Luigi Russolo, Futurist_Noise, Visual Arts, and the Occult by Luciano Chessa

Author:Luciano Chessa [Chessa, Luciano]
Language: eng
Format: epub
Tags: Biography & Autobiography, Music
ISBN: 9780520270633
Google: XGE8faiTHoYC
Amazon: 0520270649
Goodreads: 13724034
Publisher: University of California Press
Published: 2012-03-30T00:00:00+00:00

CHAPTER 8

The Spirali di Rumori

SPIRALS

On November 1, 1913, Lacerba published Russolo’s article “Conquista totale dell’enarmonismo mediante gli intonarumori futuristi” (Total conquest of enharmonism through the futurist intonarumori). In it Russolo defines his first two works, Risveglio di Capitale and Convegno d’automobili e d’aeroplani, as reti (networks) of noises. A few months later, on March 1, 1914, Lacerba published his “Grafia enarmonica per gl’intonarumori futuristi” (Enharmonic notation for the futurist intonarumori), which includes the two famous pages taken from Risveglio di una città (notice the change in title); here, too, Russolo still called his composition a rete di rumori (network of noises) (fig. 20).

The term réseaux, the French equivalent of reti, had made its first appearance in a September 1913 promotional article by Russolo that Marinetti had distributed to the French press. In this article, Russolo referred to the four compositions premiered in the preview concert for the press in Milan on August 11, 1913, as quatre premiers réseaux des bruits (four first networks of noises).1

This use of the term derives from Marinetti. In his technical manifesto of futurist literature of May 11, 1912, Marinetti defined as “narrow networks” a series of images and analogies in which each is “condensed, collected into an essential word” and placed one after the other “to envelop and grasp all that is most fleeting and elusive in matter.” Marinetti here describes objects and the sum of sensations—the confused simultaneous whole of associations—that their motion produces in us.2

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