Gertrude Stein's writing technique is probably best exemplified by her own writing. How to Write, initially published in 1931 in Paris (Plain Editions), states provocatively that "Clarity is of no importance because nobody listens and nobody knows what you mean no matter what you mean nor how clearly you mean what you mean." In an interview with Robert Haas, 1946) in Afterword, Gertrude Stein stated that "Any human being putting down words had to make sense out of them," (p. 101). "I write with my eyes not with my ears or mouth," (p. 103). Moreover: "My writing is as clear as mud, but mud settles and clear streams run on and disappear."
Gertrude Stein. How to Write (with a new preface by Patricia
Meyerowitz). New York: Dover Publications, 1975.
The author shows that "the innovative works of an artist are explorations" (p.vi).
-. Useful Knowledge. Barrytown NY: Station Hill Press, 1988.
-. What are Masterpieces? New York: Pitman Publishing Corp., 1970 (reprint of 1940 edition).
Edmund Carpenter. They Became What They Beheld. New York:
Outerbridge and Dienstfrey/Ballentine, 1970.
The author maintains that the book became the organizing principle for all existence, a model for achieving bureaucracy.
It seems that the first comic strip in America was The Yellow Kid, by Richard F. Outcault, in the New York World, 1896. Among the early comic strips: George Harriman's Krazy Kat (held as an example of American Dadaism); Windsor McKay's Little Nemo in Slumberland; Milton Caniff's Terry and the Pirated.
Filippo Tommaso Marinetti (1876-1944). Il Futurismo was written in 1908 as the preface to a volume of his poetry and was published in 1909. Its manifesto was set forth in the words "We declare that the splendor of the world has been increased by a new beauty: the beauty of speed." Breaking with the livresque past, the Italian Futurism took it upon itself to "liberate this land from the fetid cancer of professors, archaeologists, guides, and antiquarians." The break with the past was a break with its values as these were rooted in literate culture.
Dziga Vertov (born Denis Arkadievich Kaufman,1986-1954). Became known through his innovative montage juxtaposition, about which he wrote in Kino-Glas (Kino-Eye). The film We (1922) is a fantasy of movement. Kino-Pravda (1922-1925) were documentaries of extreme expressionism, with very rich visual associations.