“The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. / Townsend, Chris.

Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus. ed. / Christopher Townsend; Alexandra Trott; Rhys Davies. Cambridge Scholars, 2014.

Research output: Chapter in Book/Report/Conference proceedingChapter

Forthcoming

Standard

“The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. / Townsend, Chris.

Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus. ed. / Christopher Townsend; Alexandra Trott; Rhys Davies. Cambridge Scholars, 2014.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Townsend, C 2014, “The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. in C Townsend, A Trott & R Davies (eds), Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus. Cambridge Scholars.

APA

Townsend, C. (Accepted/In press). “The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. In C. Townsend, A. Trott, & R. Davies (Eds.), Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus Cambridge Scholars.

Vancouver

Townsend C. “The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. In Townsend C, Trott A, Davies R, editors, Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus. Cambridge Scholars. 2014

Author

Townsend, Chris. / “The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop. Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus. editor / Christopher Townsend ; Alexandra Trott ; Rhys Davies. Cambridge Scholars, 2014.

BibTeX

@inbook{e64e07222fff48b2b7769d8ef9765253,
title = "“The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant{\textquoteright}s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop",
abstract = "Duncan Grant{\textquoteright}s Abstract Kinetic Collage Painting with Sound (1914) is a product of a direct engagement by the artist with the {\textquoteleft}musicalist{\textquoteright} discourses that were circulating in the circle of writers and artists around Apollinaire before World War One. In France and Italy these discourses were leading to the theorisation and practice of {\textquoteleft}intermediality{\textquoteright}, and to a fresh imagination of the cinematic – first theorised as an art form within Apollinaire{\textquoteright}s circle by the writer Ricciotto Canudo in 1911 – as a medium that might engage an active, embodied spectator within a dynamic milieu, rather than one that produced a static, disembodied subject granted an illusory transcendence over narrated events through single point perspective. Grant{\textquoteright}s “painting” – it is in fact a scroll more than fourteen feet in length and a foot wide, bearing sets of abstract shapes that develop as they are repeated along its length – was intended to be wound by hand past a viewing window, to the accompaniment of music from a gramophone. The work is a striking juxtaposition of the personal and manual with the mechanical and mass-produced, and one might it attempts to resolve conflicting versions of the modern. In its effort to {\textquoteleft}animate{\textquoteright} abstract forms, the scroll is a significant step beyond and away from cinema, which at this time could neither produce coloured animation, except through the hand tinting of frames, nor allow for a personal, direct engagement between the spectator and this material; an engagement more akin to that of a painting.  Instead of cinema, then, Grant is concerned with what we might call the {\textquoteleft}kinematic{\textquoteright} – a relationship between the spectator and a mediated environment that depends on a combination of forms. The work demands that its spectator becomes a participant, responsible for its own engagement with its milieu, and in a state of awareness of its mediated environment. This paper addresses the relationship of the scroll to Grant{\textquoteright}s contemporaneous designs for the Omega workshop, in particular to the way in which his carpets are designed as dynamic surfaces. If the scroll is a vertical surface, moving past the eye through the agency of the body, in the horizontal surface of the carpet, the body becomes the wholly dynamic figure, traversing space. Both modes of presentation, equally novel as “art”, explore the kinetic relationship between the body and its milieu, in pursuit of sublimatory effects.",
author = "Chris Townsend",
year = "2014",
language = "English",
editor = "Townsend, {Christopher } and Alexandra Trott and Rhys Davies",
booktitle = "Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus",
publisher = "Cambridge Scholars",

}

RIS

TY - CHAP

T1 - “The Figure in the Carpet”: Bodily Experience and Abstraction in Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) and Designs for the Omega Workshop

AU - Townsend, Chris

PY - 2014

Y1 - 2014

N2 - Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) is a product of a direct engagement by the artist with the ‘musicalist’ discourses that were circulating in the circle of writers and artists around Apollinaire before World War One. In France and Italy these discourses were leading to the theorisation and practice of ‘intermediality’, and to a fresh imagination of the cinematic – first theorised as an art form within Apollinaire’s circle by the writer Ricciotto Canudo in 1911 – as a medium that might engage an active, embodied spectator within a dynamic milieu, rather than one that produced a static, disembodied subject granted an illusory transcendence over narrated events through single point perspective. Grant’s “painting” – it is in fact a scroll more than fourteen feet in length and a foot wide, bearing sets of abstract shapes that develop as they are repeated along its length – was intended to be wound by hand past a viewing window, to the accompaniment of music from a gramophone. The work is a striking juxtaposition of the personal and manual with the mechanical and mass-produced, and one might it attempts to resolve conflicting versions of the modern. In its effort to ‘animate’ abstract forms, the scroll is a significant step beyond and away from cinema, which at this time could neither produce coloured animation, except through the hand tinting of frames, nor allow for a personal, direct engagement between the spectator and this material; an engagement more akin to that of a painting.  Instead of cinema, then, Grant is concerned with what we might call the ‘kinematic’ – a relationship between the spectator and a mediated environment that depends on a combination of forms. The work demands that its spectator becomes a participant, responsible for its own engagement with its milieu, and in a state of awareness of its mediated environment. This paper addresses the relationship of the scroll to Grant’s contemporaneous designs for the Omega workshop, in particular to the way in which his carpets are designed as dynamic surfaces. If the scroll is a vertical surface, moving past the eye through the agency of the body, in the horizontal surface of the carpet, the body becomes the wholly dynamic figure, traversing space. Both modes of presentation, equally novel as “art”, explore the kinetic relationship between the body and its milieu, in pursuit of sublimatory effects.

AB - Duncan Grant’s Abstract Kinetic Collage Painting with Sound (1914) is a product of a direct engagement by the artist with the ‘musicalist’ discourses that were circulating in the circle of writers and artists around Apollinaire before World War One. In France and Italy these discourses were leading to the theorisation and practice of ‘intermediality’, and to a fresh imagination of the cinematic – first theorised as an art form within Apollinaire’s circle by the writer Ricciotto Canudo in 1911 – as a medium that might engage an active, embodied spectator within a dynamic milieu, rather than one that produced a static, disembodied subject granted an illusory transcendence over narrated events through single point perspective. Grant’s “painting” – it is in fact a scroll more than fourteen feet in length and a foot wide, bearing sets of abstract shapes that develop as they are repeated along its length – was intended to be wound by hand past a viewing window, to the accompaniment of music from a gramophone. The work is a striking juxtaposition of the personal and manual with the mechanical and mass-produced, and one might it attempts to resolve conflicting versions of the modern. In its effort to ‘animate’ abstract forms, the scroll is a significant step beyond and away from cinema, which at this time could neither produce coloured animation, except through the hand tinting of frames, nor allow for a personal, direct engagement between the spectator and this material; an engagement more akin to that of a painting.  Instead of cinema, then, Grant is concerned with what we might call the ‘kinematic’ – a relationship between the spectator and a mediated environment that depends on a combination of forms. The work demands that its spectator becomes a participant, responsible for its own engagement with its milieu, and in a state of awareness of its mediated environment. This paper addresses the relationship of the scroll to Grant’s contemporaneous designs for the Omega workshop, in particular to the way in which his carpets are designed as dynamic surfaces. If the scroll is a vertical surface, moving past the eye through the agency of the body, in the horizontal surface of the carpet, the body becomes the wholly dynamic figure, traversing space. Both modes of presentation, equally novel as “art”, explore the kinetic relationship between the body and its milieu, in pursuit of sublimatory effects.

M3 - Chapter

BT - Across the Great Divide: Modernism's Intermedialities from Futurism to Fluxus

A2 - Townsend, Christopher

A2 - Trott, Alexandra

A2 - Davies, Rhys

PB - Cambridge Scholars

ER -