Réalité de l’automation directe
Bruitism is the representation of a living, biological body, not unrelated but on the contrary intimate to the substance. The nature/technique gap is totally, in The Art of Noises, the most accomplished form of a reconciliation with industrial mechanization.
By highlighting the autonomy of the dialectical movement in its inaugural tension, bruitism reestablishes this relationship with the pure objectivity of the substance, which is the cornerstone of the program of futurism and remains more than ever valid for the future of all futures. The sonorous world, the noises of life, are not just a simple residual environment but the material of a new art, The Art of Noises !
Luigi Russolo declares : « In a few years the engines of our industrial cities can all be skilfully sounded so as to make from each factory an exhilarating orchestra of noises ». The futurist objective is « a will for a back to original forces »[3], it finds in bruitism the most intense form of a participation to the universal energy of the being of the world.
Extract from L’art des bruits futuristes (The Art of Futurist Noises), Vivenza, 1982
1. L. RUSSOLO, The Art of Noises, Milan, 1913.
2. L. RUSSOLO, The Noises of Nature and Life, Milan. 1913.
3. L. RUSSOLO, The Art of Noises, Milan, 1913
Vivenza
From his first works in the middle of the 70s, Jean-Marc Vivenza places himself in the field of the theorico-political link attached to the Italian Futurists and Russian Constructivists trends whose bruitist-plastic propositions are the only theorical sources having ever been developped with consistency, and qualifies his music as « bruitist futurist » rather than industrial.
It is the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the acoustico-plastic material offers and works on a concept that he calls « the objective materiality of noise », basing himself on the futuristic thesis of Luigi Russolo, exposed in « The Art of Noises » edited in 1913, constituting the working guide for Vivenza and remaining the base of any authentic bruitism. He is then the first, between 1976 (with the band Glace) and 1979, to build a bridge between the thesis of Luigi Russolo and our time.
The originality of Vivenza is to use industrial sonorous material in the literal sense of the word (machines, workers in action, factories) and records real industrial sonorities in factories : reality is the subject of futurist research.
