Interdisciplinary Italy 1900-2020: Interart/Intermedia

自20世纪世纪开始，意大利的艺术迅速发展了混合形式。电影，数字视觉诗歌，声音艺术，电影书籍预告片和其他跨艺术和媒体的实践，已经成为一种主要的文化力量。艺术家们在不同的艺术形式之间转换，流动性惊人：例如，迪诺·布扎蒂（Dino Buzzati）写小说，但也设计插图;诗人爱德华多·桑吉内蒂（Eduoardo Sanguineti）将他的诗歌追溯到无调性音乐。直到最近，这种艺术间的流动性一直是艺术家的特权。研究人员与这种文化转变背道而驰，根据我们自己的学科（文学、艺术、音乐等）分析文化产品。在这样做的过程中，我们有可能忽视一种范式转变，在学科之间的差距中失去混合艺术形式--它们只得到边缘化的对待--并低估了一种艺术对另一种艺术的价值。然而，随着跨学科方法的发展，研究人员现在发现自己处于一个新的历史优势。它终于有可能建立一个开创性的艺术视角。拟议的项目映射了20和21世纪意大利的范式转变。这是一个有趣的案例研究。本文的主要研究问题是：（1）为什么跨艺术实践在世纪发生了如此显著的变化？我们的项目描绘了意大利一个新的跨艺术的文化历史。它将回答这样的问题：为什么艺术间和中介实践发生在意大利在这个时候？期刊、咖啡馆、印刷、数字技术等在发展中扮演什么角色？我们的回应超越了单学科研究的狭隘焦点，揭示了一个更全面的画面，艺术间的遭遇和新的实验类型。我们挑战并修正关于文化中心和外围的既定观念，将注意力集中在积极从事创造性跨界活动的个人和团体，以及促进或阻碍艺术间交流的机构。我们的项目引入了一个新的和原始的焦点：我们试图研究多学科的方法如何颠覆广泛接受的大炮;在单学科显微镜的透镜下看起来很重要的东西可能不是来自艺术间的。(2)为什么前卫和激进的艺术家批评和超越了世纪意大利艺术之间的界限？这对创造力有什么影响？自二十世纪初以来，在不确定和激进的社会变革时期，艺术间的实践已经变得明显，经常与先锋派联系在一起。在政治和文化传统受到挑战的地方，特别是受到活动家挑战的地方，这种现象似乎也出现得最为强烈。我们的项目探索的第一个领域是跨艺术和中介创造力的越界性质。(3)我们需要发展什么样的理论来讨论混合文化对象和前卫的艺术实践？我们将形成一个理论话语，以促进跨艺术和媒体的新研究，并巩固在我们自己的项目所做的工作。这将突出艺术间创造力的社会，创造性和心理动力，而不是学科领域的要求和限制。 产出包括：20世纪和21世纪世纪意大利的两个新的跨艺术文化史（一个专门关于数字时代）;一本理论上集中的书跨艺术研究更广泛的知识界;文章;样本跨艺术/中介教学材料的学校;跨艺术展览和目录。我们将开发专门的研究生和博士后活动，学者，博物馆馆长和学校教师。这些活动旨在为艺术间实践提供信息，并使这些群体能够以理论上知情的方式从事艺术间实践文章的工作。

Since the start of the 20th century, the arts in Italy have rapidly developed hybrid forms. Cinema, digital visual poetry, sound art, filmed book trailers and other practices which cross arts and media and have become a major cultural force. Artists are shifting between different art forms with a fluidity which is striking: Dino Buzzati, for instance, writes novels, but also designs their illustrations; the poet Eduoardo Sanguineti traces his poetry back to atonal music. Until very recently this interartistic fluidity has been the prerogative of artists. Researchers worked against the grain of this cultural shift, analysing cultural products according to our own disciplines (literature, art, music etc.). In so doing, we risked overlooking a paradigm shift, losing hybrid art forms in the gaps between disciplines - where they receive only marginal treatment - and underestimating the value of one art for another. As interdisciplinary methodologies develop, however, researchers now find themselves at a new historical vantagepoint. It is finally possible to build a groundbreaking interartistic perspective on the arts. The proposed project maps the paradigm shift in 20th and 21st century Italy. It acts as an intriguing case study. The key research questions are: (1) Why has interartistic practice changed so markedly over the course of 20th and 21st century? Our project maps a fresh interartistic cultural history of Italy. It will answer questions like: Why did interartistic and intermedial practice occur in Italy at this time? What part do journals, cafés, printing, digital technology, etc. play in development? Our response goes beyond the narrow focus of monodisciplinary research to reveal a more comprehensive picture of interartistic encounters and new kinds of experimentation. We challenge and amend established ideas of cultural centres and peripheries, to focus attention on individuals and groups who are actively engaged in creative boundary-crossing and on institutions who fostered or hindered interartistic exchange. Our project introduces a new and original focal point: we seek to examine how a multidisciplinary approach subverts widely accepted canons; what looks central under the lens of the monodisciplinary microscope may not be so from an interartistic one. (2) Why have avant-garde and activist artists critiqued and transgressed the boundaries between the arts in 20th and 21st century Italy? What effect has this had on creativity? Since the beginning of the twentieth century, interartistic practice has been palpable in periods of uncertainty and radical social change, frequently associated with the avant-garde. It also appears to have emerged most strongly where political and cultural conventions are challenged, especially by activists. The first area our project explores is the transgressive nature of interartistic and intermedial creativity. (3) What theories do we need to develop in order to discuss hybrid cultural objects and avant-garde interartistic practice? We will fashion a theoretical discourse to facilitate new research across the arts and media and underpin work done in our own project. This will highlight the social, creative and psychological dynamics of interartistic creativity, rather than the demands and constraints of disciplinary fields. Outputs are: Two new interartistic cultural histories of 20th and 21st century Italy (one specifically on the digital age); a theoretically focused book on interartistic research for a broader intellectual community; articles; sample interartistic/intermedial teaching material for schools; an interartistic exhibition and catalogue.We will develop dedicated events for postgraduates and postdocs, academics, museum curators and schoolteachers. These are targeted at informing ideas about interartistic practice and empowering those cohorts to work, in a theoretically informed way, on interartistic practice articles.