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 occasions experience the alternate of motifs and tropes from one type of artwork to a different; they enjoy staging occasions the place assorted media play the most important roles along one another, the place diversified media intervene with one another, to spark new and excellent studies for his or her audiences. This intermediality and multi-media job is the topic of this significant selection of essays. The authoritative contributions conceal the entire old span of modernism, from its emergence within the early 20th century to its after-shocks within the Nineteen Sixties. experiences comprise Futurism's fight to create an paintings of noise for the trendy age; the unconventional 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 Nineteen Sixties "Happenings"; and the complicated alternate among movie, song and sadomasochism that characterises Andy Warhol's "Exploding Plastic Inevitable".
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Additional info for Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus
Manifesto of Futurist Musicians’, pp. 75-76. 27. The Genesis of Futurism, p. 109. 28. The Art of Noises, p. 28. 29. 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).
Marinetti, ‘The Founding and Manifesto of Futurism’ (1909) in Futurism, An Anthology, op. , p. 51. 15. ‘Manifesto of Futurist Musicians’, p. 77. 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.
Luciano Chessa believes the primary source of inspiration was the work of Leonardo da Vinci. He states: Russolo was aware of both Leonardo’s experiments with acoustics and his projects for building mechanical musical instruments. 51 He goes on to claim that ‘During the summer of 1913, Russolo, with Piatti’s help, worked furiously on his intonarumori, but he did not start from scratch. 52 It is certainly acceptable to argue that the work of Leonardo inspired Russolo, especially when one considers his pre-eminent position as a role model for those who sought multi-disciplinary approaches to the creation of artworks – a fact that in all probability was not lost on the painter Russolo.