Boccioni – Delaunay, interpretational error or Bergsonian practice?
The dispute over simultaneity:
Boccioni – Delaunay, interpretational
error or Bergsonian practice?
The dispute over simultaneity
The dispute opposing the Futurists and Robert Delaunay between 1913
and 1914 focused on notions that were commonly discussed among the
avant-garde and gave those artists the opportunity to define their own
conception of simultaneity. This dispute also demonstrated the overlapping
of various trends in contemporary art, and the artists’ endeavours to
distinguish themselves from one another at a time when
In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.
attacks that reveal more than a simple quarrel over artistic forms.
In the catalogue of the 1912 futurist exhibition in Paris, mentioned above, the group of Italian painters had insisted that the aim of their painting was ‘the simultaneity of states of mind in the work of art’ (La simultanéité des états d’âme dans l’œuvre d’art), in clear distinction from the cubists who were interested only in visual perspectives, like engineers. 32 Here, simultaneity was used to describe a synergy of the dynamism and speed of modern life with the multiple and simultaneous
Griffith’s editing spatialised time, and Griffith established a tension
between the temporal linearity of the narrative and the spatial simultaneity of his parallel alternating editing. One of the interesting aspects of
Welles’s F for Fake (1973) is the circularity and overlapping of the editing
as if the film was a spatial surface upon which various temporalities were
edited together, the case with Griffith.
Welles has three roles in The Lady from Shanghai (1947) as he has in F
for Fake, Citizen Kane (1941), Mr Arkadin (1955) and The Immortal Story
pursued by futurism both reflected and propagated altered
perceptions of time and space. Space in modernity became ‘dynamically, historically
significant’, as Andrew Hewitt puts it.7 Proximity generated anxiety. Simultaneity
acquired broad cultural signification in its capacity to foster ‘a growing sense of unity
among people formerly isolated by distance and lack of communication’.8 If modernity is characterised by ‘totalising temporalities’,9 this politics of time is particularly
pertinent to futurism and its overlapping root notions: ‘dynamism’ and ‘simultaneity
Revisiting the Delaunay–Cendrars collaboration on La Prose du Transsibérien
In the annals of the early twentieth-century avant-garde, La Prose du Transsibérien et de la petite Jehanne de France (see Figure 11.1 ), published by Sonia Delaunay-Terk and Blaise Cendrars in 1913, is regularly referred to as ‘the first simultaneous book’. 1 After all, Delaunay and Cendrars had themselves declared, ‘The simultaneism of this book resides in its simultaneous and non-illustrative presentation. The simultaneous contrasts of colours and the text form depths and movements of new inspiration’ (Le Simultanisme de ce livre est dans sa
Gesamtkunstwerk , a modern ‘système des arts’. In my view, Mallarmé’s works remain heavily melancholic; as apt to project an end to human culture as its renewal – so that even the Book of godless modernity was conceived as a kind of secular millenary Jubilee, a celebration of the end of Time. Be this as it may, the question I would like to ask in the present context is simply whether the principles and problems informing relationships among the arts in Mallarmé’s poetic texts – simultaneity, supplementarity, identity-in-difference, chance determinism and the withdrawal of the
The Far East and the limits of representation in the theatre, 1621–2002
Theatre in Stratford-upon-Avon and,
subsequently, at the Gielgud Theatre in London. While the final
section, which addresses the unforeseeable simultaneity of the
production and of the Bali bombing of autumn 2002, reflects on a
specific postmodern (or post-’9/11’) problem, the bulk
of the chapter seeks a sense, first of all, of continuity and
difference in medieval and early modern
simultaneity of modernity and indigeneity. These two reified
and imprecise concepts may coexist in a cloud of contradictions: a denial of
indigeneity’s coevalness (Fabian 1983) or a constantly shifting view of modernity’s contemporaneity (see Miller 1994; Freidman 2002). Yet these very contradictions, as I will explain below, inspire bottom-up responses that open up the
possibility of being indigenous and modern in a critical or alternative manner
To elucidate the simultaneity of modernity and indigeneity, I introduced the
concept of ‘indigenous disemia
pattern: that is, making a living through continuous regular movement across national borders, not settled but keeping strong ties with Ukraine, so it was difficult to link this mode of operation to Berry's ( 1992 ) and Portes and Zhou's ( 1993 ) conceptual frameworks of integration and assimilation.
The concept of anchoring allows an understanding of the simultaneity, temporality and flexibility of Ukrainian migrants’ attachments as well as the complexity and changeability of their ‘settlement’. It helps to capture their ‘fluid’ migration, ‘drifting