Wireless Modernity: Mexican Estridentistas, Italian and Russian Futurism

Gallo, Rubén

doi:10.1515/futur-2012.0011

Cited by 3 publications

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“…Rubén Gallo suggests that the company's management used the name, which originally referred to good manners or elite social etiquettea very Porfirian image-to project a more modern image of El Buen Tono as a good musical sound, to be accentuated by radio technology and art, and by operating an entertainment-based broadcasting station. 44 As a part of this image change, El Buen Tono sold "Radio" cigarettes (a new El Buen Tono brand), radio equipment, and held raffles for receivers for people who sent in cut outs from empty cigarette cartons.…”

Section: Commercial Advertisements: El Buen Tonomentioning

confidence: 99%

“…Authors who have written about radio and culture in 1920s Mexico have focused predominantly on the influence of avant-garde artists. 9 Scholars more focused on Mexican politics and nationalism have examined the role of broadcasting in 1930s and 1940s, but provide only scant attention to the crucial formative years of the 1920s. 10 Other authors still have explored the cultural tensions and interplay between attempts to build a unified nation and a more global approach to modernity, a point on which I wish to elaborate.…”

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Sounding the Mexican Nation: Intellectuals, Radio Broadcasting, and the Revolutionary State in the 1920s

Castro

2014

The Latin Americanist

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This essay examines early radio broadcasting in 1920s Mexico. I particularly focus on the competing intellectuals involved in shaping Mexico City broadcasting, and how the incorporation of these varying artists, writers, and technicians shaped business practices, the Mexican state, and nationalism in the revolutionary era. It appeared to some intellectuals that radio would bring about a more open, democratic society that embraced an exciting, globally-connected future. To others, radio represented a static-filled future of cheapened culture and imitation that would remain a knock-off, but perhaps that could assist in the "civilization" of Mexico. Foreshadowing Mexico's increasingly multicultural future, early radio broadcasters managed to settle on nothing and accommodate all. Likewise, instead of enforcing their own vision for broadcasting, officials of the new revolutionary government embraced the contending perspectives. They pursued this path because of their own inability to enforce their will and, subsequently, as an attempt to incorporate outside forces shaping broadcasting into the state apparatus. Despite the sometimes contradictory projections that resulted, the inclusion of diverse but popular intellectuals ensured that the growth of Mexican broadcasting mirrored and reinforced the new political-economic order.

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Section: Commercial Advertisements: El Buen Tonomentioning

confidence: 99%

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Sounding the Mexican Nation: Intellectuals, Radio Broadcasting, and the Revolutionary State in the 1920s

Castro

2014

The Latin Americanist

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“…Marxist politics substantially influenced the production of urban space and artistic form in 1930s Mexico, but this is obscured by the exhibition's emphasis on a false dichotomy of international versus national style. 9 These particular problems-broad generalizations and resistance to national specificity-stem from a long trajectory of US cultural and political imperialism that has shaped the way Latin American art and architecture has been framed in US museums. Modern architecture has received uneven and at times fetishistic attention in the United States.…”

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Exhibition Review: Latin America for Park Avenue: The Metropolis in Latin America’s Gentrified View of Latin American Urbanism

Stewart

2019

Journal of Planning History

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"Donde hace nido el avión": estéticas (in)augurales movidas por la historia de la aviación (o los futurismos entre Latinoamérica, Marinetti y Le Corbusier)

Bolte

2021

Orb. tert.

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El inicio de la aviación moderna conduce a una estética que, si bien se vio prefigurada en forma de mitos clásicos –una serie de experimentos tecnológicos y (proto-)humanistas durante la Edad Media, Moderna y Contemporánea temprana; y que más tarde sería recibida por las poéticas prevanguardistas del siglo XIX–, alza el vuelo con la euforia tecnológica a principios del siglo XX. Sin olvidar que esta euforia también accionó las Guerras Mundiales, el presente artículo ahonda en la historia cultural del vuelo, en cómo las primeras máquinas voladoras del siglo XX, con sus respectivas ideologías, sustentaron varios programas estéticos que plasmaron el "modo avión" y la experiencia perceptiva del piloto como un verdadero paradigma. El "modo avión" sería transcrito por el futurismo transcultural, y especialmente compartido por el mundo italiano, francés e hispanófono. Conforme el artículo traza esta historia, se perfila toda una cultura impregnada por el espíritu de la aviación, incluyendo las visiones utópicas del urbanismo y la arquitectura aeroportuaria. Sondeando en estos campos como en los terrenos literarios (los poéticos y los narrativos) el artículo, además, se explaya sobre el tópico del “cielo abierto”.

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Wireless Modernity: Mexican Estridentistas, Italian and Russian Futurism

Cited by 3 publications

References 0 publications

Sounding the Mexican Nation: Intellectuals, Radio Broadcasting, and the Revolutionary State in the 1920s

Sounding the Mexican Nation: Intellectuals, Radio Broadcasting, and the Revolutionary State in the 1920s

Exhibition Review: Latin America for Park Avenue: The Metropolis in Latin America’s Gentrified View of Latin American Urbanism

"Donde hace nido el avión": estéticas (in)augurales movidas por la historia de la aviación (o los futurismos entre Latinoamérica, Marinetti y Le Corbusier)

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