Rhythm and Projection. Possibility Thinking in the Soviet Avant-garde

该项目旨在对20世纪10年代至30年代的苏联艺术先锋派进行重新评估。它不是一种假定的专注于乌托邦概念的思维模式，而是将潜在思维的形式作为这些先锋派的基本姿态。最初的假设是，这种对可能性的强调嵌入在节奏和投射这两个指导范畴中。一方面，节奏和投射作为概念需要在先锋派的理论讨论中进行重构。另一方面，它们必须作为在不同艺术形式之间以及艺术与科学之间建立密切联系的技术和实践来研究。节奏作为机会、更新和潜力的经验形式的概念，应该与节奏练习作为纪律和条件作用的工具的有限理解形成对比，例如，通过体操、劳动管理、舞蹈和戏剧中的训练和自动化方法。投射的概念同样应该被强调，与任何先锋派的图式式乌托邦主义相反。投射意味着一种通过草稿进行思考的形式，一种通过变量和可能的选择进行的预期的试探性和实验性实践。它还涉及到光学投影的技术设备，这体现在胶片的定义媒介上。该项目有一个集体的工作计划，从理论的角度来探讨各种话语和艺术实践中节奏和投影之间的调节关系。除此之外，三个案例研究将更详细地处理项目主题，每个案例研究都追求一个特定的焦点。例子如下：研究1调查节奏和投射如何作为概念和实践出现在以下领域：艺术先锋派（文学、戏剧、电影）与运动生理学研究的合作；运动节奏的创造性转移，被认为是一种投射转移，在不同的媒体和艺术形式之间；以及基于节奏的文化进化动态。研究二集中于俄罗斯戏剧先锋派的投射主义及其艺术基础。研究三探讨了诗歌节奏作为一种开放动态的心理学研究与诗学研究的关系。

The project aims to contribute to a reevaluation of the Soviet artistic avant-gardes of the 1910s to 1930s. Rather than a mode of thinking putatively fixated on utopian notions, it posits forms of potentializing thinking as the basic gesture of these avant-gardes. The starting hypothesis is that such an emphasis on the possible is embedded in the two guiding categories of rhythm and projection. On the one hand, rhythm and projection need to be reconstructed as concepts in the theoretical discussions of the avant-gardes. On the other hand, they must be investigated as techniques and practices that establish close connections both between different art-forms and between the arts and the sciences. Concepts of rhythm as experiential forms of chance, renewal and potentiality should be contrasted to a restricted understanding of rhythmic practices as mere instruments of disciplining and conditioning, e.g., through methods of training and automatization in gymnastics, labor management, dance and theater. The concept of projection likewise should be accentuated in contraposition to any schematically understood utopianism of the avant-garde. Projection implies a form of thinking in through drafts, a tentative and experimental practice of anticipation that proceeds by way of variables and possible alternatives. It also concerns the technical apparatus of optical projection, as manifested in the defining medium of film. The project has a collective work program that inquires, from a theoretical perspective, into the conditioning relations between rhythm and projection within various discourses and artistic practices. Beyond this, three case studies will treat the projects theme in greater detail, each pursuing a specific focus. The examples are as follows: Study 1 investigates how rhythm and projection appear as concepts and practices of making possible in the following domains: the cooperation of the artistic avant-gardes (literature, theater, film) with physiological research into movement; the creative transfer of movement rhythms, conceived as a projective transference, between different media and art-forms; and the rhythmically-based dynamics of cultural evolution. Study 2 concentrates on Projectionism in the Russian theatrical avant-garde and its rhythmic foundation. Study 3 inquires into the relations of psychological and poetological research into verse rhythm as an open dynamics.