Media Parasites in the Early Avant-Garde: On the Abuse of by A. Niebisch

By A. Niebisch

Niebisch retraces how the early Avant-Garde activities began as parasites inhabiting and worsening the rising mass media circuits of the clicking, cinema, and stressed and instant conversation and the way they geared toward making a media ecology in response to and encouraged by means of applied sciences reminiscent of the radio and the photograph mobilephone.

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Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication

Niebisch retraces how the early Avant-Garde events began as parasites inhabiting and aggravating the rising mass media circuits of the clicking, cinema, and stressed and instant conversation and the way they aimed toward making a media ecology in accordance with and encouraged by means of applied sciences corresponding to the radio and the picture cellphone.

Extra resources for Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication

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This adaptation of mythological pictures reflects on Marinetti’s ideology of the future in a problematic way. In fact, the Futurist constructs in his founding manifesto an antagonistic tension between mythical pictures and modern technology: “Mythology and the Mystic Ideal are defeated at last. ” On the other hand, he celebrated the emergence of mythological creatures: centaurs and angels. Marinetti refers in the first sentence to the mythological memory of the Occidental world and in the second to the newly emerged technological imaginary that recognizes the man-machine hybrids of car drivers, pilots, or factory workers as centaurs, and airplanes as angels, and thus blends mythological figures into a mass industrial world—giving technology a divine power.

Friends, away! Let’s go! Mythology and the Mystic Ideal are defeated at last. 26 The text does not open with a clear enumeration of programmatic points; it does not simply peddle propaganda or give shape to a political utopia. 27 It is not so much a unique creative form of expression as an attempt to create a founding myth of Futurism—the myth of a society about to wake up. This is radical news, because it tells the reader about the dawn of a new era. The instantaneous character of the scene is emphasized through ubiquitous presence of electric light.

With noble gesture and with decency. Until insanity, until unconsciousness. How can one dismiss everything eel-like and journal-like, everything nice and preppy, everything overmoralized, animalized, affected. By saying Dada. Dada is the soul of the world, Dada is the showstopper. Dada is the best lilymilksoap in the world. Dada Herr Rubiner, Dada Herr Korrodi, Dada Herr Anastasius Lilienstein. 70 Ball’s claim that “Dada” is an “international” word is central to his manifesto. At first, the emphasis on the international character of Dada can be understood as a general political statement suggesting that for Dada nationality is meaningless.

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