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 type of paintings to a different; they experience staging occasions the place diversified media play the most important roles along one another, the place varied media intervene with one another, to spark new and miraculous studies for his or her audiences. This intermediality and multi-media task is the topic of this significant number of essays. The authoritative contributions conceal the whole ancient span of modernism, from its emergence within the early 20th century to its after-shocks within the Sixties. reports comprise Futurism's fight to create an artwork 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 missed Catalan artist within the Thirties; the significance of structure to new conceptions of functionality in Nineteen 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
39. The Art of Noises (1916/86), p. 25. 40. Tony Gibbs, The Fundamentals of Sonic Art & Sound Design, (Lausanne: AVA Publishing, 2007), p. 22. 41.
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. 18-19. 7. R. Murray Schaffer, ‘Introduction: Features of the Soundscape’ in The Soundscape: Our Sonic Environment and The Tuning of the World, (Rochester, VT: Destiny Books, 1977), p.
It must render the musical spirit of the masses, the grand industrial factories, trains, 6 Chapter One transatlantic steamers, battleships, automobiles, and airplanes. It must add the domination of the machine and the victorious reign of electricity to the great central motifs of the musical poem. 21 This intervention indicates that Pratella was not especially inspired to celebrate industrialised modernity, but that Marinetti was motivated to both implant these themes within the body of the text and, aided by Russolo in ‘The Art of Noises’, within the work of the composer.
Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus by Rhys Davies, Christopher Townsend, Alexandra Trott