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Distorted media: The noise aestheti...

Niebisch, Arndt.

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Distorted media: The noise aesthetics of Italian Futurism and German Dadaism.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Distorted media: The noise aesthetics of Italian Futurism and German Dadaism./
作者:	Niebisch, Arndt.
面頁冊數:	232 p.
附註:	Adviser: Rudiger Camper.
Contained By:	Dissertation Abstracts International67-11A.
標題:	Literature, Germanic. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3240777
ISBN:	9780542956256

Distorted media: The noise aesthetics of Italian Futurism and German Dadaism.
Niebisch, Arndt.

Distorted media: The noise aesthetics of Italian Futurism and German Dadaism. - 232 p.

Adviser: Rudiger Camper.

Thesis (Ph.D.)--The Johns Hopkins University, 2007.

The avant-garde movements of Italian Futurism and German Dadaism responded to the changed communicative background of modernity. While in prior centuries loud noises were primarily natural events, with the onset of industrialization man engineered a forceful soundscape. The scattered words in Dada poetry and the use of noises in Futurist musical compositions can be seen as a reaction to the mechanically produced noises of mass traffic, modern warfare, and industrial sites.

ISBN: 9780542956256Subjects--Topical Terms:

1019072
Literature, Germanic.

Distorted media: The noise aesthetics of Italian Futurism and German Dadaism.
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520 $a The avant-garde movements of Italian Futurism and German Dadaism responded to the changed communicative background of modernity. While in prior centuries loud noises were primarily natural events, with the onset of industrialization man engineered a forceful soundscape. The scattered words in Dada poetry and the use of noises in Futurist musical compositions can be seen as a reaction to the mechanically produced noises of mass traffic, modern warfare, and industrial sites.
520 $a In my dissertation, I show that it is not enough to understand these incorporations of noise by the avant-garde as mere mimetic duplications of the industrialized world. By reading central texts of the avant-garde such as Luigi Russolo's L'Arte dei Rumori, F.T. Marinetti's Futurist Manifesto, Richard Huelsenbeck's "Dadaistisches Manifest," and Raoul Hausmann's optophonetic poetry, I demonstrate that Dada and Futurism used noise as a functional device that strategically disturbed communication and receptive processes.
520 $a My concept of "noise" is informed by Claude E. Shannon's theory of communication. I understand all kinds of impacts that perturb a communication system as noise. From such a perspective "noise" denotes not only acoustic phenomena but all forms of disturbances in any medium from writing to stage performances or telegraph transmission. This model enables me to discuss not only Futurist noise compositions and sound poetry, but also texts such as Futurist and Dada manifestos and media experiments such as Raoul Hausmann's explorations of synaesthesia.
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