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 enjoy the alternate of motifs and tropes from one form of artwork to a different; they enjoy staging occasions the place assorted media play an important roles along one another, the place diverse media intervene with one another, to spark new and fabulous reports for his or her audiences. This intermediality and multi-media task is the topic of this crucial selection of essays. The authoritative contributions conceal the complete historic span of modernism, from its emergence within the early 20th century to its after-shocks within the Nineteen Sixties. reviews contain 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 missed Catalan artist within the Nineteen Thirties; the significance of structure to new conceptions of functionality in Sixties "Happenings"; and the complicated trade among movie, song and sadomasochism that characterises Andy Warhol's "Exploding Plastic Inevitable".
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Extra info for Across the Great Divide: Modernism’s Intermedialities, from Futurism to Fluxus
Transmedia is the twenty-first century concept of storytelling across multiple platforms or portals. If one defines the Futurist meme as the celebration of modernity through the creative engagement with its industrial and urban practices, then the manifestos provide a roadmap for the creative arts – music, sculpture, theatre, film, stage design, poetry, fashion and so on. This wide range of creative disciplines embraced by Futurism is perhaps unique. Earlier modernist movements would typically encompass one or two disciplines.
A most useful device for a variety of sounds depending upon how it is ‘played’ was constructed from a small barrel with both ends removed and one end replaced with a piece of plywood (or a drum skin for a higher pitched effect). A piece of string fixed firmly through the centre of the head and impregnated with resin is held taut with one hand; then, using the other From Victorian Theatrical Melodrama Production to the Futurist Serate 19 hand, the string is pinched with a piece of leather and drawn along it.
As Hunningher observes: One of Aristotle’s significant pronouncements was that sound waves do not behave in the same way as light, since they are not confined to straight lines. He also began to understand the importance of reflection and absorption, noting that the chorus in a theatre produced less sound if the floor was made of a mixture of sand, chaff and straw rather than being of hard flat sand. 56 Classical Greek practitioners are believed to have used large bronze jars as acoustic resonators to further augment the acoustic properties of the space.