Brief
History of Dada
Emerging during the time of the First World War
the Dadaists used tactics of shocking people to lure their blinded society out
of their nationalistic and materialistic attitude which had led them to the
ruins of World War One. These artists sought to deliver the truth- that what
morals and political and aesthetic beliefs the people had built and developed
on through the years were destroyed by the war, by encouraging catastrophic,
profane and detached themes in their compositions. Since as a movement, they were
quite radical to bringing about change and progress to their present situations,
these artists had openly subjected the Expressionists to having resisted to the
times with their sentimentality. Being a literary movement as well as a visual
one, Dadaism was spread in various parts of Europe, such as Zurich, Berlin and
Paris, as well as New York.
Dada
Typography and Aesthetics of Meaning
Like
the Futurism movement before them, Dada created this ‘typography revolution’
that was founded on the typography itself, were the type face was used as a way
to communicate the creation of the meaning. In some other words, Dada removed
all the graphic work from the conducted textual message. Dada didn't want the
people to read and look “through” the words so to precept the meaning of the
content, the movement wanted to enforce the people to look at the typography and
on its exposed layouts and fonts.
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Tristan Tzara, Une
Nuit d’Echecs, 391 Paris !920
Hugo
Ball,Karawane, 1917.
This
version published the Dada Almanach, in Berlin in 1920. According, Raoul
Hausmann, a Berlin Dadaist, Richard Hülsenbeck created the typography. The use
of different type faces was a distinctive feature of the Berlin Dadaists.
In
comparison to the Futurism typography, which outwardly aimed at an the
interpretation of the ambition for speed, Dada’s typography, war technology,
inherently multifarious, was suggesting a new way for deciphering the meaning
of one that was eruptive and nonlinear and the most important self-sufficient
of any fulfilled textual. Dada attached typographical weight to the words not
according to its semantic sense in a statement.
Covers,
illustrations and Layouts of Dada’s Publications
Although
the fact that Dadaists consider Dada movement not as an art but an anti-art
movement, the designers of illustrations, layouts and book jackets in the Dada
publications had a very strong artistic taste. Dada ignored the conventional
aesthetics and instead offered a new viewpoint on it, and it also aimed the
questions and the meanings of the meanings and it presented as a complete idiosyncratic
idea.
Bibliography
https://www.papress.com/thinkingwithtype/teachers/type_lecture/lecture_images/DadaSoiree.gif
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