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 paintings to a different; they enjoy staging occasions the place various media play the most important roles along one another, the place varied media intervene with one another, to spark new and remarkable reports for his or her audiences. This intermediality and multi-media task is the topic of this crucial number of essays. The authoritative contributions hide the complete historic span of modernism, from its emergence within the early 20th century to its after-shocks within the Nineteen Sixties. experiences contain Futurism's fight to create an paintings of noise for the fashionable 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 advanced alternate 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
This wide range of creative disciplines embraced by Futurism is perhaps unique. Earlier modernist movements would typically encompass one or two disciplines. See Henry Jenkins, Rethinking Media Change: The Aesthetics of Transition (Cambridge, MA: MIT Press, 2003). 35. The Art of Noises, pp. 24-25. 36. Ibid. p. 23. From Victorian Theatrical Melodrama Production to the Futurist Serate 23 37. ‘Manifesto of Futurist Musicians’ pp. 77-78. 38. Lawrence Rainey, ‘Introduction’ in Futurism, An Anthology, op.
Marinetti’s practical decision to employ medieval technology to realise a particular visual effect in no way undermined his intent to celebrate modernity. The same is true with Russolo’s decision to design his noise-machines using pre-industrial technological processes that can be traced back to Classical Greek theatre, where the ‘hollow reed or a taut string’ still played a dominant role in the generation of sound. If the Futurists were conceptually idealist, they were also methodologically pragmatic.
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. 48. 24. ‘Manifesto of Futurist Musicians’, p. 84. 25. Luigi Russolo, ‘The Art of Noises’ (1913) in Futurism, An Anthology, op. , p. 133. 26. ‘Manifesto of Futurist Musicians’, pp. 75-76. 27. The Genesis of Futurism, p.
Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus by Rhys Davies, Christopher Townsend, Alexandra Trott