Noise music (Dada and Noise) The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement, and later the Surrealist and Fluxus art movements, specifically the FLUXUS artists Joe Jones and Takehisa Kosugi. Tellus13 Noise music is a term used to describe varieties of avant-garde music and sound art that may use elements such as cacophony, dissonance, atonality, noise, indeterminacy, and repetition in their realization. Noise music can feature distortion, various types of acoustically or electronically generated noise, randomly produced electronic signals, and non-traditional musical instruments. Noise music may also incorporate manipulated recordings, static, hiss and hum, feedback, live machine sounds, custom noise software, circuit bent instruments, and non-musical vocal elements that push noise towards the ecstatic.[1] The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement, and later the Surrealist and Fluxus art movements, specifically the Fluxus artists Joe Jones and Takehisa Kosugi.[2] During the early 1900s a number of art music practitioners began exploring atonality.
Junk Art: Definition, History (influence of Junk Art on Noise (?)) Junk: Art and the Politics of Trash (influence of Junk Art on Noise (?)) Fluxus Movement, Artists and Major Works (influence) "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnamable in common have simply naturally coalesced to publish and perform their work.
Perhaps this common thing is a feeling that the bounds of art are much wider than they have conventionally seemed, or that art and certain long established bounds are no longer very useful. " Synopsis Fluxus was a loosely organized group of artists that spanned the globe, but had an especially strong presence in New York City. George Maciunas is historically considered the primary founder and organizer of the movement, who described Fluxus as, "a fusion of Spike Jones, gags, games, Vaudeville, Cage and Duchamp. " Like the Futurists and Dadaists before them, Fluxus artists did not agree with the authority of museums to determine the value of art, nor did they believe that one must be educated to view and understand a piece of art. Key Ideas Most Important Art Beginnings Concepts and Styles Fluxus and Zen. Kurt Schwitters. Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German painter who was born in Hanover, Germany. Early influences and the beginnings of Merz, 1887-1922[edit] Das Undbild, 1919, Staatsgalerie Stuttgart Hanover[edit] Kurt Schwitters was born on 20 June 1887, at No.2 Rumannstraße,[1][2] Hanover, the only child of Edward Schwitters and his wife Henriette (née Beckemeyer).
His parents were proprietors of a ladies' clothes shop. They sold the business in 1898, using the money to buy five properties in Hanover which they rented out, allowing the family to live off the income for the rest of Schwitters' life in Germany. In 1901 the family moved to Waldstraße (later Waldhausenstraße) 5, future site of the Merzbau. Schwitters spent the last one and half years of the war working as a technical draftsman in a factory just outside Hanover. He married his cousin Helma Fischer on 5 October 1915. "In the war, things were in terrible turmoil. Der Sturm[edit]