| Here you will find links to resources about Futurist Poetry, Sound Poetry and Typography |  |
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Marinetti’s performance of his own poetry
The wonderful Ubuweb contains a wealth of sound poetry material. Among the many entries are these performances of three of Marinetti’s sound poems.
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Futura Poesia Sonora
| In 1976, Cramps Records of Milan released a 7 LP set of Futurist sound poetry entitled (unsurprisingly) Futura Poesia Sonora. Now a collector’s item, some of the recordings can be found on the web. Here are some of the pieces from Ubuweb: |  |
The entire collection can be downloaded via this link (the download links are underneath the track listings). Beware, though, the downloads take a long time. |
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Audio By Visual Artists, TELLUS 21
| From UbuWeb… “This issue of TELLUS explores audio work produced by visual artists from the Futurist Movement to the present. Luigi Russolo presented his theories on the use of noise in a musical context in 1913 with the “Art of Noise”. Russolo destroyed the barrier which separated the works of precise harmonic sounds from that of indeterminate noise. With this manifesto, he proclaimed: “Ancient life was all silence. In the 19th century, with the invention of machines, Noise was born.” His Futurist Orchestra of “families of noises” argued that the voice and sounds such as rumbles, explosions, whistles, snorts, screams, laughs and machines were to be regarded as musical instruments. With this in mind, I have touched on subsequent movements or events, defined by artists: Dada, Letterism, Art Brut, Fluxus, Conceptual Art and artists working with media appropriation that have been instrumental to audio and its history The two faces of this tape document different approaches to audio recording – sound and phonetic poetry, music concrete, storytelling, electronics, artists’ bands and the sequential repetition of a sound, noise or word(s). With eighty-eight years of audio history passing through sixty minutes of time, TELLUS #21 accounts for less than one second of work produced by artists in this century.” - Claudia Gould | |
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The Sackner Archive of Visual and Concrete Poetry
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Ruth and Marvin Sackner founded the Archive in Miami Beach, Florida in 1979. Its initial mission was to establish a collection of books, critical texts, periodicals, ephemera, prints, drawings, collages, paintings, sculptures, objects, manuscripts, and correspondence dealing with precedent and contemporary, internationally produced, concrete and visual poetry. |
| The antecedent material had at its starting point, Stephane Mallarme’s poem, “Un Coup de Des” (Cosmopolis, 1897). The historic examples included works with concrete/visual poetic sensibilities from such twentieth century art movements as Italian Futurism, Russian and Eastern European Avant Garde, Dada, Surrealism, Bauhaus, De Stijl, Ultra, Tabu-Dada, Lettrisme, and Ultra-Lettrisme. | |
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Francesco Cangiullo
| From Ubuweb…
“Francesco Cangiullo personifies the meeting between futurism and the Neapolitan spirit. The mixture explodes in the words at liberty Piedigrotta (Milan, 1916), published together with Marinetti’s manifesto on dynamic and synoptic declamation. In Piedigrotta, Cangiullo’s southern exuberance expresses itself, futuristically, in the form of stupendous typographical and phonic devices, an uninterrupted sparking of inventions, worthy of being republished in its original form, anastatically. Visual poetry is Cangiullo’s debtor for the subsequent Café concerto, alfabeto a sorpresa (’Café concert, surprise alphabet’) (Milan, 1916), in which the typograhical component, employed in a masterly manner, provides a spectacle entirely without precedent at the time, a sort of printed theatre. Il sifone d’oro (’The golden siphon’) was published in 1924 (Casella, Naples) but composed in 1913, and was translated into French by Marinetti. It is declaimed by the author, a hitherto unissued phonic document. It is a great pity that the limited technical resources of the time has deprived us of recordings of the famous futurist sessions, a form of variety theatre which was related to the Commedia dell’Arte and at the same time heralded the dadaist Cabaret Voltaire and the Bauhaus scene.” Some good quality images of Cangiullo’s work, together with recordings of performances, can be found via the following links: |
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