Devin Fore introduces the GAKhN Dictionary of Artistic Terms (1923–29), a selection of which is published in translation here for the first time. After a brief history of the State Academy of Artistic Sciences (GAKhN), which was established in 1921 and dissolved in 1930, Fore situates the unfinished collaboration between the academy's Section of Visual Arts and the Philosophical Department in the context of GAKhN's larger commitment to democratizing knowledge, and he suggests that what emerges from these dictionary entries are the contours of a program for a positivist aesthetics.

Anticipating the publication later this year of the English edition of History and Obstinacy , this issue of October presents three texts related to this epochal book by Oskar Negt and Alexander Kluge: the volume's third chapter and philosophical nucleus, “Elements of a Political Economy of Labor Power”; an interview with Negt and Kluge, made shortly after the appearance of the original edition, which provides a concise introduction to the book's ambitious plan for writing an anthropology of capital; and a more recent interview in which Negt reflects on the historical and theoretical concerns that first motivated this collaborative enterprise.

One of the most important units within Dziga Vertov's conceptual system is the lexeme that means BOND. It recurs throughout his writings, most often appearing as the noun sviaz ' although sometimes it also surfaces as the verb sviazat ' (“to link”). Occasionally it is alloyed with a second lexeme to forge strange and unprecedented compounds, as in Vertov's definition of “kino-eye” as a “film-bond [ kino-sviaz '] between the peoples of the USSR and those of the entire world.” Such insistence on film's status as a visual link, or copula, explains why Vertov, in contrast to contemporaries like Lev Kuleshov, looked askance at proposals to establish a formal ontology for the medium: Itself neither matter nor substance, cinema was instead a constructive means for connecting and binding substances, a means for catalyzing interactions between diverse and seemingly incommensurate objects. Thus, for Vertov, cinema was less an art form with clearly defined generic contours than “a kind of central telephonic exchange,” a means of communication, a coefficient of political activity, or even, in its greatest compass, a “social movement” itself (“Metod kino-glaza,” Iz naslediia , 2:142).