the devil 'In the middle these tam-tuuumb flattened 50 square kilometers leap 2-6-8 crashes clubs punches bashes quick-firing batteries. Violence ferocity regularity pendulum play fatality '...these weights thicknesses sounds smells molecular whirlwinds chains nets and channels of analogies concurrences and synchronisms for my Futurist friends poets painters and musicians zang-tumb-tumb-zang-zang-tuuumb tatatatatatatata picpacpampacpacpicpampampac uuuuuuuuuuuuuuu ZANG-TUMB TUMB-TUMB TUUUUUM In keeping with a number of early artist's books, the book also contains essays and manifestoes, including the Manifesto tecnico della letteratura Futurista (technical manifesto of futurist literature) (11 May 1912) 'which was to revolutionize poetic techniques and contemporary prose' and includes the lines; 'We must destroy syntax by placing nouns at random as they are born' 'We must abolish the adjective so that the naked noun can retain its essential colour.' The book is an unsigned, unnumbered mass-produced paperback that depends exclusively on industrial typography for its visual impact, making it one of the first artist's books to eschew some form of craftsmanship. The book originally cost 3 lire. International promotional tours Marinetti promoted his ideas by continually travelling across Europe giving recitations; as well as giving 'riotous soirées' throughout Italy, he travelled to Russia in 1910 and 1913, Paris 1912 and 1914, Berlin and Brussels in 1912, and London in 1911, 1912 and 1914. This last recital, on June 12, 1914, became notorious when, during a performance of The Battle Of Adrianople with CRW Nevinson on drums, a group of disgruntled vorticists, including Wyndham Lewis, Henri Gaudier-Brzeska and Jacob Epstein interrupted the performance, jeering and shouting to protest at Marinetti's co-opting of vorticists' signatures to an English translation of the Futurist Manifesto. On another occasion at the Lyceum Club, 1911, Marinetti challenged an Irish journalist to a duel after a perceived slight against the Italian Army. Largely as a result of these tours, and the ease in which his publications including Zang Tumb Tumb could be distributed and disseminated, Futurism was better known than Cubism before World War I, and in England at least had become a synonym by the English Press to simply mean any forward looking trends in modern art. Influence The poem inspired Luigi Russolo to start experimenting with noise music, and is quoted in his Manifesto in 1913, later published in his book The Art of Noises in 1916. Sections were reproduced in Cabaret Voltaire, the first journal published by Dada. The innovative use of typography has influenced