The Art of Noise: Destruction of Music by Futurist Machines (英語) ペーパーバック – 2012/7/31
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The music and noise manifestos of the Italian Futurists formed a blueprint for sonic warfare waged against traditionalism, a radical new agenda played out with machines primed for maximal acoustic destruction and aimed at the negation of all existing value systems. THE ART OF NOISE collects together these and other writings for the first time in English, showing how the origins of modern noise music actually date from a century ago, forming an invaluable insight into Futurist thought and its most enduring and relevant legacies, and revealing how an understanding of noise-art is key to a complete comprehension of Futurist painting. THE ART OF NOISE includes five key Futurist manifestos: Luigi Russolo's "The Art of Noises" and "The Futurist Noise Machines," and Francesco Balilla Pratella's "Manifesto of Futurist Musicians," "Technical Manifesto of Futurist Music," and "Destruction of Quadrature"; plus Carlo Carra's related sensory manifesto "The Painting of Sounds, Noises and Smells"; Bruno Corra's notes on "Chromatic Music"; proto-Futurist Ferrucchio Busoni's visionary and influential "Sketch for a New Aesthetic of Sound Art"; a historical introduction on Futurist music and its legacy; and a chronology of Futurist music and noise."
For those not familiar with the quality control problems of Julian Hallett / James Willamson's Creation Books family of imprints, of which Sun Vision Press is one, let me give you a quick rundown of the essentials. After the 'flagship' imprint Creation Books was denounced in 2011 by some fifteen of its authors as a fraudulent enterprise, Hallett / Williamson began to furiously publish work by either himself (as 'Candice Black,' 'Jack Hunter,' etc.) or by authors in the public domain, as a means of continuing to hoodwink the 'underground lit' community. Though this risible character is more or less alone in this enterprise, with the occasional legitimizing assist from the academic Stephen Barber, this method of continual public domain re-printing allows him to crank out new books and, he probably hopes, detract from the fact that few living authors are insane or desperate enough to get involved with him.
On that score, you don't even need to venture beyond the cover to realize what this version of the book is going to be about. Firstly, all direct translations from the Italian correctly translate "rumori" as plural, that is, "noises" not "noise." Then there is the silly subtitle, which - in true 'Creation' form - tries to inject an extra bit of "badass-ery" into the subject at hand, though the material in the original is still sufficiently radical without the annoying attempts at holding up giant cue cards marked "APPLAUD HERE" or whatever.
In short, there is no reason to own this unless you absolutely HAVE to impress someone by being seen with a physical copy in your hands. And, even then, you'll want to make sure the person you aim to impress is not wise to the antics of Creation Books, Sun Vision Press, Solar Books, Elektron E-books, and the million other imprints used to finance Mr. Hallett's sad and self-delusional life.