BLAST
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The article that will be examined as the first BLAST I article is delineated with a square box and the number 1 in it on page 11. Visually, the article closely resembles the one that follows it, as seen here. The designers used different sizes of a stark font in bold, ranging from all capitals to lowercase across the page while playing with the words to create an overall image that resembles the vortex. Portions of the writing are also set up without following a full sentence structure, for example, “THE CURATE of “Eltham” BRITANNIC AESTHETE WILD NATURE CRANK DOMESTICATED POLICEMAN LONDON COLISEUM SOCIALIST-PLAYWRIGHT DALY’S MUSICAL COMEDY GAIETY CHORUS GIRL TONKS” (11). This string of words, in this context, makes little to no sense. Some of this is clarified a little bit in BLAST because of the way that the designers played with the space of the page. This is more the focus of the first publication meaning that, although there is featured vorticist art, the writing and the displays they are presented in are the art of much of BLAST. Although each page like this is different, almost every single page that uses this display method features an overall pattern indicative of a vortex or whirlwind shape that is created by manipulating the font size and orientation on the page as you can see with the example. This seems to be the artistic focal point, or uniqueness of BLAST, although there are plenty of other featured literary works that are not presented in the same manner and are important to the vorticist movement. | The article that will be examined as the first BLAST I article is delineated with a square box and the number 1 in it on page 11. Visually, the article closely resembles the one that follows it, as seen here. The designers used different sizes of a stark font in bold, ranging from all capitals to lowercase across the page while playing with the words to create an overall image that resembles the vortex. Portions of the writing are also set up without following a full sentence structure, for example, “THE CURATE of “Eltham” BRITANNIC AESTHETE WILD NATURE CRANK DOMESTICATED POLICEMAN LONDON COLISEUM SOCIALIST-PLAYWRIGHT DALY’S MUSICAL COMEDY GAIETY CHORUS GIRL TONKS” (11). This string of words, in this context, makes little to no sense. Some of this is clarified a little bit in BLAST because of the way that the designers played with the space of the page. This is more the focus of the first publication meaning that, although there is featured vorticist art, the writing and the displays they are presented in are the art of much of BLAST. Although each page like this is different, almost every single page that uses this display method features an overall pattern indicative of a vortex or whirlwind shape that is created by manipulating the font size and orientation on the page as you can see with the example. This seems to be the artistic focal point, or uniqueness of BLAST, although there are plenty of other featured literary works that are not presented in the same manner and are important to the vorticist movement. | ||
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<img style="border:5px solid black" src="http://library.brown.edu/jpegs/114320987715639.jpg" width="400" > | <img style="border:5px solid black" src="http://library.brown.edu/jpegs/114320987715639.jpg" width="400" > | ||
