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Re: [microsound] Re: futurists + fascistas



Aimé  wrote:

> Please, please, I am surprised that event Tobias doesn't underline a
> crucial point regarding futurist ideas about music versus fascism:
> Luidgi Russolo, author of L'arte dei rumori, was opposed to fascism
> and flew to Paris between 1927-32.

True, although that was much later. His work on the intonarumori began in
the early 1900s, with publication of 'The Art of Noises', it seems, in 1913.
AFAIK, and from what I've read, Russolo supported Marinetti through World
War I, that is, through the formation of the Italian fascist party, the
black shirts, etc. Don't forget Italian fascism had peaked by the time WWII
came along; it was already on its last legs (the Pound cantos I am thinking
of reference the old glory of the March on Rome, which was in 1922). That's
thirty years worth of history before WWII.. One wondered if Russolo fled
because of the impending war and the failure of fascism than fleeing _from_
it. One would need to do some historical in-depth research here, reading
letters, analyses, accounts, etc. Anyone have any references?

In any case, I think it's fair to argue that (Italian) fascism and futurism,
musical or visual, are inextricably linked. This doesn't necessitate cause;
rather it draws attention to the beauty of authoritarian structure, or
rather, the way in which such structure conditioned the possibilities of
beauty at the early 20th. We all love to depict Rome, whether in its rise,
fall or decadence... doubtful, however, that any of us would have really
wanted to live through the Empire, now that we're experiencing one of our
own.

Douglas Kahn makes a good case to remember Russolo -- his 'art of noises'
was often mistakenly attributed to Marinetti -- in _Noise Water Meat_.


best,

    tV



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