Visual approaches to Futurist aeropoetry
in Back to the Futurists
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In 1931, Filippo Tommaso Marinetti published a Manifesto of Futurist Aeropoetry, in which he encouraged the Futurist poets to emulate the aeropainters. Curiously, despite the Futurist poets' longstanding commitment to visual effects, Marinetti insisted that radio was the best vehicle for aeropoetry. This undoubtedly explains why there are relatively few aeropoems that also function as visual poems. Since visual poetry played a prominent role in Italian Futurism, beginning with Francesco Cangiuillo in 1914, it is gratifying to note that some of the aeropoets insisted on continuing this tradition. Recognising the limitations of radio-aeropoetry, Ignazio Scurto, Pino Masnata and Tullio Crali felt compelled to try their hand at visual compositions. Evoking both the Dalmatian islands and the Cyclades viewed in this chapter, Crali introduced a visual analogy into two different poems. Each poet created a work that was simultaneously a poem and a picture.

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