Professor of aesthetics and philosophy of sport (retired). Main interests: philosophy of contemporary art, aesthetics of avant-garde, the aesthetic and the political, sport and politics.
In this article, we address the aporia(s) of the Olympic discourse produced by the troubled split... more In this article, we address the aporia(s) of the Olympic discourse produced by the troubled split between sport and politics. To start our argument, we will show that sporting governing bodies continuously insist that they are still on the other side of any kind of politics. Guided by Aristotle, who presented the reciprocity of ethics and politics, we will unveil the fallacy of this discourse. In a short genealogy of the relationship between sport, ethics, and politics, we will highlight the Munich Olympics 1936 and Mexico Olympics 1968, where political engagement of sport was exposed clearly. At the same time, the supposed political neutrality of sport manifested an aristocratic preference for radical right regimes. After that, we will analyse the contemporary relation between sport, ethics, and politics in the light of recent developments, including sport's ambiguous reaction on the Ukraine war. Further argument will be that sport's in-and external politics, supported by sport ethics and the inherited mantra of the split between sport and politics, is more than just a hypocrisy. At the start, modern sport claims autonomy of governance to keep away from state domination, yet this very autonomy also freezes sport's ethical core, forbidding athletes, coaches and others active in sport, to express any political engagement, other than passive acceptance of the regulation by governing sport bodies, as the only politics to be respected without deliberation. In the final part an alternative understanding of the dynamics between politics, the political and sport's ethical core, will be presented to be included in the philosophy of sport and fully developed in following articles.
Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist &... more Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts a...
The discussion on the impossibility of developing aesthetics from Descartes\u27 philosophy began ... more The discussion on the impossibility of developing aesthetics from Descartes\u27 philosophy began more than a hundred years ago. It is not out of place to go into in on the 400th anniversary of his birth, and recollect his impact on classicism and its termination in the fight between the Ancients and the Moderns. A special challenge is found in the fact that the trouble caused by Descartes\u27 philosophical system stimulated the emergence of many theories on art, and that the modern category "The Arts" has been found at the time as a result of an application of the Carthesian method.Razprava, zakaj iz Descartesove filozofije ni mogoče neposredno razviti estetike, je stara že več kot sto let. Ob štiristoti obletnici rojstvajo je zanimivo obnoviti skupaj z njegovimi pogledi na umetnost in čutnost ter oceniti vpliv takega racionalizma na klasicizem in njegov konec v razpravi med starimi in modernimi. Izziv pa prinaša vprašanje, zakaj so prav težave, ki jih je povzročil Descart...
Z drugostjo in drugačnostjo merim na dva vidika umestitve naroda med narode: vertikalnega, ki zid... more Z drugostjo in drugačnostjo merim na dva vidika umestitve naroda med narode: vertikalnega, ki zida lestvico po razvitosti in naprednosti, in horizontalnega, ki proizvaja različnost. Pri raziskovanju slovenske kulture, umetnosti in literature je treba upoštevati kulturni sindrom, ki pri narodih brez države politične ustanove nadomešča s kulturnimi ustanovami in umetniškimi deli (M. Hroch, D. Rupel). Pri narodih brez držav, ki so dolgo pripadali drugorazrednim imperijem (Avstro-Ogrska, Rusija, Turčija) in večnacionalnim državam (Jugoslavija), pa velja računati tudi s tem, da že pri hegemonski naciji nastaja dvoumna samozavest, ki vključuje dvom v vertikalni zahodni zgled in v lastno zmožnost napredka (Yuri Lotman), pri podrejenih narodih pa ustvarja razdvojenost in proizvajanje alternativnih samopodob in programskih vizij (Madina Tlostanova).With the terms "otherness" and "differentness" I am aiming at two aspects of a nation\u27s placement among nations: the verti...
In Kant's and Longin's reflection on the sublime we come across certain parallels which s... more In Kant's and Longin's reflection on the sublime we come across certain parallels which seem to confirm the opinion of Danko GrliC that there has been no special progress on this field. It turns out that the postmodernists approach showes into oblivion the psychologistic aesthetics and its attitude towards the sublime in french (Boileau) and english (Burke) tradition. In Longin we can find no modernistic passion for changing the circumstances and improving mankind. The sublime with its effect doesn't call us up into the function of the subject of progress, but makes us feel that we are to take the position of an observer of a perfect natural theater. The moral law evoked by the sublime in Longin is »consolatio philosophiae«, while in Kant we have to deal with »moral enthusiasm«.
The aim of this paper is to explain that it is not useful to grasp all transformations at the Uni... more The aim of this paper is to explain that it is not useful to grasp all transformations at the University during last decades under terms of the struggle between evil politics and innocent academy, because universities were involved in formation and promotion of re forming guidelines, and went through inside ideological split and political fight during this process. Also, it is not appropriate to find neoliberalism an enemy which has to be defied and defeated with resources of the critique of ideology, because this leads into the conflict between ideology (presumably, but not really coming from the outside world) and science (presumably belonging to universities themselves). Here too, universities were involved in the process, be it in foundations of neoliberalism, be it in de(con)struction of scientific to tality and autonomy. The parallelism between art and science as two autonomous domains of modernity, and their postmodern turn which left them without solid ground of inherited autonomy, will be exposed to support this thesis. Finally, University used to be the special and autonomous workshop with its own laws of procedure, secluded from market economy, to become educational factory, and now, finally, the enterprise. There is no way back. But is there a way out? Contemporary critique of political economy is where we should look at least for a start, and united appearance of students and teachers could give some power to bring academy back into hands of those to whom it originally belongs.
The hegemony of the aesthetic dimension of the work of art was established as a decisive institut... more The hegemony of the aesthetic dimension of the work of art was established as a decisive institutionalised element of the autonomy of art. The process of aestheticisation of everyday life, quite on the contrary, aimed at investing each and every produced object with beauty and meaning. Nevertheless, when we speak today about the aestheticisation we have in mind the aesthetic value of commodities, and the aesthetic dimension of consumer culture. In the paper two theses are highlighted. First, that aestheticisation of commodities and the commodification of the work of art were the decisive reasons for the dissolution of the aesthetic hegemony of the work of art, and not avant-garde attacks and manipulations. Second, that while the works of art may have become indiscernible from mere objects or other kinds of commodities, the hegemony of the aesthetic value of commodities, and the aestheticization of global art-culture systems, still produce potentially ambivalent and pacifying as well...
How could philosophy come to an end? Understood as love of wisdom, philosophy knew that it knew n... more How could philosophy come to an end? Understood as love of wisdom, philosophy knew that it knew nothing. It started with examination of those who were supposed to know, and found out that they know nothing, but do not know that. Consequently, philosophy knows better because at least it knows that it does not know anything. Later, philosophy found out that people are enslaved because they do not question their own conditions. Therefore, its mission became to enable people to start thinking. When it started to believe that it knows, philosophy came to its end for the first time. The second end of philosophy may happen when it discovers that people, without philosophy's instructions, can think, and that philosophy itself should rethink its position of critique: presupposed innocence of its criticism. To demonstrate this need in contemporaneity, I will present two cases of philosophical criticism: that of the criticism of contemporary art, and that of the radical critique of sport.
In this article, we address the aporia(s) of the Olympic discourse produced by the troubled split... more In this article, we address the aporia(s) of the Olympic discourse produced by the troubled split between sport and politics. To start our argument, we will show that sporting governing bodies continuously insist that they are still on the other side of any kind of politics. Guided by Aristotle, who presented the reciprocity of ethics and politics, we will unveil the fallacy of this discourse. In a short genealogy of the relationship between sport, ethics, and politics, we will highlight the Munich Olympics 1936 and Mexico Olympics 1968, where political engagement of sport was exposed clearly. At the same time, the supposed political neutrality of sport manifested an aristocratic preference for radical right regimes. After that, we will analyse the contemporary relation between sport, ethics, and politics in the light of recent developments, including sport's ambiguous reaction on the Ukraine war. Further argument will be that sport's in-and external politics, supported by sport ethics and the inherited mantra of the split between sport and politics, is more than just a hypocrisy. At the start, modern sport claims autonomy of governance to keep away from state domination, yet this very autonomy also freezes sport's ethical core, forbidding athletes, coaches and others active in sport, to express any political engagement, other than passive acceptance of the regulation by governing sport bodies, as the only politics to be respected without deliberation. In the final part an alternative understanding of the dynamics between politics, the political and sport's ethical core, will be presented to be included in the philosophy of sport and fully developed in following articles.
Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist &... more Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts a...
The discussion on the impossibility of developing aesthetics from Descartes\u27 philosophy began ... more The discussion on the impossibility of developing aesthetics from Descartes\u27 philosophy began more than a hundred years ago. It is not out of place to go into in on the 400th anniversary of his birth, and recollect his impact on classicism and its termination in the fight between the Ancients and the Moderns. A special challenge is found in the fact that the trouble caused by Descartes\u27 philosophical system stimulated the emergence of many theories on art, and that the modern category "The Arts" has been found at the time as a result of an application of the Carthesian method.Razprava, zakaj iz Descartesove filozofije ni mogoče neposredno razviti estetike, je stara že več kot sto let. Ob štiristoti obletnici rojstvajo je zanimivo obnoviti skupaj z njegovimi pogledi na umetnost in čutnost ter oceniti vpliv takega racionalizma na klasicizem in njegov konec v razpravi med starimi in modernimi. Izziv pa prinaša vprašanje, zakaj so prav težave, ki jih je povzročil Descart...
Z drugostjo in drugačnostjo merim na dva vidika umestitve naroda med narode: vertikalnega, ki zid... more Z drugostjo in drugačnostjo merim na dva vidika umestitve naroda med narode: vertikalnega, ki zida lestvico po razvitosti in naprednosti, in horizontalnega, ki proizvaja različnost. Pri raziskovanju slovenske kulture, umetnosti in literature je treba upoštevati kulturni sindrom, ki pri narodih brez države politične ustanove nadomešča s kulturnimi ustanovami in umetniškimi deli (M. Hroch, D. Rupel). Pri narodih brez držav, ki so dolgo pripadali drugorazrednim imperijem (Avstro-Ogrska, Rusija, Turčija) in večnacionalnim državam (Jugoslavija), pa velja računati tudi s tem, da že pri hegemonski naciji nastaja dvoumna samozavest, ki vključuje dvom v vertikalni zahodni zgled in v lastno zmožnost napredka (Yuri Lotman), pri podrejenih narodih pa ustvarja razdvojenost in proizvajanje alternativnih samopodob in programskih vizij (Madina Tlostanova).With the terms "otherness" and "differentness" I am aiming at two aspects of a nation\u27s placement among nations: the verti...
In Kant's and Longin's reflection on the sublime we come across certain parallels which s... more In Kant's and Longin's reflection on the sublime we come across certain parallels which seem to confirm the opinion of Danko GrliC that there has been no special progress on this field. It turns out that the postmodernists approach showes into oblivion the psychologistic aesthetics and its attitude towards the sublime in french (Boileau) and english (Burke) tradition. In Longin we can find no modernistic passion for changing the circumstances and improving mankind. The sublime with its effect doesn't call us up into the function of the subject of progress, but makes us feel that we are to take the position of an observer of a perfect natural theater. The moral law evoked by the sublime in Longin is »consolatio philosophiae«, while in Kant we have to deal with »moral enthusiasm«.
The aim of this paper is to explain that it is not useful to grasp all transformations at the Uni... more The aim of this paper is to explain that it is not useful to grasp all transformations at the University during last decades under terms of the struggle between evil politics and innocent academy, because universities were involved in formation and promotion of re forming guidelines, and went through inside ideological split and political fight during this process. Also, it is not appropriate to find neoliberalism an enemy which has to be defied and defeated with resources of the critique of ideology, because this leads into the conflict between ideology (presumably, but not really coming from the outside world) and science (presumably belonging to universities themselves). Here too, universities were involved in the process, be it in foundations of neoliberalism, be it in de(con)struction of scientific to tality and autonomy. The parallelism between art and science as two autonomous domains of modernity, and their postmodern turn which left them without solid ground of inherited autonomy, will be exposed to support this thesis. Finally, University used to be the special and autonomous workshop with its own laws of procedure, secluded from market economy, to become educational factory, and now, finally, the enterprise. There is no way back. But is there a way out? Contemporary critique of political economy is where we should look at least for a start, and united appearance of students and teachers could give some power to bring academy back into hands of those to whom it originally belongs.
The hegemony of the aesthetic dimension of the work of art was established as a decisive institut... more The hegemony of the aesthetic dimension of the work of art was established as a decisive institutionalised element of the autonomy of art. The process of aestheticisation of everyday life, quite on the contrary, aimed at investing each and every produced object with beauty and meaning. Nevertheless, when we speak today about the aestheticisation we have in mind the aesthetic value of commodities, and the aesthetic dimension of consumer culture. In the paper two theses are highlighted. First, that aestheticisation of commodities and the commodification of the work of art were the decisive reasons for the dissolution of the aesthetic hegemony of the work of art, and not avant-garde attacks and manipulations. Second, that while the works of art may have become indiscernible from mere objects or other kinds of commodities, the hegemony of the aesthetic value of commodities, and the aestheticization of global art-culture systems, still produce potentially ambivalent and pacifying as well...
How could philosophy come to an end? Understood as love of wisdom, philosophy knew that it knew n... more How could philosophy come to an end? Understood as love of wisdom, philosophy knew that it knew nothing. It started with examination of those who were supposed to know, and found out that they know nothing, but do not know that. Consequently, philosophy knows better because at least it knows that it does not know anything. Later, philosophy found out that people are enslaved because they do not question their own conditions. Therefore, its mission became to enable people to start thinking. When it started to believe that it knows, philosophy came to its end for the first time. The second end of philosophy may happen when it discovers that people, without philosophy's instructions, can think, and that philosophy itself should rethink its position of critique: presupposed innocence of its criticism. To demonstrate this need in contemporaneity, I will present two cases of philosophical criticism: that of the criticism of contemporary art, and that of the radical critique of sport.
Mysticism and Marxism, two opposed streams of Russian thought, have many common features. These f... more Mysticism and Marxism, two opposed streams of Russian thought, have many common features. These features are exposed and researched in the case of Russian Artistic Avant-Garde.
The starting point of this paper is Martin Jay's extensive study Downcast Eyes: The Denigration o... more The starting point of this paper is Martin Jay's extensive study Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Jay,1993). Suspicion, criticism and attack on watching, seeing, looking and any other way of enjoyment of vision, is exemplified by French thought, but it is present well beyond French culture, where it includes, beside Bergson, Bataille, Breton, Sartre, Merleau-Ponty, Lacan, Althusser, Barthes, Levinas, Lyotard and Derrida also »Foucault's strictures against the medical gaze and panoptic surveilleance«, and »Debord's critique of the society of the spectacle« (Jay, 1993, 588). This »profound suspicion of vision and its hegemonic role in the modern era« (Jay, 1993, 14) occupies a prominent place in most discourses on sport spectacles, after their core public does not consist any more of those present at the site, but from those who watch new media images, and are able to do so from any point of the globe and at any time, from innumerable virtual resources obtainable through more and more numerous means of digital technology products. In fact, criticism of sport spectatorship has spread so widely that it represents a discipline of its own, where panopticum's surveillance applies together with general assessment that ours is a society of the spectacle – which means that sport's massive global public has lost its touch with the real, and succumbed to alienation, manipulation and ideology. Spectacle, and consequently sport spectacle, together with huge global public created by such unprecedented accessibility does not cease to attract criticism which states that thanks to the global system of new media spectacles sport has become what religion used to be: a false transcendence of human otherwise banal everyday life. In this paper, I will first offer an overview of the critique of spectacle and of the sport spectacle with a special focus on radical critique of sport by Jean-Marie Brohm (Brohm, 2006). Then, I will propose another approach to philosophy of the spectacle, starting from Michel de Certeau’s The Practice of Everyday Life (Certeau, 1988) and from Ágnes Heller’s philosophy of the radical criticism, and of the everyday life (Heller, 1984). Without ambition to develop a complete representation of their views, I will dwell upon what they have in common, namely, that even under circumstances of modern anonymous masses and means of spectacularization, one should never treat people as passive and unconscious object of given circumstances. General contradiction of all critiques of sport spectacle is that they start from enlightenment’s position of criticism, but arrive at anti-enlightenment patronizing of sport spectacle’s public. Finally, I will defend sport spectacle, in spite of its alienating, manipulative and ideological effects attacked by antiocularcentrist critique, as plebeian entrance into global world and its fascinations, which, after a long period of criticism, needs at least some philosophical understanding.
Aesthetics of everyday or everyday aesthetics emerged as a protest against aesthetics of art or ... more Aesthetics of everyday or everyday aesthetics emerged as a protest against aesthetics of art or against aesthetics as philosophy of art. Its function was quite similar to the concept of avant-garde as anti-institutional, transgressive and re-defining the relation between iife and art. One of its most far-fetched ambitions was to replace philosophy of art as more general sub-discipline of philosophy. Consequently, aesthetics of art should become a branch, most developed but still just a branch of everyday aesthetics. Aesthetics of everyday life can show many respectable achievements already but its most ambitious consequence did not follow. At its best, if not as younger and lesser sister of its predecessor, everyday aesthetics is treated as equal sibling – which is not really true but sounds philosophically correct. In the most comprehensive digest on the contemporary state of everyday aesthetics Yuriko Saito (Saito, 2019) acknowledges that contemporary situation of everyday aesthetics is a result of inherited weaknesses of aesthetics and some troubles of its own like being Western, having problems with elementary distinction between the aesthetic and the artistic, and having well known problems and unsolved divergences about its status as theory and its starting definition of the everyday and the aesthetict. Taking Yuriko Saito's recapitulation and Karya Mandoki's systematic effort (Mandoki 2007) into account, this presentation will discuss two points of interest and of weakness in the aesthetics of everyday life: 1) evolution of the aesthetic between genetic (evolutionary conditioned aesthetic memory) and cultural approach to the aesthetic – a controversy starting at least from 2004 congress in Rio de Janeiro with polemic contributions of Denis Dutton and Wolfgang Welsch; 2) general and unresolved duality of the notion of everyday aesthetics between »everyday life« (Weber's Alltag) and »living world«(Husserl's Lebenswelt) concepts.
One way to discover a connection between 1968 and 1989 is possible to start from those who theori... more One way to discover a connection between 1968 and 1989 is possible to start from those who theorized artistic meaning of each date-event in immediate present: Aleksandar Flaker for 1968, and Aleš Erjavec and Marina Gržinić for 1989. They created a model which can be used now to research what kind of causality connects 1968 with 1989. Three hypotheses will be analysed: 1. There is a direct development from the ethics of pleasure which in 1960s stood up against the protestant ethics, and 1980s commodified desire to migrate from socialism to shopping mall; 2. There is a link between 1960s struggle of young literary generation against the traditional canon of national literature, and its emergence 20 years later as protagonist of the nationalist cultural and finally political program; 3. Slovenian literature produced marginal cases of 1968 model, whereas in 1980s, quite the contrary, Slovenian "alternative culture" represented an exemplary case of the European East as a whole. Keywords: prose in jeans, alternative culture, ethics of pleasure, desire for commodities, 1989 nationalist program
One way to discover a connection between 1968 and 1989 is possible to start from those who theori... more One way to discover a connection between 1968 and 1989 is possible to start from those who theorized artistic meaning of each date-event in immediate present: Aleksandar Flaker for 1968, and Aleš Erjavec and Marina Gržinić for 1989. They created a model which can be used now to research what kind of causality connects 1968 with 1989. Three hypotheses will be analysed: 1. There is a direct development from the ethics of pleasure which in 1960s stood up against the protestant ethics, and 1980s commodified desire to migrate from socialism to shopping mall; 2. There is a link between 1960s struggle of young literary generation against the traditional canon of national literature, and its emergence 20 years later as protagonist of the nationalist cultural and finally political program; 3. Slovenian literature produced marginal cases of 1968 model, whereas in 1980s, quite the contrary, Slovenian "alternative culture" represented an exemplary case of the European East as a whole. Keywords: prose in jeans, alternative culture, ethics of pleasure, desire for commodities, 1989 nationalist program Od rubnog ka uzornom-sažetak Uspostavljanje veze između 1968 I 1989 može započeti od onih koji su teoretisali umetničko značenje ta dva datuma u neposrednoj tadašnjici: Aleksandar Flaker za 1968., i Aleš Erjavec sa Marinom Gržinić za 1989. Oni su stvorili model upotrebljiv za istraživanje uzročnosti koja 1968. Povezuje sa 1989. godinom. Tri će se hipoteze istražiti: 1. Postoji neposredan razvoj od etike prijatnog koja se tokom 1960-ih usprotivila protestantskoj etici, I robna želja da se odputuje iz socijalizma u trgovački centar. 2. Postoji veza imzeđu borbe mlade literarne generacije protiv tradicionalnog kanona nacijonalne literature, I njihovog pojavljivanja dvadeset godina kasnije kao protagonist nacijonalnog programa. 3. Slovenačka literature je proizvela rubne primere modela 1968., ali je naprotiv slovenačka "alternativna kultura" u osamdesetim godinama predstavljala primer-slučaj celog regiona. Ključne reči: proza u trapericama, alternativna kultura, etika uživanja, robna požuda, nacionalistički program 1989 Povzetek Če hočemo vzpostaviti zvezo med pomenljivima letnicama 1968 in 1989, lahko to opravimo na različne raziskovalne načine. Ker pa so se že sodobniki zavedali pomena obeh dogodkov 8
Let us take a short walk first, and then try to map it in theory and in politics of avant-garde r... more Let us take a short walk first, and then try to map it in theory and in politics of avant-garde respectively. Central Europe is a space which is in no way the centre of Europe. It is an in-between; under avant-garde terms it is a space between Paris and Moscow, between Berlin and Moscow, and between New York and Moscow; different accents with different in-betweens in different times of the Twentieth Century. Speaking politically, it was in-between modernized West and backward East, it was in-between Western decadence and Eastern health, in-between communist freedom and capitalist/imperialist exploitation, in-between two imperialisms and totalitarianisms, then liberated from one totalitarianism to belong to the other, and again liberated from socialism to enter capitalism once again-as an in-between. What next? This in-between was felt as a division of the first avant-garde in different cultures between prevalence of constructivism or surrealism (for instance in Polish and Hungarian constructivism, and in Serbian or Czech surrealism and poetism). At the start, after trying to adopt avant-garde proposals from all sides of Europe including Russian Proletkult and constructivism, and Italian Futurism and French Dada, Micić expressed this in between withhis Zenitist formula: To save Europe, radical new position has to be adopted. Italian futurism is civilized and individualist. Russian avant-garde is barbarian and collectivist. What is needed, however, is a barbarian individualist, and that is what Balkan (i.e. Serbian) barbarogenius represents. Balkan barbarogenius can save Europe. Two points of theoretical interest are involved: one, that dependent relationship with the West from the period of nation-building and the first industrialization during and after the First World War developed into this in-between to be understood as a source of the renaissance and redemption of the West; second, that the position of equal influence of Paris and Moscow could very early change into Aristotelian equidistance from these two extremes, or two ways of avant-garde failure.
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