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 enjoy staging occasions the place varied media play an important roles along one another, the place diversified media intrude 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 choice of essays. The authoritative contributions hide the entire ancient 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 artwork of noise for the trendy age; the novel 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 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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This leads us to a vital question concerning Futurism’s apparently radical conception of sound. Is Russolo’s definition of noise in his manifesto directly influenced by earlier reflection? In his preamble, he describes the noises one might encounter with open ears whilst wandering through a modern city: Let us cross a large modern capital with our ears more sensitive than our eyes. We will delight in distinguishing the eddying of water, of air or gas in metal pipes, the muttering of motors that breathe and pulse with an indisputable animality, the throbbing of valves, the bustle of pistons, the shrieks of mechanical saws, the starting of trams on the tracks, the cracking of whips, the flapping of awnings and flags.

20 This editorial intervention by Marinetti explains why the conclusions listed in Pratella’s ‘Futurist Music: Technical Manifesto’ (29 March 1911) contain eleven points, the final point being the ‘inventions’. Indeed, the polemical eleventh point is incongruous when compared to the preceding ten, which deal with modernist compositional techniques. Whereas, for example, point 1 advocates the ‘single atonal chromatic mode’ and point 10 sets down the role of free verse in ‘attaining a criterion of polyrhythmic freedom’, the eleventh point, much longer than the preceding ten, abandons the technical discourse entirely and returns to a familiar futurist theme: Music must contain all the new attitudes of nature, always tamed by man in different ways through incessant scientific discoveries.

See Günter Berghaus, Italian Futurist Theatre, 1909-1944, (Oxford: Clarendon Press, 1998), p. 97. 34. 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.

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