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1.  Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century»designs for a new film art, Bertolt Brecht's radio theory, or the Futurists' Manifesto for television («La Radia» 1930). Here mass art becomes a political program under such completely opposing ideologies as the Russian Revolution [more]  |
| 2. Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century» and for the globalization aspect the text on «Social Technologies.» * F.T.P. Marinetti, Pino Masata, «La Radia,» 1933; cf. for mass effect the text on «Television—Art or Anti-art?» * Velimir Khlebnikov, «The [more] |
| 3. Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century» way «of achieving a close, inviolable connection with each other.»[13] In the opposing political camp, the Italian Futurists see television in 1933 as an instrument of Fascist media power in the hands of the artists: «We now possess a television [more] |
| 4. Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s» it was introduced, with vigor unclouded by actual experience of the medium. This applies to the Futurists in 1933 («La Radia») and to Lucio Fontana in 1952. In the early 1950s, the introduction of television did trigger the beginning of a debate [more] |
