By Rhys Davies, Christopher Townsend, Alexandra Trott
There is not anything natural approximately modernism. For the entire later serious emphasis upon 'medium specificity', modernist artists of their personal instances experience the alternate of motifs and tropes from one form of paintings to a different; they enjoy staging occasions the place diverse media play an important roles along one another, the place assorted media intervene with one another, to spark new and stunning studies for his or her audiences. This intermediality and multi-media job is the topic of this crucial selection of essays. The authoritative contributions conceal the whole old span of modernism, from its emergence within the early 20th century to its after-shocks within the Sixties. reports contain Futurism's fight to create an paintings of noise for the trendy age; the novel experiments with poetry; portray and ballet staged in Paris within the early Nineteen Twenties; the connection of poetry to portray within the paintings of a overlooked Catalan artist within the Nineteen 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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Extra resources for Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus
16. Ibid. pp. 79-80. 17. The Art of Noises, p. 25. 18. Noise, Water, Meat, p. 58. 19. Ibid. p. 57. 20. Noise, Water, Meat, p. D. , University of Chicago, 1974), pp. 15-16. 21. ‘Manifesto of Futurist Musicians’, p. 84. 22. Noise, Water, Meat, p. 58. 23. Günter Berghaus, The Genesis of Futurism: Marinetti’s Early Career and Writings, (Leeds: Society for Italian Studies, 1995), p. 48. 24. ‘Manifesto of Futurist Musicians’, p. 84. 25. Luigi Russolo, ‘The Art of Noises’ (1913) in Futurism, An Anthology, op.
The Conquest of Enharmonism’, in The Art of Noises (1916), (New York: Pendragon Press, 1986), p. 62. 4. Ballila Pratella, ‘Manifesto of Futurist Musicians’ (1911), in Futurism, An Anthology, op. , p. 82. 5. Ballila Pratella, ‘Technical Manifesto of Futurist Music’, (1911) in Futurism, An Anthology, op. , p. 137. 6. Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts, (Cambridge, MA: MIT Press, 1999), p. 58, citing Giovanni Lista, L’Art des bruits (Lausanne: Editions l’Age d’Homme, 1975), pp.
One of the consequences of the decision to reconfigure ‘The Art of Noises’ as an open letter to Pratella was that Russolo was later obliged to maintain the conceit that his manifesto was a direct response to Pratella’s ‘overwhelming futurist music’, and furthermore that his intonarumori were conceived, designed and constructed within the subsequent three-month period. Another, perhaps greater consequence to the future of ‘Sound Art’ as a creative discipline was that ‘The Art of Noises’ would be perceived as a manifesto of musical augmentation, rather than of an independent art form, and the philosophical basis of modern creative sound design.