Key figures of the movement include the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant ' Elia, Tullio Crali and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, and Vladimir Mayakovsky, as well as the Portuguese Almada Negreiros.

He was invited by Filippo Tommaso Marinetti and Boccioni to join the Futurist movement and was a co-signatory, with Balla, Boccioni, Carlo Carrà, and Luigi Russolo, of the Manifesto of the Futurist Painters in February 1910 and the Technical Manifesto of Futurist Painting in April the same year.

In 1910 he signed, along with Umberto Boccioni, Luigi Russolo and Filippo Tommaso Marinetti the Manifesto of Futurist Painters, and began a phase of painting that became his most popular and influential.

" ( Schuller 1965, p. 34 ) Varèse also acknowledged the influence of the Italian Futurist artists Luigi Russolo and Filippo Tommaso Marinetti in the composition of this work.

Last, but definitely in first place in chronological order, remembered for the importance and the boldness of their projects are Luigi Russolo, who with the manifesto The Art of Noises as early as 1913, gave musical value to environmental noise and then with the design and construction of Intonarumori, the first instruments for making noise, and his close collaboration with musician Francesco Balilla Pratella succeeded in using the noise coupled to a symphony orchestra.

Luigi Russolo, a Futurist artist of the very early 20th century, was perhaps the first noise artist.

Soon afterward a group of painters ( Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, and Gino Severini ) co-signed the Futurist Manifesto.

Closely identified with the central Italian Futurist movement were brother composers Luigi Russolo and Antonio Russolo, who used instruments known as " intonarumori ", which were essentially sound boxes used to create music out of noise.

Antonio Russolo ( 1877-1942 ) was an Italian Futurist composer, brother of the more famous Futurist composer and theorist Luigi Russolo.

Starting with such early pioneers as Luigi Russolo, Pierre Schaeffer, Pierre Henry, Edgard Varèse, Karlheinz Stockhausen and others, music technology has been and is being used in many modernist and contemporary experimental music situations to create new sound possibilities.

Russolo found traditional melodic music confining and envisioned noise music as its future replacement.

* UBU. com, mp3 audio files of the noise music of Luigi Russolo on UbuWeb

* UBU. wfmu. org, noise music of Antonio Russolo from Tellus Audio Cassette Magazine

From Charles Baudelaire to Tristan Tzara ( as, in painting, from Manet to Kandinsky ; or, in music, from Debussy to Luigi Russolo ), subsequent poets would deconstruct the grand edifice of poetry that had been developed over the centuries according to the Homeric model.

Italian composer Luigi Russolo built mechanical sound-making devices, called intonarumori, for futurist theatrical and music performances starting around 1913.

The poem inspired Luigi Russolo to start experimenting with noise music, and is quoted in his Manifesto in 1913, later published in his book The Art of Noises in 1916.

A performance of his Gran Concerto Futuristico ( 1917 ) was met with strong disapproval and violence from the audience, as Russolo himself had predicted.

Russolo used instruments he called intonarumori, which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises.

Luigi Russolo ca.

Writer Douglas Kahn, in his work Noise, Water, Meat: A History of Sound in the Arts ( 1999 ), discusses the use of noise as a medium and explores the ideas of Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

* Russolo, Luigi.

In addition to the permanent collection, the museum houses 26 works on long-term loan from the Gianni Mattioli Collection, including images of Italian futurism by artists including Boccioni ( Materia, Dynamism of a Cyclist ), Carrà ( Interventionist Demonstration ), Russolo ( The Solidity of Fog ) and Severini ( Blue Dancer ), as well as works by Balla, Depero, Rosai, Sironi and Soffici.

He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo.

Luigi Russolo ( 1885 – 1947 ) wrote The Art of Noises ( 1913 ), an influential text in 20th-century musical aesthetics.

Italian composers such as Francesco Balilla Pratella and Luigi Russolo developed musical Futurism.

* Russolo, Luigi.

Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910.

Janco attended the 1930 reunion organized by Contimporanul in honor of the visiting Futurist Filippo Tommaso Marinetti, and gave a welcoming speech.

Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell ' Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Lourié, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914.

Marinetti founded the Futurist Political Party ( Partito Politico Futurista ) in early 1918, which was absorbed into Benito Mussolini's Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party.

Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

The art historian Giovanni Lista has identified this aesthetic as first appearing in the anarcho-syndicalist current, where Marinetti encountered the Sorelian " myths of action and violence.

In 1918 he formed the Partito Politico Futurista ( Futurist Political Party ) which, despite being ' anti-clerical, anti-monarchist, nationalist and ... left-wing ' was quickly absorbed into Mussolini's Fasci di combattimento, making Marinetti one of the first members of the nascent Fascist Party.

Filippo Tommaso Marinetti, author of the Futurist Manifesto ( 1908 ) and later the co-author of the Fascist Manifesto ( 1919 ).

Futurism that was both an artistic-cultural movement and initially a political movement in Italy led by Filippo Tommaso Marinetti who founded the Futurist Manifesto ( 1908 ), that championed the causes of modernism, action, and political violence as necessary elements of politics while denouncing liberalism and parliamentary politics.

Marinetti rejected conventional democracy for based on majority rule and egalitarianism while promoting a new form of democracy, that he described in his work " The Futurist Conception of Democracy " as the following: " We are therefore able to give the directions to create and to dismantle to numbers, to quantity, to the mass, for with us number, quantity and mass will never be — as they are in Germany and Russia — the number, quantity and mass of mediocre men, incapable and indecisive ".

In 1919, Alceste De Ambris and Futurist movement leader Filippo Tommaso Marinetti created The Manifesto of the Italian Fasci of Combat ( a. k. a. the Fascist Manifesto ).

The Manifesto that was written by national syndicalist Alceste De Ambris and Futurist movement leader Filippo Tommaso Marinetti.

The gap between the Imagist and Futurist groups was defined partly by Aldington's critical disapproval of the poetry of Filippo Marinetti.

It was not until 1917, after meeting with Giacomo Balla in Rome, and with Filippo Tommaso Marinetti in Naples ( who later enthusiastically praised Conti's book Imbottigliature which was about to be printed ) that Conti became part of the Futurist movement.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young ( as had Marinetti ), because only they could understand what he had to say.

When Filippo Tommaso Marinetti issued his Futurist Manifesto in 1909, he chose to contrast his movement with the supposedly defunct artistic sentiments of the Winged Victory: "... a race-automobile which seems to rush over exploding powder is more beautiful than the ' Victory of Samothrace '.

Filippo Tommaso Marinetti, author of the Futurist Manifesto.

The Futurist Manifesto, written by the Italian poet Filippo Tommaso Marinetti, was published in the Italian newspaper Gazzetta dell ' Emilia in Bologna on 5 February 1909, then in French as " Manifeste du futurisme " in the newspaper Le Figaro on 20 February 1909.

* The Futurist Manifesto-F. T. Marinetti

Marinetti visited in 1914, proselytizing on behalf of Futurist principles of speed, danger and cacophony.

The publication of the English Futurist manifesto Vital English Art, in June 1914 edition of The Observer, co-written by Marinetti and the " last remaining English Futurist " C. R. W. Nevinson, Lewis found his name, among others, had been added as a signatory at the end of the article without permission, in an attempt to assimilate the English avant-garde for Marinetti's own ends.

The sentiment of Futurists was most vocally expressed by Filippo Marinetti in the Futurist Manifesto, where he called for a rejection of the past, a rejection of all imitation — of other artists or of the outside world — and praised the virtue of originality and triumph of technology.