The avant-garde movements of the early twentieth century
inhabited the media discourses of their time like parasites,
constantly irritating and taking from them. Dadaists ripped images
of a mechanically reproduced world out of newspapers and magazines
and reassembled them in their collages. Futurists instrumentalized
the brevity of telegraph messages for their free word poetics.
Artists such as F.T. Marinetti, Raoul Hausmann, and Luigi Russolo
constantly abused existing media technologies and hijacked public
communication. Niebisch traces how the early avant-garde movements
started out as parasites inhabiting and irritating the emerging
mass media circuits of the press, cinema, and wired and wireless
communication and how they aimed at creating a media ecology based
on and inspired by technologies such as the radio and the photo
cell.
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