17 Rethinking interdisciplinarity
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Carolina Fernández Castrillo
Abstract
This chapter shows how the works of Filippo Tommaso Marinetti, Arnaldo Ginna and Bruno Corra, among others, led Futurism to achieve the total work of art. Their experiments reveal some interesting relationships with the concept of metamedium. The chapter argues that the conception of Futurist cinema links naturally with, and probably helped to spawn, the modern-day explosion in digital multimedia. The idea of the Gesamtkunstwerk survived in the Futurists' techniques of agglutination, which represents the main link with present-day multimedia arts. For Maurizio Scudiero and Enrico Crispolti, The Futurist Reconstruction of the Universe was a milestone between the first and second phases of Futurism. One of the reasons that led Futurists to defend interdisciplinary fusion was their willingness to assimilate the elements of modern life into their works. Before avant-garde movements, Futurism announced its enthusiasm for cinematography with the publication of The Futurist Cinema.
Abstract
This chapter shows how the works of Filippo Tommaso Marinetti, Arnaldo Ginna and Bruno Corra, among others, led Futurism to achieve the total work of art. Their experiments reveal some interesting relationships with the concept of metamedium. The chapter argues that the conception of Futurist cinema links naturally with, and probably helped to spawn, the modern-day explosion in digital multimedia. The idea of the Gesamtkunstwerk survived in the Futurists' techniques of agglutination, which represents the main link with present-day multimedia arts. For Maurizio Scudiero and Enrico Crispolti, The Futurist Reconstruction of the Universe was a milestone between the first and second phases of Futurism. One of the reasons that led Futurists to defend interdisciplinary fusion was their willingness to assimilate the elements of modern life into their works. Before avant-garde movements, Futurism announced its enthusiasm for cinematography with the publication of The Futurist Cinema.
Chapters in this book
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Introduction 1
- 1 Engaging the crowd 14
- 2 Heroes/heroines of Futurist culture 27
- 3 ‘Out of touch’ 38
- 4 La bomba-romanzo esplosivo, or Dada’s burning heart 56
- 5 Futurist canons and the development of avant-garde historiography (Futurism – Expressionism – Dada) 72
- 6 ‘An infinity of living forms, representative of the absolute’? 95
- 7 The dispute over simultaneity 113
- 8 Fernand Léger’s La noce 133
- 9 Nocturnal itineraries 145
- 10 ‘A hysterical hullo-bulloo about motor cars’ 159
- 11 Futurist Performance, 1910–1916 176
- 12 Le Roi Bombance 195
- 13 The cult of the ‘expressive’ in Italian Futurist poetry 208
- 14 Visual approaches to Futurist aeropoetry 226
- 15 The Untameables 243
- 16 The dark side of Futurism 255
- 17 Rethinking interdisciplinarity 272
- 18 A Very Beautiful Day After Tomorrow 284
- Index 299
Chapters in this book
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Introduction 1
- 1 Engaging the crowd 14
- 2 Heroes/heroines of Futurist culture 27
- 3 ‘Out of touch’ 38
- 4 La bomba-romanzo esplosivo, or Dada’s burning heart 56
- 5 Futurist canons and the development of avant-garde historiography (Futurism – Expressionism – Dada) 72
- 6 ‘An infinity of living forms, representative of the absolute’? 95
- 7 The dispute over simultaneity 113
- 8 Fernand Léger’s La noce 133
- 9 Nocturnal itineraries 145
- 10 ‘A hysterical hullo-bulloo about motor cars’ 159
- 11 Futurist Performance, 1910–1916 176
- 12 Le Roi Bombance 195
- 13 The cult of the ‘expressive’ in Italian Futurist poetry 208
- 14 Visual approaches to Futurist aeropoetry 226
- 15 The Untameables 243
- 16 The dark side of Futurism 255
- 17 Rethinking interdisciplinarity 272
- 18 A Very Beautiful Day After Tomorrow 284
- Index 299
