By Rhys Davies, Christopher Townsend, Alexandra Trott
There is not anything natural approximately modernism. For all of the later severe emphasis upon 'medium specificity', modernist artists of their personal occasions experience the trade of motifs and tropes from one form of artwork to a different; they enjoy staging occasions the place assorted media play the most important roles along one another, the place varied media intervene with one another, to spark new and unbelievable stories for his or her audiences. This intermediality and multi-media task is the topic of this significant number of essays. The authoritative contributions hide the total old span of modernism, from its emergence within the early 20th century to its after-shocks within the Sixties. experiences contain 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 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 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
Marinetti was, of course, the first to announce the concept of Futurism in February 1909; however, Pratella was then already composing his ‘Futurist’ opera La Sina’d Vargöun. He and Marinetti met for the first time in August 1910 when the opera’s intermezzo was performed at Imola’s municipal theatre. Given this chronology, any suggestion that the ‘Founding and Manifesto of Futurism’ provided the primary inspiration for Pratella to suddenly produce Futurist works would be naïve. It is more likely as a classically trained composer with avant-garde leanings that Pratella saw the potential of aligning himself with the Futurist movement, whilst co-incidentally, Marinetti, complete with a stable of promising writers and painters, and a house journal, was looking for a house band for the Futurist serate.
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. The fact that Marinetti felt empowered and obliged to include this text demonstrates his desire to preserve the central thematic concept of Futurism – the celebration of modernity through a creative engagement with its industrial and urban practices – and his willingness to use forceful means to keep his only notable composer on message, even if that meant undermining the rest of his ideas.
144. 3. ), ‘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.
Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus by Rhys Davies, Christopher Townsend, Alexandra Trott