Across the Great Divide: Modernism’s Intermedialities, from by Rhys Davies, Christopher Townsend, Alexandra Trott

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 instances experience the alternate of motifs and tropes from one form 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 dazzling reviews for his or her audiences. This intermediality and multi-media job is the topic of this significant choice of essays. The authoritative contributions disguise the entire old span of modernism, from its emergence within the early 20th century to its after-shocks within the Sixties. reviews 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 Twenties; the connection of poetry to portray within the paintings of a missed Catalan artist within the Nineteen Thirties; the significance of structure to new conceptions of functionality in Nineteen Sixties "Happenings"; and the complicated trade among movie, tune and sadomasochism that characterises Andy Warhol's "Exploding Plastic Inevitable".

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169. 8. ), ‘The Art of Noises: Futurist Manifesto’, in The Art of Noises, op. , p. 29. 9. 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’.

They had expected loud, powerful mimetic machines of modernity. 49 14 Chapter One Luigi Russolo inventor of philosophical systems motors artificial skins musical instruments and first intonarumori. 50 Futurists often resorted to pre-industrial, even pre-Renaissance technology as a practical means of realising their aims. Marinetti returned to the pre-Guttenberg technology of the woodcut to create the design for the cover of his profoundly modern ‘Zang Tumb Tuumb’. Futurism celebrated the new typesetting machine that replaced the Guttenberg movable type process, but it was incapable of creating the visual effects that Marinetti demanded.

30 From Victorian Theatrical Melodrama Production to the Futurist Serate 9 To Marinetti and Russolo, Pratella’s assertion that enharmony could be created just by detuning the orchestra or with Italian peasants lustily singing traditional folk songs must have been distinctly lacking in Futurist verve. The sound of the future was apparently to be achieved with passéist instruments. They had no objection to Pratella’s definition of enharmony, which differs somewhat from the classical Greek conception, where enharmony is the third strand of music theory, the other two being the more familiar chromatic and diatonic scales.

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Categories: Modernism