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

[verchonfourgu@xxxxxxx]

if i remember well, Marinetti (considered as the father of futurism)became from the begining of italian fascism one of its most radical element in the futurist movement. He remained with the Salo republic - which can be considered as a political suicide - he approved the destruction of some really ancient borroughs in italian cities, and also depicted idyllic  visions of the war trough paintings representating planes, bombs, etc... But surely they weren't all fascists : Luigi Russolo ("the art of noise")
didn't join at all fascism...


----Message d'origine----
>Date: Sat, 06 Nov 2004 08:29:16 -0600
>De: Gregory Taylor <gtaylor@xxxxxxxx>
>A: microsound <microsound@xxxxxxxxxxxxx>
>Sujet: [microsound] futurists and fascists (was us citizens... (OT)
>
>It could be and has been argued that the futurists were willingly
>co-opted by the Fascists (I believe that a lot of this concerns
>their participation in... um... I think it's the Quattrocentro exhibition
>in um... 1933 or so? (Sorry. I'm in Miami a great ways away from
>my library.), and the extent to which one could read the earlier
>work and see or not see this co-optation as something inevitable
>is, similarly, posited and debated by historians and scholars.
>
>Such work is, apparently, complicated by the fact that the view of
>some futurists as collaborators was sufficiently widespread in the
>years following the second world war that the participants' work
>fell into fairly serious obscurity. I heard an interesting talk by
>Richard Kerby (who authored the very interesting and, happily,
>back in print book "Futurist Performance," which to my knowledge
>featured the first English translations of a number of theoretical
>writings of the futurists) about the circumstances under which he
>found and gathered the research that informed "Futurist Performance."
>While people generally in groups like this bemoan the "loss" of
>the intonarumori (and some basic idea of what was actually IN
>some of those boxes), much more has been lost to us.
>
>While I can's say I've really got a dog in this fight at this point
>(although I was somewhat more committed to the notion that
>the co-optation of futurism was important during the first heady
>days of industrial music, when a fair number of persons who
>were largely ignorant of the movement's history appeared to
>uncritically embrace futurism), I would probably hazard a
>guess that the larger lesson to be drawn might lie in considering
>if (and how) their work *was* co-opted, and how such might also
>be *our* lot.
>
>
>
>
>
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