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 artwork to a different; they enjoy staging occasions the place assorted media play an important roles along one another, the place assorted media intrude with one another, to spark new and fabulous stories for his or her audiences. This intermediality and multi-media task is the topic of this significant number of essays. The authoritative contributions disguise the complete ancient span of modernism, from its emergence within the early 20th century to its after-shocks within the Nineteen Sixties. stories comprise Futurism's fight to create an paintings of noise for the fashionable 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 missed Catalan artist within the Thirties; the significance of structure to new conceptions of functionality in Sixties "Happenings"; and the advanced alternate among movie, tune 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
If the Futurists were conceptually idealist, they were also methodologically pragmatic. They did not believe that the unequivocal embrace of modernity necessitated the exclusive employment of modern technology to achieve their creative goals. What was the inspiration behind the design of the intonarumori? Having rejected the contemporary technology of the gramophone, or at the very least, failed to consider it, what research process did Russolo undertake to realise his conception of enharmonic noise instruments?
41 Having specified the need for a new orchestral section comprising these six families of noises, Russolo was then confronted by the need to practically realise them, to build the instruments capable of delivering textures devoid of pitch and enharmonic colour tones. The classification of these families of noises must have been the culmination of a much longer period of research than that implied in ‘The Art of Noises’. To conceptualise noise-generating instruments, and to confidently assert that they were soon to be practically realised, just two days after the apparent moment of initial inspiration at the Teatro Costanzi stretches credulity.
But the introduction and conclusion were obviously written after the serata at the Teatro Costanzi in Rome on 9th March because they make reference to the event. It is significant that this criticism is articulated either by Russolo, a painter and dilettante musician rather than another professional composer, or Marinetti, the acknowledged, if self-appointed leader of the movement. One might speculate that the author of the contextualising elements of the manifesto, and perhaps the decision to include an extract from Marinetti’s onomatopoeic poem ‘Zang Tumb Tuumb’ came from Marinetti, rather than Russolo.