At the crowded Costanzi Theater in Rome, while I was listening to the orchestral performance of your overwhelming Futurist music,1 together with my Futurist friends Marinetti, Boccioni, Carrà, Balla, Soffici, Papini, and Cavacchioli, there came to my mind the idea of a new art, one that only you can create: the Art of Noises, a logical consequence of your marvelous innovations.
Boccioni, Russolo and I all met in the Porta Vittoria café (in Milan), close to where we all lived, and we enthusiastically outlined a draft of our appeal. The final version was somewhat laborious; we worked on it all day, all three of us and finished it that evening with Marinetti and the help of Decio Cinti, the group’s secretary.
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