![]() The book sets in its cultural context a strand of historical analysis stretching back to the nineteenth century Heinrich Wolfflin. From mid-century, the house and estate that had evoked staccato rhythms became triggers for mental and physical motion-evoking travel beyond England's shores, displaying vistas, and showcasing changeable wall surfaces. These discourses encompassed philosophy, political theory, poetry, and geography. This book examines how seventeenth-century English architectural theorists and designers rethought the domestic built environment in terms of mobility, as motion became a dominant mode of articulating the world across discourses. ![]() The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.Īcross the early decades of the seventeenth century, Englishmen and women moved through a physical, social, and mental world organised into a carefully maintained balance of motion and pause. ![]() Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. The magazine was affiliated with the Workers Film and Photo League, a group that considered film as a ‘weapon in the class struggle’, and used a rudimentary form of montage to attack American capitalism and the Hoover and Roosevelt administrations. ![]() Alongside some sporadic experiments, the Experimental Cinema group developed a textual form of montage scenario. In Experimental Cinema, a short-lived magazine that ran from 1930 to 1934, montage developed from a machine aesthetic myth into the standard in a cinematic battle against Hollywood. One key instance was the 1929 screening of Dziga Vertov’s The Man with a Movie Camera at the Film Guild Cinema in New York, a building designed by Frederick Kiesler. This chapter considers the cinematic productions and discourses of radical Left in terms of a sustained response to Soviet cinema, in particular relation to the enthusiastic reception of montage. Unlike Soviet theatrical productions, Russian films were fairly widely viewed by Americans, especially in the years before sound technologies partitioned national cinemas, and received extensive commentaries in American publications, from specialist magazines to newspapers. Alongside the radical Constructivism of the New Playwrights Theatre, the American avant-garde’s most sympathetic engagement with Soviet revolutionary culture was in cinema.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |