“Photo of Russolo, Ugo Piatti and their “noise intoners” (intonarumori), Milan circa 1920.
These were invented in 1914 to correspond with the theories outlined in this essay. There were ultimately 27 different types of intoners, each producing a unique sound in one of the six “families” listed, including “howlers”, “exploders”, “crumplers”, “hissers”, “scrapers”, etc. Russolo performed several concerts with these in the 1920’s.”- The Niuean Pop Culture Archive
This limited circle of pure sounds must be broken, and the infinite variety of “noise-sound” conquered.
Luigi Rossolo in his “The Art of Noises” letter (Full Text)
Gotta say, calling yourself and all your friends futurists seems a little hubristic, though if I thought I could get away with it, I’d probably do the same.
A grouper is examined by three kittens at Marineland in Florida, 1938.
Photograph by Luis Marden, National Geographic
this Tumblr rules.
I couldn’t believe it, I mean, I gave Sway his first TV, man. He came over my crib in Newark, New Jersey, I was living in Newark, you know, doing beats for Jay and Beans and all them. And I was getting a new TV, and I gave Sway his first TV. And really, I didn’t really want to call to talk about the number 7 list, I JUST WANTED TO TELL EVERYBODY I GAVE SWAY HIS FIRST TV. AND HE NEEDS TO REMEMBER THAT. [Hangs up.]
I think one of the interesting issues that The Orb brings up is that we’re so limited by sampling. Today we aren’t really able to talk freely about samples, which for me are like footnotes, ways of connecting and constructing a deep and rich history around the music that we’re making. The legalities of the system totally prohibit this kind of discourse. It’s all reduced to profit-making. It’s as though the only possible reason that you could want to sample someone else’s music is to ride the coattails of someone else’s success. This is, in terms of media and in terms of discourse, totally handicapping us. I think this is also why you have people falling back into this idea of wanting to trip out and thinking about space and stuff like this. Because the entire infrastructure of music is against our thinking of it as anything else. It’s either money or some universal thing floating in the ether. There is never a point where it becomes discourse. That’s a problem.