The origins of the glitch aesthetic can be traced to the early 20th century with Luigi Russolo's Futurist manifesto "L'arte dei rumori" ("The Art of Noises)" (1913), the basis of noise music. He constructed mechanical noise generators, which he named "intonarumori," and wrote multiple compositions to be played by them, including "Risveglio di una città (Awakening of a City") and "Convegno di automobili e aeroplani" ("The Meeting of Automobiles and Airplanes"). In 1914, a riot broke out at one of his performances in Milan, Italy. Later musicians and composers who made use of malfunctioning technology include Michael Pinder of The Moody Blues in "The Best Way to Travel" (1968) and Christian Marclay, who used mutilated vinyl records to create sound collages beginning in 1979. Yasunao Tone used damaged CDs in his "Techno Eden" performance of 1985, while Nicolas Collins's 1992 album "It Was a Dark and Stormy Night" included a composition featuring a string quartet playing alongside the stuttering sound of skipping CDs. Yuzo Koshiro and Motohiro Kawashima's electronic soundtrack for the 1994 video game "Streets of Rage 3" used automatically randomized sequences to generate "unexpected and odd" experimental sounds.