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 experience the alternate of motifs and tropes from one type of artwork to a different; they experience 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 remarkable stories for his or her audiences. This intermediality and multi-media job is the topic of this crucial choice of essays. The authoritative contributions conceal the whole historic 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 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 missed Catalan artist within the Thirties; the significance of structure to new conceptions of functionality in Sixties "Happenings"; and the complicated alternate among movie, song 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
It lacked sufficient amplitude and so, after the publicity generated by Marinetti, the world’s first bespoke, enharmonic, continuous noise generator failed to live up to its billing. The aural evocation of industrialised environments needed to contain the frequency range and amplitude of that environment. Acoustic amplification through stretched gut and horn resonators could not hope to generate the sense-consuming situational signposts of urban reality. The phonograph impressed as an alternative to the recital hall because its reproductive properties meant music became portable.
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. 43 It is believable that Russolo and his assistant Ugo Piatti, presumably with some practical assistance from craftsmen, were able to construct these machines.
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’.
Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus by Rhys Davies, Christopher Townsend, Alexandra Trott