Cubism and Futurism by Elder, R. Bruce -- Read -- Imperial Library of Trantor

Index

Cover Title Page Copyright Page Dedication Contents Acknowledgements Introduction 1 Modernism and the Visual Arts

Modernism and Abstraction The Attributes of Aesthetic Experience Optical Experience and the Higher Noesis Producing Facts Primordial Experience: A Non-reflexive, Pre-objective Awareness

The Influence of Emmanuel Kant

Basic Themes in Cubism and Futurism

The Senses’ Disconnection from Reality Time, Reality, and Meaning Absolute Space, Relative Space Nerves

Notes

The New Vision Prosthetics for the Senses: Reconciling Two Descriptions of the World Cubism and the Crisis of Vision

Cubism and Passage

Understanding Simultaneity, Understanding Instantaneity Cubist Painting Between Structure and Representation The Transitional Phase: Towards Synthetic Cubism Cubist Collage and Papier collé Synthetic Cubism Bergson’s Importance for Cubism Léger and Synthetic Cubism Proceeding from Synthetic Cubism: Fernand Léger and the New Realism Léger: Cubism, Quasi-Cubism, and Non-Cubism Léger, the Object, and the Human Body Léger and the “All-Over” Form Léger’s New Realism Léger and the Theory of Contrasts The Idea of the New Human and Its Contribution to Léger’s Evolution Equivalent to Life: Plastically Organized Intensity Léger and Purism Towards the Cinema: A Montage of Pre-existing Elements Ballet mécanique and the Mechanical Ballet: Rhythm in Ballet mécanique Diversity in Ballet mécanique Another Appeal of the Cinema Cubism, African American Art, and Infinite Plasticity Cendrars and Léger on Language and Cinema Léger’s Collaborators Another Key Collaborator: George Antheil Pound’s Antheil: Parallels Between the Film Ballet mécanique and Antheil’s Theory of Composition Pound, Antheil, Vorticism, and Harmony A Mechanical Ballet: Music, Film, and Film Music Shot Analysis of Ballet mécanique Conclusion Notes

3 Futurism

Futurism and New Italian Culture Futurism: The Violence of the New Replacing the Old Painting Becomes a Futurist Synthetic Art Speed + Electricity + Collective Consciousness = Futurism Futurism, Symbolism, Unanimism, and Bergson Universal Dynamism and Perception The Influence of Bergson The Cinematic Condition of Futurism Futurism’s Occult New Man Futurism, Electromagnetism, and the Issue of Homologies The Futurist Theory of Perception The Futurists, Universal Relations, and Space Bergson, Symbolism, Unanimism, and Primordial Experience The Serata futurista and the Variety Theatre The Futurists’ Dynamic View of Reality and Futurist Dynamism The Serata futurista and the Cinema Futurist Painting and Sonic Art Futurism and the Cinema Arnaldo Ginna, Bruno Corra, and Synaesthetic Cinema Futurism and the Anti-anthropocentric Aspiration In Lieu of a Conclusion Notes

Index