LEADER 00719nam0-22002651i-450- 001 990000403100403321 005 20001010 035 $a000040310 035 $aFED01000040310 035 $a(Aleph)000040310FED01 035 $a000040310 100 $a20001010d--------km-y0itay50------ba 101 0 $aita 105 $ay-------001yy 200 1 $aSelected Constnts Oxydo-Reduction Potentials$fG. Charlot. 210 $as.l.$cs.e.$d1958 700 1$aCharlot,$bGaston$089857 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990000403100403321 952 $a04 230-38$bCA 98$fDINCH 959 $aDINCH 996 $aSelected Constnts Oxydo-Reduction Potentials$9134494 997 $aUNINA DB $aING01 LEADER 00885nam0-2200301 --450 001 9910362059903321 005 20200114110707.0 010 $a0071408126 100 $a20200114d2005----kmuy0itay5050----ba 101 0 $aeng 102 $aUS 200 1 $aFunctional neuroanatomy$etext and atlas$fAdel K. Afifi, Ronald A. Bergman 205 $a2nd ed. 210 $aNew York$cLange Medical Books/McGraw-Hill$dc2005 215 $aix, 494 p.$cill.$d28 cm 610 0 $aNeuroanatomy 610 0 $aNervous System 676 $a611.8 700 1$aAfifi,$bAdel K$0510612 701 1$aBergman,$bRonald A$g(Ronald Arly),$f1927-$0510610 801 0$aIT$bUNINA$gREICAT$2UNIMARC 901 $aBK 912 $a9910362059903321 952 $a90 J 2c 28$b326/2019$fFMEBC 952 $a90 J 2c 29$b327/2019$fFMEBC 959 $aFMEBC 996 $aFunctional neuroanatomy$91570514 997 $aUNINA LEADER 04486nam 2200565 450 001 9910511769903321 005 20200514202323.0 010 $a1-350-02198-9 010 $a1-350-02200-4 010 $a1-350-02197-0 024 7 $a10.5040/9781350022003 035 $a(CKB)4100000007009693 035 $a(MiAaPQ)EBC5541310 035 $a(OCoLC)1089124313 035 $a(CaBNVSL)9781350022003 035 $a(EXLCZ)994100000007009693 100 $a20190429e20192018 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSoviet critical design $eSenezh Studio and the Communist surround /$fTom Cubbin 205 $aFirst edition. 210 1$aLondon, England :$cBloomsbury Publishing,$d2018. 215 $a1 online resource (249 pages) $cillustrations 225 1 $aCultural histories of design 300 $aIncludes index. 311 $a1-350-02199-7 320 $aIncludes bibliographical references and index. 327 $aIntroduction: The Communist SurroundSocialist Objects as Critical DesignThe Communist SurroundThe Language of Soviet DesignLate SocialismConclusion Chapter 1: Art, Technology and Design in the Soviet ThawTechnical Aesthetics as a 'Science of Design'Theories of Design in Art and AestheticsProblems of DesignForeign InfluencesFrom Chaos to HarmonyThe Production Art of the FutureObjects of the FutureConclusion Chapter 2: Senezh Studio and the Emergence of a Critical PracticeThe Artist in DesignSeminar for Design and Industrial Art -- Programme of WorkSummary of Courses in Colour and Composition, 1969Industrial Policy and LabourOpen FormSites of Experimentation: Socialist Spaces of the FutureMethodological Philosophy and the Reassessment of Artistic ProjecteeringThe Domestic Information MachineConclusion Chapter 3: Semiotics, Environment, and the Historical TurnAbandoning Industrial DesignRedefining Visual AgitationConservation of Architectural HeritageRetrospectivism, Memory and HistoryTheatricalizationConclusion: Opening the Semiotic Cage Chapter 4: Design and the Projective ImaginationEnvironment and the 'Museification' Debate'Projectivism' and DesignIcons of a Higher RealityUnderground CultureMaiakovskii Square as a Theatre of Post-Authoritarian UrbanityConclusion Chapter 5: A Quiet Conversation Among Things: Memory, Agency and Materiality at the End of HistoryBackground: Cultural Ecology and Projecteering in PushchinoThe Abandoned HousePerestroika and TimePhotographsTablesIconsConclusion Conclusion End MatterAppendix I -- Complete List of Senezh ProjectsAppendix II -- Key PeopleIndex. 330 $a"Soviet Critical Design is the first monograph to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin first examines the studio as a site for the development of the design discipline in the optimistic environment of the Soviet Thaw of the 1960s. He then explores how designers adapted to new realities of the Soviet Union of the 1970s and 80s. Over two decades, designers at the studio worked on critical projects that highlighted how the Soviet state's treatment of citizens, urban heritage and the environment was manifest in daily life. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. 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