Vibratory Modernism

Vibratory Modernism is a collection of original essays that show how vibrations provide a means of bridging science and art - two fields that became increasingly separate in the nineteenth and early twentieth centuries.

Autorentext
Simon Bayly, University of Roehampton, UK Robert Michael Brain, University of British Columbia, Canada Adrian Curtin, University of Exeter, UK Anthony Enns, Dalhousie University, Canada John G. Hatch, University of Western Ontario, Canada Mike Vanden Heuvel, University of Wisconsin-Madison, USA Andrew Logemann, Gordon College, USA Julie Beth Napolin, Eugene Lang College, USA Arndt Niebisch, University of Vienna, Austria Nicholas Ridout, Queen Mary University of London, UK Justin Sausman, Birkbeck and the University of Westminster, UK Shelley Trower, University of Roehampton, UK Matthew Wraith, Imperial College, London, UK

Inhalt
Introduction 1. From Vibratory Occultism to Vibratory Modernism: Blackwood, Lawrence, Woolf; Justin Sausman 2. 'A Sinister Resonance': Vibration, Sound, and the Birth of Conrad's Marlow; Julie Napolin 3. Physics as Narrative: Lewis, Pound and the London Vortex; Andrew Logemann 4. Throbbing Human Engines: Mechanical Vibration, Entropy and Death in Marinetti, Joyce, Ehrenburg and Eliot; Matthew Wraith 5. Materializing the Medium: Ectoplasm and the Quest for Supra-Normal Biology in Fin-de-Siecle Science and Art; Robert Michael Brain 6. A Sense and Essence of Nature: Wave Patterns in the Paintings of Frantisek Kupka; John G. Hatch 7. Ether Machines: Raoul Hausmann's Optophonetic Media; Arndt Niebisch 8. Vibratory Photography; Anthony Enns 9. Good Vibrations: Avant-Garde Theatre and Etherial Aesthetics from Kandinsky to Futurism; Mike Vanden Heuvel 10. The Vibratorium Electrified; Nicholas Ridout 11. Vibration, Percussion, and Primitivism in Avant-Garde Performance; Adrian Curtin 12. Deleted Expletives: Vibration & the Modernist Vocal Imaginary; Simon Bayley