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Re: [microsound] futurists and fascists (was us citizens... (OT)




> I would probably hazard a
>> guess that the larger lesson to be drawn might lie in considering
>> if (and how) their [Futurist] work *was* co-opted, and how such might also
>> be *our* lot.

Marinetti was not co-opted; like Ezra Pound he support Mussolini. Russolo,
however, and by all accounts, fled the scene. Futurism overall mind you
supported War and various strategies of destruction.


I've been writing and talking on these issues recently --

    http://www.cut-up.com/news/detail.php?sid=330

Check the .microsound archives -- http://www.skylined.org/microsound -- as
there's been some good debate and knowledge sharing on these topics in the
past.. particularly back in the Fall of 2004.


But moving on -- .microsound and other tech-arts are often forgetting the
middle period, circa '50s-'70s, before video-art became the rage: Kinetic
Art, Experiments in Art and Technology (EAT), and the Los Angeles County
Museum's Art + Technology program, all with their corporate-cybernetic ties.
Check out :

    Lee, Pamela. _Chronophobia: On Time in the Art of the 1960_.

http://www.tate.org.uk/modern/eventseducation/talksdiscussions/pamlee1406.ht
m

http://mdcn.ca/tiki-print_article.php?articleId=11


best,

    tV

tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++ 


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