presente artigo apresenta uma possível chave de leitura no que se refere aos conceitos de progresso ambiental, partindo de um contexto amazônico. O texto tem por base uma relação entre a sociedade considerada moderna e os povos considerados primitivos ou rústicos (povos da floresta) no modo de pensar o progresso e o desenvolvimento ambiental. Também se procura abordar as origens do conceito moderno de progresso, sua aplicação no contexto atual e as implicações das práticas da economia, da política, do desenvolvimento da Amazônia que daí surgem, sobretudo, no impacto que tudo isso provoca na vida do homem amazônico. Trabalham-se ainda a noção do significado do termo regresso e o que ele pode representar para as populações da floresta, além de um alerta para a retomada da memória biocultural.

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Journal articles on the topic 'Modern primitivism'

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