By Rhys Davies, Christopher Townsend, Alexandra Trott
There is not anything natural approximately modernism. For the entire later severe emphasis upon 'medium specificity', modernist artists of their personal occasions enjoy the alternate of motifs and tropes from one type of paintings to a different; they enjoy staging occasions the place assorted media play the most important roles along one another, the place various media intervene with one another, to spark new and marvelous reviews for his or her audiences. This intermediality and multi-media task is the topic of this crucial selection of essays. The authoritative contributions disguise the total ancient span of modernism, from its emergence within the early 20th century to its after-shocks within the Sixties. experiences comprise Futurism's fight to create an artwork of noise for the trendy age; the novel experiments with poetry; portray and ballet staged in Paris within the early Twenties; the connection of poetry to portray within the paintings of a overlooked Catalan artist within the Thirties; the significance of structure to new conceptions of functionality in Sixties "Happenings"; and the advanced trade among movie, track and sadomasochism that characterises Andy Warhol's "Exploding Plastic Inevitable".
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Additional resources for Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus
The phonographic technology of 1913 could not be manipulated effectively within an orchestra. Machines could not be accurately cued nor edited, and it would have required at least two phonographs, with the second set to play as the first was finishing, to maintain a performance lasting longer than four minutes. I suggest that Russolo realised this and investigated other means of manipulating noise before he classified the six families of noises; otherwise, the noises listed might well have been considerably more specific.
P. 29. 9. Ibid. p. 28. 10. Ibid. p. 23. 11. ‘In 1913 he [Russolo] wrote “The Art of Noises,” a pioneering document in musical theory. Shortly afterward, with Ugo Piatti, he made a series of “noisetuners” (intonarumori), sound machines to create and modify types of noise’. Futurism, An Anthology, p. 516. ‘It was this [Inno alla vita, performed at the Teatro Costanzi in Rome on the 9th March 1913] performance that encouraged the futurist artist Luigi Russolo to become interested in music and develop his ‘noise-intoners’.
Noise, Water, Meat, p. 374, citing ‘The Futurist Musicians: Francesco Balilla Pratella and Luigi Russolo’ op. cit. 30. ‘Technical Manifesto of Futurist Music’, p. 81. 31. Luciano Chessa, Luigi Russolo, Futurist, (Berkeley: University of California Press, 2012), p. 142. 32. Ibid. 33. Carrà (painter), Boccioni (painter and sculptor), Soffici (writer and painter), Papini (writer), Cavacchioli (journalist), Marinetti (writer). See Günter Berghaus, Italian Futurist Theatre, 1909-1944, (Oxford: Clarendon Press, 1998), p.