Paleofuture – Paleofuture Blog

I’ve never thought of my allergies as a big deal. Sure, my peanut allergy has caused an emergency room visit here and there, and my dad used to pick me up from sleepovers because of my emphysema-like wheezing around cats. No big thing, right? But a few years back it seemed about time I went to see an allergy specialist and get a comprehensive list of the things my body hates.

I found myself shirtless, laying on my stomach in the doctor’s exam room with twenty pricks in my back (which isn’t nearly as scandalous as it sounds). A constant tingle ran through my body, but all I could think about was how comically small the exam room table appeared under my enormous body. I am most certainly not allergic to pizza and beer.

To administer an allergy test a nurse needs to prick your back with an assortment of allergens. Different types of trees, animal dander, molds and grasses were all made to come into contact with my delicate, nature-hating skin. After the pricks, it’s a waiting game to see if your torso turns into a red, puffy Braille haiku.

About twenty minutes later the nurse knocked on the door. I couldn’t see the expression on her face, given my vulnerable position facing the corner like the bad kid being punished. But her inflection said it all.

“Oh myyy!” the nurse said in that heavy Minnesota accent most Minnesotans don’t think they have. “Well,” she said with a pause, “you’re allergic to everything!”

“Everything?” I ask, worried less about the consequences of allergies and more about the cocky “told you so” attitude my girlfriend at the time was sure to have upon hearing the news.

“Well, maybe not the… yes, yes, you’re allergic to grass too.”

I kind of guessed that one. My parents love to tell the story of when I was a kid and had just started to crawl. My dad spent a summer building a deck behind our house and he was able to leave me relatively unsupervised, as long as I was surrounded by grass. Sitting on a pastel pink blanket, I was content as all get-out not to traverse that sea of green, spiky irritants laid out before me. I’ve always been confused when someone appears pleasant while barefoot. I guess that’s why I sometimes empathize with the wide-eyed technological visions of the 1950s. Their promise was one of control, of harnessing nature rather than being one with it. Domed cities, meal pills –science will have the answers.

And science did have the answers in the 1982 kids bookWorld of Tomorrow: Health and Medicine by Neil Ardley. Ardley’s book is filled with predictions about the future of health care, with an emphasis on self-assessement via computer. If WebMD and the rise of home genetic testing kits count, I’d say that this was a pretty accurate vision of the future.

Well, at least it was more accurate than the people who imagined hospitals in space.

By checking the genetic codes of parents and by caring for unborn babies, the children of tomorrow should be born in perfect health. A long life is lkely to lie ahead of them. But to remain healthy, everyone will have to look after themselves. As now, this will mean taking exercise, keeping clean and behaving sensibly to avoid danger. However, the world of tomorrow will bring other ways in which you can help to prevent yourself from getting ill.

Many people fall ill because they have an allergy. Something they eat or drink disagrees with them, or perhaps something in the air upsets them. Tiny particles of pollen blown by the wind give some people hay fever, for example. Others cannot eat food made from flour or shellfish without feeling ill. Often these people suffer for years before they find out what is wrong.

In the future you will be able to go to the doctor or a health complex to prepare yourself for a healthy life. Machines will take samples such as blood, saliva, hair and body wastes. They will measure them to find out exactly how your body reacts to food and drink and to substances in air and water. Then a computer will take the measurements and work out which things are likely to cause problems for you. It will produce a personal list of things to do and to avoid if you want to stay healthy and feel alert and full of energy. It is certain, for example to insist that you should never smoke. It may even recommend certain rules for making the best of your memory and intelligence. Following a list of rules might seem to make life a lot less fun. However, it would probably be no more trouble than taking care when crossing the road, for example.

See original here:

Paleofuture – Paleofuture Blog

Moving figures inspired by Futurism – Arte a Scuola

After studying the avant-garde movement of Futurism, in the classes of Grade 9 we decided to reproduce the movement of a figure using the method of overlapping sequences and force linesused by the Futurists in their works. Using a manikin of paperboard we have drawn on a white sheet, some moving figures with colored felt-tip pens. Then we added the force lines around the figure to emphasize movement, and with a brush and water we dilute the color of the markers. The watercolor effect of the colors has given further dynamism to the design.

Like Loading…

See more here:

Moving figures inspired by Futurism – Arte a Scuola

Futurism – Official Site

Infographic of the Day

Predicting the future is a fools errandafter all, who could have imagined the internet fifty years ago, and the many ways its upended commerce, finance, the workplace, and all those seemingly immutable mainstays of yesteryear. Still, someones got to do it: heres our look at some technological innovations coming down the pike.


Futurism – Official Site

Infographics – Futurism

Humans dreams bigand, better yet, we make those dreams a reality. It’s enabled us to tame nature, build new nations, defeat disease, defy gravity and even reach the Moon. And we’re not done yetnot by a long shot. From the quantum internet to terraforming Mars, here are some of mankind’s most ambitious future moonshots.

Visionary, polymath, scientist, artist, engineerLeonardo da Vinci was the quintessential “Renaissance Man.” Whether it was flying machines, diving suits, automatons or advanced weaponry, da Vinci envisioned the future and set about designing it. Here’s a look at Leonardo da Vinci’s most futuristic contraptions.

There’s a new aerospace technology on the horizonusing plasma, the superheated “fourth state of matter,” to enhance the aerodynamic performance of aircraft. Here, we break down the mechanics and the uses of this exciting new technology that has the aeronautics and aerospace industries all abuzz.

On September 27, Elon Musk unveiled his most ambitious project yetcalled the Interplanetary Transport System (ITS), it’s nothing less than his long-awaited plan for, not only putting humans on Mars, but colonizing the Red Planet as well. In this handy infographic, we’ve distilled the ITS architecture into seven easy steps.

In 1968, “father of computer graphics” Ivan E. Sutherland built the world’s first head-mounted virtual reality displaycomplete with real time head tracking. Here’s how he did it.

The face of warfare is rapidly changing. Numerous advances in recent decades have made possible military technology that was formerly the stuff of science fiction. Hypersonic missiles, next-gen choppers, carrier-based drones, electromagnetic railguns, and even laser weapons. This isn’t Star Wars, folksit’s the future of the US military.

By 2050, the world’s population will swell to 10 billion people, and nearly 2/3 of them will be living in cities. To feed everyone, we’re going to have to drastically modify global farming practices. The solution? Vertical farming.

Long before Siri, Alexa, and Cortana, there was Eliza, Parry, and Jabberwacky. Chatbots turn 50 this year, and to celebrate, we’ve curated some of the most notable “artificial conversational entities” from the history of computing. Thanks for the memories, SmarterChild.

You can do a lot of weird stuff with cryogenics. You can (we hope) someday use it to preserve space voyagers on immense journeys. You can use it for power transmission. You can even chop someone’s head off and cryopreserve it against the possibility of a future resurrectionwhich, when you think about it, really isn’t weird at all.

All Hallows’ Eve is upon usa night when we abandon the rigidly scientific, and embrace the irrationally supernatural. We sophisticated products of modern civilization put off our thin veil of rationalism, and permit ourselves a shudder or two at the things “that go bump in the night.” Doesn’t mean we can’t debunk that whole ridiculous zombie thing.

Entomologist Justin O. Schmidt identified a pressing world need, andwith characteristic self-sacrificehe set out to fill it. The result is the Schmidt Sting Pain Index (SPI), a painfully-researched ranking of the world’s most painful stings meted out by the notoriously sting-happy Hymenoptera. Hint: avoid bullet ants at all costs!

Technology leaders like Elon Musk have already sounded the alarm about the potential danger of AI. To prevent a robot takeover, experts are writing a brand new rulebook. Here are the laws Isaac Asimov, Google, and Microsoft developed to keep them on our side.

Read the original post:

Infographics – Futurism

futurism – unknown.nu

No architecture has existed since 1700. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. The new beauty of cement and iron are profaned by the superimposition of motley decorative incrustations that cannot be justified either by constructive necessity or by our (modern) taste, and whose origins are in Egyptian, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.

These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture. Young Italian architects (those who borrow originality from clandestine and compulsive devouring of art journals) flaunt their talents in the new quarters of our towns, where a hilarious salad of little ogival columns, seventeenth-century foliation, Gothic pointed arches, Egyptian pilasters, rococo scrolls, fifteenth-century cherubs, swollen caryatids, take the place of style in all seriousness, and presumptuously put on monumental airs. The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing needs imposed by the speed of communications, by the concentration of population, by hygiene, and by a hundred other phenomena of modern life, never cause these self-styled renovators of architecture a moment’s perplexity or hesitation. They persevere obstinately with the rules of Vitruvius, Vignola and Sansovino plus gleanings from any published scrap of information on German architecture that happens to be at hand. Using these, they continue to stamp the image of imbecility on our cities, our cities which should be the immediate and faithful projection of ourselves.

And so this expressive and synthetic art has become in their hands a vacuous stylistic exercise, a jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building. As if we who are accumulators and generators of movement, with all our added mechanical limbs, with all the noise and speed of our life, could live in streets built for the needs of men four, five or six centuries ago.

This is the supreme imbecility of modern architecture, perpetuated by the venal complicity of the academies, the internment camps of the intelligentsia, where the young are forced into the onanistic recopying of classical models instead of throwing their minds open in the search for new frontiers and in the solution of the new and pressing problem: the Futurist house and city. The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism.

The problem posed in Futurist architecture is not one of linear rearrangement. It is not a question of finding new moldings and frames for windows and doors, of replacing columns, pilasters and corbels with caryatids, flies and frogs. Neither has it anything to do with leaving a faade in bare brick, or plastering it, or facing it with stone or in determining formal differences between the new building and the old one. It is a question of tending the healthy growth of the Futurist house, of constructing it with all the resources of technology and science, satisfying magisterially all the demands of our habits and our spirit, trampling down all that is grotesque and antithetical (tradition, style, aesthetics, proportion), determining new forms, new lines, a new harmony of profiles and volumes, an architecture whose reason for existence can be found solely in the unique conditions of modern life, and in its correspondence with the aesthetic values of our sensibilities. This architecture cannot be subjected to any law of historical continuity. It must be new, just as our state of mind is new.

The art of construction has been able to evolve with time, and to pass from one style to another, while maintaining unaltered the general characteristics of architecture, because in the course of history changes of fashion are frequent and are determined by the alternations of religious conviction and political disposition. But profound changes in the state of the environment are extremely rare, changes that unhinge and renew, such as the discovery of natural laws, the perfecting of mechanical means, the rational and scientific use of material. In modern life the process of stylistic development in architecture has been brought to a halt. Architecture now makes a break with tradition. It must perforce make a fresh start.

Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense. Modern constructional materials and scientific concepts are absolutely incompatible with the disciplines of historical styles, and are the principal cause of the grotesque appearance of “fashionable” buildings in which attempts are made to employ the lightness, the superb grace of the steel beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.

The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist. Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect. Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. Principal among these is the formation of a new ideal of beauty that is still obscure and embryonic, but whose fascination is already felt even by the masses. We have lost our predilection for the monumental, the heavy, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. We are the men of the great hotels, the railway stations, the immense streets, colossal ports, covered markets, luminous arcades, straight roads and beneficial demolitions.

We must invent and rebuild the Futurist city like an immense and tumultuous shipyard, agile, mobile and dynamic in every detail; and the Futurist house must be like a gigantic machine. The lifts must no longer be hidden away like tapeworms in the niches of stairwells; the stairwells themselves, rendered useless, must be abolished, and the lifts must scale the lengths of the faades like serpents of steel and glass. The house of concrete, glass and steel, stripped of paintings and sculpture, rich only in the innate beauty of its lines and relief, extraordinarily “ugly” in its mechanical simplicity, higher and wider according to need rather than the specifications of municipal laws. It must soar up on the brink of a tumultuous abyss: the street will no longer lie like a doormat at ground level, but will plunge many stories down into the earth, embracing the metropolitan traffic, and will be linked up for necessary interconnections by metal gangways and swift-moving pavements.

The decorative must be abolished. The problem of Futurist architecture must be resolved, not by continuing to pilfer from Chinese, Persian or Japanese photographs or fooling around with the rules of Vitruvius, but through flashes of genius and through scientific and technical expertise. Everything must be revolutionized. Roofs and underground spaces must be used; the importance of the faade must be diminished; issues of taste must be transplanted from the field of fussy moldings, finicky capitals and flimsy doorways to the broader concerns of bold groupings and masses, and large-scale disposition of planes. Let us make an end of monumental, funereal and commemorative architecture. Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and squares; let us raise the level of the city.



Continue reading here:

futurism – unknown.nu

Futurism (music) – Wikipedia

Futurism was an early 20th-century art movement which encompassed painting, sculpture, poetry, theatre, music, architecture and gastronomy. Filippo Tommaso Marinetti initiated the movement with his Manifesto of Futurism, published in February 1909. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and influenced several 20th-century composers.

The musician Francesco Balilla Pratella joined the movement in 1910 and wrote the Manifesto of Futurist Musicians (1910), the Technical Manifesto of Futurist Music (1911) and The Destruction of Quadrature (Distruzione della quadratura), (1912). In The Manifesto of Futurist Musicians, Pratella appealed to the young, as had Marinetti, because only they could understand what he had to say. He boasted of the prize that he had won for his musical Futurist work, La Sina dVargun, and the success of its first performance at the Teatro Communale at Bologna in December 1909, which placed him in a position to judge the musical scene. According to Pratella, Italian music was inferior to music abroad. He praised the “sublime genius” of Wagner and saw some value in the work of Richard Strauss, Debussy, Elgar, Mussorgsky, Glazunov and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories encouraged backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the “rickety and vulgar” operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella’s tastes.

In the face of this mediocrity and conservatism, Pratella unfurled “the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice”.

His musical programme was:

Luigi Russolo (18851947) was an Italian painter and self-taught musician. In 1913 he wrote The Art of Noises,[1][2] which is considered[citation needed] to be one of the most important and influential texts in 20th-century musical aesthetics. Russolo and his brother Antonio used instruments they called “intonarumori”, which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. The Art of Noises classified “noise-sound” into six groups:

Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in April 1914 (causing a riot).[3] The program comprised four “networks of noises” with the following titles:

Further concerts around Europe were cancelled due to the outbreak of the First World War.

Futurism was one of several 20th century movements in art music that paid homage to, included or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition.[4] Russolo’s intonarumori influenced Stravinsky, Honegger, Antheil, and Edgar Varse.[5] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step.

Most notable in this respect, however, is George Antheil. Embraced by Dadaists, Futurists and modernists, Antheil expressed in music the artistic radicalism of the 1920s. His fascination with machinery is evident in his Airplane Sonata, Death of the Machines, and the 30-minute Ballet mcanique. The Ballet mcanique was originally intended to accompany an experimental film by Fernand Lger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two “live pianists”, and sixteen synchronized player pianos. Antheil’s piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.

Russian Futurist composers included Arthur-Vincent Louri, Mikhail Gnesin, Alexander Goedicke, Geog Kirkor (19101980), Julian Krein (19131996), and Alexander Mosolov.

A collection of Futurist music and spoken word from the period 1909-1935 has been recorded on a CD, Musica Futurista: The Art of Noises, issued in 2004. As well as period recordings, including free-verse readings by Marinetti and Russolo’s intonarumori, the CD includes contemporary performances by Daniele Lombardi of other key Futurist piano works. The material has been digitally remastered and includes a booklet with rare images and sleeve notes by Lombardi and James Hayward.

The tracks are:

Numerous recordings of Italian and Russian Futurist music have been made by Daniele Lombardi, notably the albums Futurlieder (works by Franco Casavola) and ‘Futurpiano (works by George Antheil, Leo Ornstein and Arthur-Vincent Louri).

Visit link:

Futurism (music) – Wikipedia

Futurism | Tate

Futurism was an art movement launched by the Italian poet Filippo Tommaso Marinetti in 1909. On 20 February he published his Manifesto of Futurism on the front page of the Paris newspaper Le Figaro. That moment saw the birth of the Futurists, a small group of radical Italian artists working just before the outbreak of theFirst World War.

Among modernist movements, the Futurists rejected anything old and looked towards a new Italy. This was partly because the weight of past culture in Italy was felt as particularly oppressive. In his Manifesto, Marinetti asserted ‘we will free Italy from her innumerable museums which cover her like countless cemeteries.’

Luigi Russolo The Revolt 1911 abstracted figures pulling chevron shapes with grid-like patterns behind

What the Futurists proposed instead was an art that celebrated the modern world of industry and technology: ‘We declare a new beauty, the beauty of speed. A racing motor car is more beautiful than the Victory of Samothrace’ (the celebrated ancient Greek sculpture in the Louvre museum in Paris). From an original blend of elements of Neo-Impressionism and Cubism, the Futurists created a new style that expressed the idea of the dynamism, energy and movement of modern life. The chief artists were Giacomo Balla, Umberto Boccioni, Carlo Carr, Gino Severini and Luigi Russolo.

Tate Modern celebrates the centenary of this dramatic art movement with a ground-breaking exhibition. Here you’ll see the work of the Futurists accompanied by rooms looking at art movements reacting to Futurism, including Cubism, the British art movement Vorticism, and Russian Cubo-Futurism.

Highlights include Boccioni’s dynamic bronze sculpture of a man which seems to leap through thin air, Picasso’s Head of a Woman, Nevinson’s Vorticist masterpiece Bursting Shell, and works by major artists such as Braque, Leger, Malevich, and Duchamp.

Read more here:

Futurism | Tate

Futurism | Arthistory.net

An Italian poet named Emilio Filippo Tommaso (1876-1944) established Futurism in 1908. He envisioned a new society that would make a complete rupture with the present and the past even as the world underwent rapid changes in the new century. Tomasso imagined a perfect world, a utopia that included new art and literary forms. In essence, the new society would replace past social norms and offer something better for art and poetry. In his Futurist Manifesto in 1909, Tommaso elaborated more on the Futurist vision, including the Four Post-Modernizations.

Umberto Boccioni (1882-1916) created and embodied the Futurism painting form with his paintings The City Rises (1910) and States of Mind (1911-1912). The latter features red, blue, and white as the dominant colors and includes humans in motion and futuristic buildings under construction at the top of the canvas. The elements of Futurism are embedded in the complex composition. Many colors break up and come together to portray a man shown from behind. He looks like can pull the observer into the future. Boccioni also sculpted a bronze cast in 1913 called Unique Forms of Continuity in Space, which now resides in the Museum of Modern Art. This human figure also embodies motion, a central concept of Futurism.

The Dada artist and writer, Marcel Duchamp, was the brilliant organizer of the Dadaists and the author of the Dada Manifesto. He had a brilliant older brother whose sculptures exhibit the impact of Futurism. Raymond Duchamp-Villon (1876-1918) created the magnificent bronze sculpture which was both mechanical and unique. He chose the simple name The Horse (1914), understating the complexity of this three-dimensional form as a complex representation of how humanity is propelling itself into an uncertain future.

It is hard to believe sometimes that the Dadaists and the Futurists, including the Duchamp brothers were creating such revolutionary work only a couple years after Braque and Picasso introduced Cubism to the Paris art world in the midst of the First World War. Joseph Stella also reverberated the Futurist sense of rhythm and motion in his painting, Battle of Lights, Coney Island painting (1914). Some historians even argue that Futurism even impacted Picassos Synthetic Cubism.

Architecture gave a vision to the idea of a futuristic city. Le Corbusier and Frank Lloyd Wright built models of their visions for a futuristic metropolis. However, these elaborate plans were never built. Wrights plan is reminiscent of the city of the future one sees when riding the Mass Transit Authority through Walt Disney Worlds Space Mountain.

Visit link:

Futurism | Arthistory.net

Danny Tenaglia – Futurism – Amazon.com Music

Qty: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Qty:1

Only 1 left in stock (more on the way).

Ships from and sold by Amazon.com. Gift-wrap available.

Ship to:

To see addresses, please Sign in

Please enter a valid US zip code.

Please enter a valid US zip code.

Shipping to a APO/FPO/DPO? Please add the address to your address book. Make sure you include the unit and box numbers (if assigned).

See the rest here:

Danny Tenaglia – Futurism – Amazon.com Music

Italian Futurism Events, Exhibitions, Scholarship

CALL FOR PAPERS: Columbia Seminar in Modern Italian Studies Due: April 25

For those interested in presenting a paper at the Columbia Seminar in Modern Italian Studies, please submit an abstract of what you propose by April 25, 2016. The abstract should be no more than 300 words. In your email please also include a copy of your CV, and two suggestions for a respondent to your paper with their email information. Respondents should be within reasonable commuting distance to New York City.

Please note the following: seminar presenters are expected to have a completed PhD and be able to present their work and engage in dialogue in English; also, travel funding is limited and determined on a case by case basis; finally, attendees to the seminar come from a variety of fields within Italian Studies, so please calibrate your proposal for an audience beyond your particular area of specialization.

All materials should be emailed to modernitalianseminar@gmail.com.

For your information, the mission statement of the seminar is as follows:

This seminar is concerned with political, social, cultural, and religious aspects of Italian life from 1815 to the present. In recent years, the seminar has stressed an interdisciplinary approach to Italian studies, increasing the participation of anthropologists and scholars of art, film, and literature. The seminar generally meets on the second Friday of the month during the academic year to discuss a paper presented by a member or an invited speaker. Papers cover a wide range of topics, approaches, and methodologies.

Today at 4:39pm No Comments

Belated congrats to Dan Hurlin and the Red Wing Performing group on their Jim Henson Foundation Grant for “Demolishing Everything with Amazing Speed”

“Demolishing Everything with Amazing Speed” is a collection of four plays, written specifically for the puppet stage by Italian Futurist painter Fortunato Depero in 1917. Penned by hand in Depero’s notebooks, they have been translated into English for the first time and will receive their world premiere approximately 100 years after they were written, revealing startling similarities between our world and the culture of WWI. As the Futurists embraced the technology of their day (automobiles, airplanes, telephones, etc.) so this production will embrace the technology of ours with live feed, filmed and computer animated sequences, and 3-D printed puppets.

Timeline Photos

Feb 4th 6:46pm No Comments


Italian Futurism Events, Exhibitions, Scholarship

Futurism – YouTube

Futurism Sessions #01 – Deep House Mix [Set Future Guest Mix] Futurisms Spotify Playlist: http://futurism.xyz/spotify Follow Futurism on Snapchat: http://imgur.com/9k9H7uL

DOWNLOAD/STREAM https://hive.co/l/ob8t https://soundcloud.com/futu……

SUPPORT FUTURISM http://youtube.com/futurismxyz http://facebook.com/futuris… Snapchat: http://imgur.com/9k9H7uL or ‘harley_pring’

FOLLOW SET FUTURE https://soundcloud.com/set-… https://facebook.com/SetFut…

Photography by Bruna Marques https://flic.kr/p/n3GNFF

Want to get featured? Submit your track: Email: submit@futurism.xyz


Read the original here:

Futurism – YouTube

Futurism – Matteson Art

Futurism Magritte was given a futurist catalogue by Pierre Bourgeois shortly after they met at the Art Academy. By 1920 Magritte and ELT Mesens requested more information from the leader of futurism, Filippo Tommaso Marinetti.They received more of Marinetti’s futurism pamphets. In factthere’sa draft for a letter to Marinetti in which Mesens thanks Marinetti for sending futurist pamphets.

Several of Magritte’s early 1920s paintings reflect his interest in futurism:

Jeunesse- Rene Magritte 1924

While lecturing to students at the Muse Royal des Beaux-Arts in Antwerp in 1938, Magritte said of Futurism:

In a state of real intoxication, I painted a whole series of Futurist paintings. Yet, I dont believe the lyricism I wanted to capture had an unchanging center unrelated to aesthetic Futurism (Torczyner 214).

Gablik suggests “his Futurism was never orthodox, in that it was always combined with a certain eroticism, as in the picture Youth, where the diffused figure of a nude girl hovers over the image of a boat (Gablik 23).

Here’s an article about futurism from History of Art:

In contrast with other early 20th-century avant-garde movements, the distinctive feature of Futurism was its intention to become involved in all aspects of modem life. Its aim was to effect a systematic change in society and, true to the movement’s name, lead it towards new departures into the “future”. Futurism was a direction rather than a style. Its encouragement of eccentric behaviour often prompted impetuous and sometimes violent attempts to stage imaginative situations in the hope of provoking reactions. The movement tried to liberate its adherents from the shackles of 19th-century’ bourgeois conventionality and urged them to cross the boundaries of traditional artistic genres in order to claim a far more complete freedom of expression. Through a barrage of manifestos that dealt not only with various aspects of art, such as painting, sculpture, music, architecture, and design, but with society in general, the Futurists proclaimed the cult of modernity and the advent of a new form of artistic expression, and put an end to the art of the past. The entire classical tradition, especially that of Italy, was a prime target for attack, while the worlds of technology, mechanization, and speed were embraced as expressions of beauty and subjects worthy of the artist’s interest.

Futurism, which started out as a literary movement, had its first manifesto (signed by Filippo Tommaso Marinetti) published in Le Figaro in 1909. It soon attracted a group of young Italian artists – Umberto Boccioni, Giacomo Balla (1871-1958), Carlo Carra (1881-1966), Luigi Russolo (1885-1947), and Gino Severini (1883-1966) – who collaborated in writing the “Technical Manifesto of Futurist Painting” and the “Manifesto of the Futurist Painters”, both of which were published in 1910.

Danseuse bleue-Gino Severini

Despite being the sole Italian avant-garde movement. Futurism first came to light in Paris where the cosmopolitan atmosphere was ready to receive and promote it. Its development coincided with that of Cubism, and the similarities and differences in the philosophies of the two movements have often been discussed. Without doubt they shared a common cause in making a definitive break with the traditional, objective methods of representation. However, the static quality of Cubism is evident when compared with the dynamism of the Futurists, as are the monochrome or subdued colours of the former in contrast to the vibrant use of colour by the latter. The Cubists’ rational form of experimentation, and intellectual approach to the artistic process, also contrasts with the Futurists’ vociferous and emotive exhortations for the mutual involvement of art and life, with expressions of total art and provocative demonstrations in public. Cubists held an interest in the objective value of form, while Futurists relied on images and the strength of perception and memory in their particularly dynamic paintings. The Futurists believed that physical objects had a kind of personality and vitality of their own. revealed by “force-lines” – Boccioni referred to this as “physical transcendentalism”. These characteristic lines helped to inform the psychology and emotions of the observer and influenced surrounding objects “not by reflections of light, but by a real concurrence of lines and real conflicts of planes” (catalogue for the Bernheim-Jeune exhibition, 1911). In this way, the painting could interact with the observer who, for the first time, would be looking “at the centre of the picture” rather than simply viewing the picture from the front. This method of looking at objects that was based on their inherent movement – and thereby capturing the vital moment of a phenomenon within its process of continual change – was partly influenced by a fascination with new technology and mechanization. Of equal importance, however, was the visual potential of the new-found but flourishing art of cinematography. Futurists felt strongly that pictorial sensations should be shouted, not murmured. This belief was reflected in their use of very flamboyant, dynamic colours, based on the model of Neo-Impressionist theories of the fragmentation of light. A favourite subject among Futurist artists was the feverish life of the metropolis: the crowds of people, the vibrant nocturnal life of the stations and dockyards, and the violent scenes of mass movement and emotion that tended to erupt suddenly. Some Futurists, such as Balla, chose themes with social connotations, following the anarchic Symbolist tradition of northern Italy and the humanitarian populism of Giovanni Cena.

The first period of Futurism was an analytical phase, involving the analysis of dynamics, the fragmentation of objects into complementary shades of colour, and the juxtaposition of winding, serpentine lines and perpendicular straight lines. Milan was the centre of Futurist activity, which was led by Boccioni and supported by Carra and Russolo. These three artists visited Paris together in 1911 as guests of Severini, who had settled there in 1906. During their stay, they formulated a new artistic-language, which culminated in works dealing with the “expansion of objects in space” and “states of mind” paintings. A second period, when the Futurists adopted a Cubistic idiom, was known as the synthetic phase, and lasted from 1913 to 1916.

At this time, Boccioni took up sculpture, developing his idea of “sculpture of the environment” which heralded the “spatial” sculpture of Moore, Archipenko, and the Constructivists. In Rome, Balla and Fortunato Depero (1892-1960) created “plastic complexes”, constructions of dynamic, basic silhouettes in harsh, solid colours. The outbreak of World War I prompted many Futurist artists to enlist as volunteers. This willingness to serve was influenced by the movement’s doctrine, which maintained that war was the world’s most effective form of cleansing. Both Boccioni and the architect Antonio Sant’Elia, who had designed an imaginary Futurist city, were killed in the war and the movement was brought to a sudden end.

During the 1920s, some Futurists attempted to revive the movement and align it with other European avant-garde movements, under the label of “Mechanical Art”. Its manifesto, published in 1922. showed much in common with Purism and Constructivism. Futurism also became associated with “aeropainting” a technique developed in 1929 by Balla, Benedetta, Dottori, Fillia, and other artists. This painting style served as an expression of a desire for the freedom of the imagination and of fantasy.


Futurism – Matteson Art

Defining Futurism – Art History Unstuffed


Futurism was the first movement to aim directly and deliberately at a mass audience, principally an urban audience. In its concern with equating art with life, Futurism aimed at no less than transforming the political mentality of society. This is quite different from the Orphist intention of depicting the flux of consciousness. Similar to the Orphists and to other avant-garde movements, Futurism was a movement aware of the effects of modern life and the key to understanding Futurism is the idea of a complete renewal of human sensibility brought about by modern science. Addressing a public audience, in contrast to the hermetic privacy of Picasso and Braque, the Futurists sought to involve the public in an instant reaction to social provocation, rather than in a slow and gentile contemplation of art forms.

Futurist Evenings became legendary. The first Futurist evening took place in Trieste in modern day Austrian, under the watchful eyes of the local police, disparagingly called pissoirs, or public urinals. As would be any politically provocative event in the Austro-Hungarian Empire at that time, the Evening of 12 January, 1910 earned the Italian invaders a bad reputation. The Futurists did not forget their experiences in Trieste and in a later Evening in Milan in 1914, they burned the flag of Austria, a nation that had appropriated Italian territories. In his manifesto, War, the Only Hygiene, Fillippo ThommasoMarinetti, the leader of the Futurists, wrote of the pleasure of getting booed. To a certain extent, the Futurists sounded proto-Brechtian in their desire to disrupt the complacency of the audience, but, on the other hand, Marinetti in advising his colleagues to put glue on the theater seats, sounds like an immature teenager. Certainly the irrational exuberance of the Futurists borrowed something from the European cult for youth.

It would be a mistake to assume that because the Futurists were utopian, that they were also progressive in their political ideas. In many ways they were very regressive and had pro-military, anti-female notions that would eventually lead many of them into Fascism. Marinetti supported a colonialist war in Libya, Let the Tedious memory of Roman greatness be cancelled by an Italian greatness one hundred times more powerful, he wrote. Ignorant of the destructive power of the machines they worshiped, the artists yearned for a war they hoped would rid them of the yoke of the Austro-Hungarian Empire. The Futurists preached violence and believed in the virtue of destruction for the purpose of sweeping away the old and the worn out and the useless, with the hope of bringing industrialization about, dragging Italy into the modern world. They wrote polemics against women and museums, everything that was tried tradition and wrote hymns to the God of Speed and worshiped the new idol, the fast motorcar. For the most part, the Futurists were all male and quite masculine, but there was one Futurist woman involved in the movement, but rarely mentioned by historians, Valentine de Saint-Pointe, a dancer, who was a brave future feminist before her time.

The artists saw no difference between their art and the performances that served to publicize their exhibitions. The first major exhibition of Futurist painting took place in Milan, 30 April 1911 and the artists still relied upon Divisionism or Neo-Impressionism. At first, Divisionism united these painters in a common style. For the Futurists, the Divisionists brushstroke was the visual form, which allowed them to paint their obsession: things that moved. With this stroke, they could demonstrate the disintegration of objects due to the action of light and color. This swirling activity, this excitement of the surface of the canvas through nervous brushwork and brilliant and pure color was intended to put the spectator in the center of the canvas. Umberto Boccionis The City Rises of 1910 was a case in point, capturing the danger and the excitement of the agitated crowd with swirls of slashing colors.

As with Futurist theater, spectator involvement was essential in Futurist painting. Although viewers of the paintings did not throw objects at the art as they would at the performers, the goal of the painters was to create the opportunity for participation inside the painting, by moving the viewers eyes into and around and through the composition. The key to the Futurist painting was their idea of universal dynamism, which, as has been noted, was a prevalent preoccupation of this time in Europe. The Futurists endeavored to express the essence of dynamic sensation itself and saw the world as a place of flux, of movement, and of interpenetration. All objects in space and time were drawn together in a universal dynamism, pushed by the speed of the machine. Christine Poggis survey of Marinettis writings during the first decade of the Twentieth Century, in Inventing Futurism: The Art and Politics of Artificial Optimism, traces his conflicting attitudes about the machine. He goes from fear to awe to admiration. It is necessary to remember that people were new at mastering an entire series of newly invented machines, from the automobile to the airplane, most of which could be dangerous and deadly.

The Futurists ideas were more advanced than their painting, and at Gino Severinis urging they visited Paris and saw Cubist works. Gino Severini lived in Montmartre and was well aware of the avant-garde artists, Picasso and Braque and the exhibitions of the Salon Cubists. To Severini, Divisionism was now old-fashioned and he was alarmed that his fellow countrymen were planning to exhibit in Paris as the Futurists with an outdated style. The Futurists realized that the vocabulary of Cubism could be translated and transformed to yet another purpos. The idea of multiple perspectives became codes for dynamic movement. The Futurists sliced through their objects with straight lineslines of forcethat expressed the impact of the machine upon the modern culture. The lines represented many things, the excitement of life in the city, the severe straight lines of the machines so admired by the Futurists, and the fracturing of objects by light and by movement. As Boccioni stated:

Everything moves, everything runs, everything turns rapidly. A figure in never stationary before us but appears and disappears incessantly. Through the persistence of images on the retina, things in movement multiply and are distorted, succeeding each other like vibrations in the space through which they pass. Thus a galloping horse has not got four legs; it has twenty and their motion is triangularOur bodies enter into the sofas on which we sit, and the sofas enter into us, as also the tram that runs between the houses enters into them, and they in turn hurl themselves on to it and fuse with it

Upon learning of Cubism, the Futurists realized there was a more up to date language, and, most importantly, this language was geometric. For Marinetti, geometry was equivalent to the mechanical spirit of the machine. The Paris Debut of the Futurists was at the Galrie Bernheim-Jeune on 5 February, 1912. The paintings featured the prevailing ideas of the Futurists, dynamism, speed, and movement and used lines of force to thrust the viewer into the center of the painting. Giacomo Ballas painting of Abstract SpeedThe Car has Passed By of 1913 forces the eye to move from right to left, following the direction of the spinning wheels. In other words, their work was nothing like the static version of shifting perspectives found in Cubism, but the Futurists were doomed to be labeled as derivitive of Cubism by the French critics. But Cubism and Futurism were very different.

The Difference between Cubism and Futurism

Futurism was the prototype of avant-garde-the artists and poets deliberately provoked unsuspecting art audiences, scandalized the conservative middle class, and lived out any governments worst nightmare: the artist as a political activist. With the cultural memory of audiences laughing at Impressionism, insulting Fauvism fresh in their memories, Cubist art and artists were quiet, intellectual, and cerebral, dedicated to furthering a revolution about art. They worked in isolation (Picasso and Braque) or in small groups and showed their art in conventional arenas, whether in galleries or in exhibitions (the Salon Cubists). The Futurists, on the other hand, were strident, noisy, confrontational, and political. They directed their art and efforts to a mass audience, in contrast to Cubisms out-reach to elite art-educated audiences. Beginning as a literary movement, the Futurists moved into performance and wrote manifestos in exaggerated language, while the Cubist writers maintained an intellectual role, legitimating their movement by associating themselves with French classical art and the latest scientific ideas.

Cubism was defined on two fronts: the private and gallery situation for the art of Picasso and Braque and the public and exhibition setting for the Salon Cubists and was thus defined only in terms of art. Futurism was a movement about the impact of social conditions and cultural conditions upon the human mind. With its constant provocative interactions with the authorities and against the status quo, Futurist artists aligned themselves with violent change and with violent methods. It could be said that Futurism was also a political movement that employed art as a weapon against tradition, and that Cubism was an art movement that employed art as a weapon against art. In contrast to the divisions within Cubism, Futurism showed in exhibitions and galleries and the artists presented a united front, instead of splitting into splinter groups. Essentially a movement concerned with the modern world, Futurism took up the Cubist innovation of collage and used it in preference to painting from about 1914 on. Many of these collages, like the earlier paintings, sought to put the spectator visually and physically in the center of the art.

Futurist art is optical and not intellectual, always related to things that move, that are directional and dynamic, colorful and fragmented. Ironically, Futurism as a style was uniquely appropriate to illustrate the Great War. Only the lines of force could convey the destruction of a world gone mad, blowing itself up, tearing itself apart into fragments. Like many other young men, the Futurist artists marched enthusiastically off to war. Sadly, Gino Serverini painted a hospital train, carrying the wounded to safety. They were the lucky ones. Running to the bright future they were sure that the War would bring, Umberto Boccioni and Antonio Santella were killed.

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette andArt History Unstuffed. Thank you.


Read the original post:

Defining Futurism – Art History Unstuffed

Futurism (art) – definition of Futurism (art) by The Free …


1. A belief that the meaning of life and one’s personal fulfillment lie in the future and not in the present or past.

2. An artistic movement originating in Italy around 1910 whose aim was to express the energetic, dynamic, and violent quality of contemporary life, especially as embodied in the motion and force of modern machinery.

3. Christianity A belief that biblical prophecies, especially those contained in the book of Revelation, will be literally fulfilled at some point in the future.

futurist n.

(Art Movements) an artistic movement that arose in Italy in 1909 to replace traditional aesthetic values with the characteristics of the machine age

futurist n, adj


(sometimes cap.) a movement in the fine arts attempting to give artistic form to the dynamism and speed of industrial technology.


a movement of the 20th century attempting to capture in painting the movement, force, and speed of modern industrial life by the simultaneous representation of successive aspects of forms in motion. Futurist, n. Futuristic, adj.

the seeking of lifes meaning and fulfillment in the future, futurist, n. futuristic, adj.

(c. 190919) A movement of writers and artists founded by the poet Filippo Marinetti (who described speed as a new form of beauty.) Its manifesto advocated incorporating the thrust of modern technology into art in order to express the movement and dynamism of modern life.

ThesaurusAntonymsRelated WordsSynonymsLegend:


Continue reading here:

Futurism (art) – definition of Futurism (art) by The Free …

Futurism – Wikiquote

Not to be confused with Futurology.

Futurism was the modern art movement which started in Italy circa 1908 – 1912; The Futurist artists wanted to express dynamic and hectic by all movements of modern city life. Color-divisionism was their favorite painting technique.

See the article here:

Futurism – Wikiquote

Futurism Technologies

Is most sought after leading advanced custom software development and IT Solutions, Services & Consulting Partner. We are committed to establish a cost-effective quality end to end Information Technology Business Solutions and Services alternative for the entire spectrum of businesses worldwide.

Futurism Technologies enable you to uncover exciting new insights by Rapidly capturing, aggregating, organizing, and analyzing data generated via multi-party sources to maximize your sales potential.

Futurism Technologies has experience with cloud computing categories such as SaaS, PaaS and IaaS. We possess extensive experience in cloud platforms such as Microsoft Azure, Microsoft BPOS Suite, Google Apps & more.

Futurism Technologies can help you manage and take decisions based on real-timie data. Work anywhere, at any time, via any device.

Iterative and incremental development, where requirements and solutions evolve through collaboration between self-organizing, cross-functional teams.

Futurism Technologies helps you devise your BI strategy by turning complex number-crunching into lucid data for easy reporting and analysis using BI Technologies such as MS SQL SSAS, MS, SSIS, and MS SQL SSRS.

Expertise over multiple domains means that you can expect a robust, flexible, and scalable enterprise application irrespective of the industry you belong to.

Futurism Technologies implements specialized tools and methodologies for software QA services. Our software testing services translate into decidedly superior preformance and prevent costly operational breakdowns.

Read the original here:

Futurism Technologies

Futurism | Article about futurism by The Free Dictionary

Italian school of painting, sculpture, and literature that flourished from 1909, when Filippo Tommaso

‘s first manifesto of futurism appeared, until the end of World War I. Carlo

also belonged to this school. The futurists strove to portray the dynamic character of 20th-century life; their works glorified danger, war, and the machine age, attacked academies, museums, and other establishment bastions, and, in theory at least, favored the growth of Italian fascism. The group had a major Paris exhibition in 1912 that showed the relationship of their work to

. Their approach to the rendering of movement by simultaneously representing several aspects of forms in motion influenced many painters, including

. Futurist principles and techniques strongly influenced Russian


See studies by M. W. Martin (1968), J. Rye (1972), U. Apollino (1973), C. Tisdale and A. Bozollo (1985), and M. Perloff (1989); V. Greene, ed., Italian Futurism, 19091944: Reconstructing the Universe (museum catalog, 2014).

an artistic movement that arose in Italy in 1909 to replace traditional aesthetic values with the characteristics of the machine age http://www.unknown.nu/futurism http://www.futurism.org.uk/futurism.htm

a term designating the avant-garde art movements of the 1910s and 1920s in Italy and Russia. While differing in their ideological orientation, which sometimes placed them in mutual opposition, Italian and Russian futurism were drawn together by certain aesthetic declarations and partly by the range of their motifs; likewise, a number of common traits point to the kinship between futurism and avant-garde currents in Germany, France, Great Britain, Austria, Poland, and Czechoslovakia. In Russia the term futurism soon came to stand for the entire left front in art, becoming a synonym for avant-gardism in general.

In Italy the birth of futurism was marked by the Manifesto of Futurism, published in 1909 in the Parisian newspaper Le Figaro; the author, F. T. Marinetti, was the movements leader and theoretician. The journal Lacerba, a vehicle for futurist ideas, was published in Florence by G. Papini from 1913 to 1915; the futurist point of view was shared by the poets G. P. Lucini, P. Buzzi, A. Palazzeschi, and C. Govoni, the composer B. Pratella, the artists U. Boccioni, C. Carr, G. Baila, G. Severini, and L. Russolo, and the architects A. SantElia and M. Chiattone.

Like the other avant-gardist currents, futurism represented a subjectively anarchic reaction to the crisis of bourgeois culture, to decadence, and to the bankruptcy of the illusory liberal ethics of the 19th century; it expressed an elemental emotional presentiment of the breakup of society and culture and the coming of a new historical epochan age of scientific and technological progress, growing utilitarianism of thought, and mass culture. Unlike those who professed horror in the face of the Moloch of civilization, the futurists accepted the future unreservedly, with exalted optimism, and with faith in technology as the first cause of modern social and cultural progress, proclaiming the artistic value of the outward material signs of the coming industrial age.

Futurism combined its apologia of technology and urbanism with the cult of the supermana heroic figure invading the world and shattering the decrepit foundations of art and moralityand with the cult of violence, or the thrill of such social cataclysms as war (to cleanse the world) and revolt in general. Rejecting the heritage of art and culture, the futurists espoused the principles of artistic eccentricity, mocking traditional tastes and welcoming the shocking effect of antiaestheticism in art. Intimate feelings and ideal concepts of love, goodness, and happiness were declared to be human weaknesses; emotions and sensations were evaluated in terms of the measurable attributes of machinesstrength, energy, motion, and speed.

The futurists called on artists to create full-scale and concentrated models of modern life (hence their advocacy of art as an indivisible synthesis); modern existence was regarded by them as merely the life of matter, or the dynamic complex of unprecedented psychic and physiological vibrations, diverging forces and movements, and acoustic and visual effects. The futurists chaotic recording of jostling impressions, abstracted of spiritual values, and their mechanical and arbitrary matching of diverse forms led to irrationality and the disintegration of the traditional system of imagery.

The principles of futurist poetry were the communication of sensations as a chain of free associations and analogies (wireless imagination) and the accentuation of the acoustic and graphic textual coverings at the expense of verbal meanings, including extensive use of onomatopoeia and alliteration, pattern poems (also called figure, or shaped, poems), collages, drawings, and various combinations of hand-lettered and typographic characters and mathematical symbols.

Futurist painting, while somewhat akin to French cubism in its methods, differed from it in subject matter and in its underlying literary principles. The artist was called on to express the dynamics of the universeto render movement in painting by the incorporation of different points of view, the multiple repetition of images, the deformation and breakdown of contours along intersecting force lines and planes, the use of sharply contrasting colors, and the composition of collages that included word fragments seemingly plucked at random from the stream of life. In sculpturein the work of Boccioni, for examplethe illusion of movement was to be evoked by the agglomeration and unidirectional flow of streamlined or angular masses. Futurist concepts were incorporated in architecture in the form of imaginative designs for cities of the future.

The rigid mechanicism of futurist aesthetics and the political activism of Marinetti and his followers, with their militaristic and chauvinist propaganda, led to a split in the movement between 1913 and 1915. In the 1920s some of the futurists became apologists of the fascist regime, which they saw as fulfilling the dream of Italys future greatness, while others completely renounced the principles of futurism altogether.

In Russia the futurist movement, clearly expressed in literature, represented the complex interaction of different groupings. The most typical as well as most radical of these was the Gileia in St. Petersburga group that included D. D. Burliuk, V. V. Khlebnikov, Elena Guro, V. V. Mayakovsky, V. V. Kamenskii, A. E. Kruchenykh, and B. K. Livshits; its first publications were the collections The Judges Trap (1910) and A Slap in the Face of Public Taste (1913). I. Severianin and K. K. Olimpov were members of St. Petersburgs Association of Ego-futurists, whose first publication was Severianins Prologue to Ego-futurism (1911). In Moscow, the futurists were grouped in two transitional associationsthe Mezzanine of Poetry, which included V. G. Shershenevich, R. Ivnev, and B. A. Lavrenev, and the Centrifuge, including S. P. Bobrov, I. A. Aksenov, B. L. Pasternak, and N. N. Aseev. Futurist groups were also formed in Odessa, Kharkov, Kiev, and Tbilisi; M. V. Semenko was one of the Kiev futurists.

The literature of futurism was associated with the left currents in the fine arts; in particular, the Gileias members were in close contact with M. F. Larionovs group, called The Donkeys Tail, and with the Union of Youth in St. Petersburg. The similarity of ideological and aesthetic views among the poets and artists of this new wave, their overlapping creative interests (as reflected in the poets use of art and the artists use of poetry) and their frequent joint appearances caused the term futurism to be attached to the left trends in painting. A series of exhibitions, in fact, were organized under the banner of futurism, including Target in 1913, No. 4 in 1914, and Tramway B and 0, 10 in 1915. Nevertheless, futurist Russian art was not a reflection either of Italian futurism (with the exception of individual works by K. S. Malevich, Larionov, N. S. Goncharova, O. V. Rozanova, P. N. Filonov, and A. V. Lentulov) or of any other integral system; rather, it embraced a general concept as manifested in a broad range of phenomena, including the post-Czan-nism of the Jack of Diamonds group, the national version of cubism as expressed in decorative art, and the variety of artistic experimentation tending either toward German expressionism and French fauvism or in the direction of primitivism, abstractionism, and dadaism.

The period between the two revolutions was one of increasingly democratic attitudes and simultaneous spiritual disorder among the intelligentsia; developing at this time, Russian futurism was a mixture of contradictory elementscombining, on the one hand, a spontaneous reaction against bourgeois reality and a protest against the suppression of the individual by machine civilization and, on the other, anarchic revolt for the sake of revolt and nihilistic rejection of all the cultural and moral values of the old world. The futurists demand for the democratization of art and their disdain for the art of the elite was joined to extreme individualism and the proclamation of absolute creative autonomy. These contradictory aspects of Russian futurism were also reflected in its practical manifestations. The Russian futurists program, which they planned to extend to the most recently developed areas of human experience, included visionary urbanistic projects, poetic presentiments on a global scale, militant and shocking antiaestheticism, and exhibitionist attacks against artistic traditions; at the same time, however, it paid tribute to past culture and history, folklore, archaisms, intimism, and the pure lyricism of feelings.

While they regarded themselves as belonging to the same species as the Italian futurists, whose name they assumed, the Russian futurists were acutely sensitive of the contrast between their own aspirations and those of their Italian counterparts. The Gileias members, in particular, who also called themselves budetliane (from the future tense of the verb to be), emphasized the unique sources of Russian futurism; in Khlebnikovs words, There was no need for us to be implanted from withoutour plunge into the future goes back to 1905. Some of the Russian futurists demonstrated their independence through their organized opposition to Marinetti when he visited Russia in 1914.

The Gileia poetsthe leading group of Russian futurists identified words in poetry with things; words were regarded by them as symbols of self-contained physical givenness, or as material capable of being transformed at will and capable of interacting with any other symbolic system or structure in nature as well as in art. Poetry was thus seen as providing the universal material means to comprehend the foundations of being and the basis of transforming reality.

The major criterion that the Gileia poets applied to a poetic text was its inaccessibility; their poetic constructions followed the logic of the plastic arts, and especially of the newest trends in painting, such as cubism (from which they took the name cubo-uturists). These poets strove for semantic compactness and the clashing interaction of associative processes; using the elements of poetic speech, they sought to express such purely plastic concepts as flatness, texture, and displacement. This led to the search for the self-creating wordthe search for verbal forms bordering on abstraction; it led to the use of onomatopoeia (which would convey the qualities of the visible world by acoustic means alone), to an abundance of poetic neologisms, and to disregard of the rules of grammarin short, to zaum, or trans-sense language. The visual aspect of verbal symbols was drawn into the context of poetic meanings, as in the case of pattern poems, combined graphic and verbal compositions, and lithographs.

As a result of the futurists programmatic orientation, with its stress on contemporary life and antiaesthetic reality and its identification of words with facts, the fabric of their poetry was woven out of such elements as vulgarisms, the prosaic speech of urban life, professional jargon, and the language of official documents, posters, placards, the circus, and cinematographyin other words, elements previously regarded as alien to poetry. The cubo-futurists immersed themselves in the facts and material tokens of the modern world, denying the supremacy of the word as the ideal symbol of meaning amassed by cultural tradition and subordinating the comprehension of phenomena to the formal restructuring of poetry. Thus cubo-futurism could merely record, albeit perceptively, the external signs of the impending historical crisis, itself remaining only an echo of the social upheavals of the time.

The diversity that marked the various ramifications of futurism in the 1910s was accompanied by an additional stratification within individual groupings. Within the Gileia group, for example, the social spirit of Mayakovsky (not coincidentally singled out by M. Gorky) stood in contrast to Kruchenykhs locked-in world of verbal abstractions; eventually only Severianin, who modified the affectedly exotic motifs of his early poems (or poezy, as he called them), remained as the sole representative of ego-futurism.

It was after October 1917 that Russian futurism clearly manifested its political stance, already mapped out by Mayakovsky, Khlebnikov, and Aseev in their antimilitary declarations during World War I.

Most of the futurists subscribed to the establishment of Soviet power and actively participated in its early work of political agitation, Mayakovsky being the outstanding example. On the other hand, the claims advanced by some of the futurists on behalf of a state art and the nihilistic attitude toward the culture of the pastan attitude that had grown more intense during the period of revolutionwere condemned in the letter of the Central Committee of the RCP(B) On the Proletkult organizations, published in 1920, and in V. I. Lenins notes to A. V. Lunacharskii and M. N. Pokrovskii concerning the publication of Mayakov-skys poem 150,000,000. Many of the poets who had previously belonged to futurist groups joined together in the Left Front of the Arts, or LEF. Certain futurist tendencies were adopted in the 1920s by the imaginists and the oberiuty (members of the Association of Real Art, or Oberiu). Some prominent poets who started out as futuristsMayakovsky, Aseev, and particularly Pasternakturned away from the movement during the 1920s.

E. IU. SAPRYKINA (futurism in Italian literature) and V. A. MARKOV

Read more:

Futurism | Article about futurism by The Free Dictionary

Futurism – Vikipeedia, vaba entsklopeedia

Futurism (ladina keeles futurum tulevik) on 1909. aastal Itaalias tekkinud kunsti- ja kirjandusvool.

Futuristide esimese manifesti koostaja on itaalia luuletaja Filippo Tommaso Marinetti. Manifest ilmus 20. veebruaril 1909 Pariisis ajalehes Le Figaro. Manifestis kuulutati, et tsivilisatsiooni saavutused on imeprased ja nuavad uut tpi kunsti. Vana kunst on klbmatu ja muuseumid on surnuaiad. Tehnika areng ja selle kajastamine on vrtuslikum kui inimhinge probleemid. Marinetti vitis, et “Kihutav vidusiduauto, mis sarnaneb suurtkikuuliga, on kaunim Samothrake Nikest!”.

Aastal 1910 esitati teine futurislike maalikunstnike manifest, milles varasemaid ideid edasi arendati. Manifesti autor oli skulptor Umberto Boccioni. Selle manifesti kohaselt pidi maalikunst loobuma traditsioonilistest motiividest, niteks aktimaalist. Dnaamika vljendamiseks tuli kujutada motiivi arengut ajas, niteks esitada hel pildil ajas jrjestikuseid olukordi vi seisundeid (jooksvat koera kujutati mitte nelja, vaid kahekmne jalaga).

Futurismile on omane vanade kultuuritraditsioonide hlgamine. Ptakse leida kunstilisi vljendusvahendeid, et kujutada kaasaegse kiire elu ja tehniseerunud keskkonnas elava inimese mtte- ja tundelaadi ning probleeme. Futurism vljendabki tnapeva maailma kiirust ja eripalgelisust; listatakse sda, tehnikat ja dnaamikat.

Futuristide liikumise katkestas Esimene maailmasda, mil osa futuriste pettus, nhes kuidas tehnikat sjas kasutatakse. Teised aga sattusid uutlaadi jukultusest veelgi suuremasse vaimustusse ja liitusid rmuslike massiliikumistega (nt Marinetti Mussolini faismiga).

(kronoloogilises jrjestuses)

Futuristlikud tekstid on katkendlikud ja keerulised, neis on kasutatud trkitehnilisi vtteid ja igekirjast ei peeta kinni. Luules on futurismile iseloomulik hatuste, knekeele ja argoo kasutamine, konsonantide kuhjamine ning matemaatika- ja muusikasmbolite kasutamine. Futuristid on oma publikuga pidevalt (tenoliselt taotluslikult) vastuolus.

Itaalia futurismi vtmekuju on Filippo Tommaso Marinetti. Luuletustes on tal olulisel kohal visuaalsus. Itaalia futuristid on ldse tihedalt seotud visuaalsete kunstidega, eksperimenteerides ka filmikunstiga (Bruno Corra ja Arnaldo Ginna film “Futuristlik elu”).

Olulisim manifest on “Geomeetriline ja mehaaniline hiilgus ja numbriline tundlikkus”.

Itaalias muutus futurism lpuks poliitiliseks: 1918. aastal asutas Marinetti erakonna, hiljem sattus vanglasse koos Benito Mussoliniga.

Vene futurismi kige novaatorlikum esindaja oli Vladimir Majakovski, kes leidis, et tuleb lahti elda dekadentlikust minevikust ja panna maksma inimtahe, mis trotsib determinismi ja harjumusi. Futuriste peeti enesereklaamijatest veiderdajateks, kuid nad ei pdnudki teistele meeldida. Nende esimene manifest kandis pealkirja “Krvakiil avaliku arvamuse pihta”.

Majakovski propageeris lihtsustatud vulgaarset luulet. Tema stiil tugines linlikule knepruugile, kus ta pdis muuta masside robustset knepruuki poeetiliseks.

Venemaal oli populaarne ka futuristlik teater, kus vaataja oli etenduses osaline.

14. mrtsil 1919 ilmunud anarhistliku ajakirja “K Svetu” (“Valguse juurde”) 5. numbri kohaselt tegutses Harkivis fanaatiline anarhofuturistide ring.

Eestisse judis 1910. aasta manifest kigepealt ajakirjanduse vahendusel. Juba 1912. aastal, ehk siis samal aastal, mil Pariisis Mnchenis ja teistes Lne-Euroopa suurtes kunstikeskustes toimusid esimesed futuristlikud kunstinitused, tutvustati Eesti ajakirjanduses Marinetti petust. Phjalikult tutvustas eesti kunstipublikule futurismi teooriat 1914. aastal Peterburi likooli tollane lipilane Johannes Semper. Ta pidas tartus ettekande, mis trkiti ra ka ajakirjanduses[1]. Eesti kunstis ilmusid esimesed futuristlikud ilmingud sama aastal Tartus avatud kunstinitusel. Nendeks olid Mnchenis ppinud Ado Vabbe “Parafraasid” ja “Skemaatilised improvisatsioonid”. Futuristlike teostega esines Vabbe 1916. aastal ka Tallinnas. Eesti kunstikriitika suhtus futurismi suhteliselt trjuvalt[2].

Eesti kirjanduses olid futuristid koguteostes “Moment” I (1913) ja “Roheline moment” (1914) esinevad kirjanikud. Futuristlikke teoseid on kirjutanud hiljem ka prosaist Albert Kivikas ja luuletaja Erni Hiir.

Kujutavas kunstis taotlesid futuristid korraga paljude rahutute muljete kujutamist, mida tajub kaasaegne suurlinlane. Pti kujutada liikumisillusiooni, mille saavutamiseks lammutati nhtav maailm kubistide eeskujul geomeetrilisteks kildudeks. Nendest loodi likuvate pindade ja joontega dnaamiline kompositsioon.

Teise moodusena kujutati hel pildil oleva sama objekti mitut jrgnevat asendit, kusjuures objekti ennast kujutati enam-vhem realistlikult. Seda tpi on niteks pilt, kus daami krval sibab paljujalgne koerake (Giacomo Balla “Koera ja keti dnaamika”).

Koloriidis eelistasid futuristid eredaid vrve.

Futurismi hilisemas perioodis kujutasid kunstnikud kike n- lenduri vaatepunktist (aeropittura).

Read the rest here:

Futurism – Vikipeedia, vaba entsklopeedia

Futurism Wikipedia

Futurismen var en kulturell riktning inom konst, litteratur, musik och arkitektur. Den efterstrvade ett radikalt uppbrott frn tidigare traditioner. Futurismen grundades 1909 av Filippo Tommaso Marinetti.

Marinetti publicerade det frsta futuristiska manifestet i Le Figaro i februari 1909, i vilket han proklamerade krig mot traditionalismen. ret drp utgavs tre manifest, dribland mlarnas “Tekniska manifest”. Futurismen hyllade maskinen, frkastade ldre tiders konst och fresprkade nedrivning av museerna. Futuristiska mlningar framstllde gestalter och freml i rrelse; poesin begagnade sig av ett “industriellt” bildsprk, en grammatik och ett ordfrrd som medvetet frstrts i onomatopoesins tjnst. Den politiska fascismens ideologi sgs ha tagit starka intryck av futurismen och uppmuntrade till flera av punkterna i det futuristiska manifestet.

Futuristerna publicerade ett antal manifest angende musik dr de bland annat fresprkade oljud, atonalitet, polyfoni, mikroljud och den moderna stadens ljud som bilar och flygplan framfr traditionalismens musik. Kompositrerna skulle verge imitationen och influenserna frn frr och istllet komponera fr framtiden.

Luigi Russolo konstruerade s kallade oljudsmaskiner (intonarumori) som de framfrde konserter med. Senare band s som brittiska Whitehouse, japanska Merzbow och svenska Brighter Death Now kan hrledas till futurismens ider om musik.

Kring 1910 vxte en futuristisk gren fram i Ryssland. Man kan datera dess fdelse till 1912 d poeterna Majakovskij och Chlebnikov publicerade manifestet En rfil t den offentliga smaken.[1]Vladimir Majakovskij var en rysk poet som med dikten Ett moln i byxor frn 1915 demonstrerade den nya futuristiska stilen, fartfylld och telegramartad, fr det ryska avantgardet. Hans mest knda dikt r dock 150 000 000 (titeln syftar p Sovjets dvarande folkmngd) vari han hyllar den nya staten. Den ryska futurismen delade sig sedan i tv grenar: ego-futurismen i Petersburg och kubo-futurismen i Moskva.[1] Ego-futurismens namn kommer frn det fokus p jaget som riktningens fretrdare hade. Den ledande ego-futuristen var Igor Severjanin som debuterade 1913 med diktsamlingen Den skskjudande bgaren.Han blev enormt populr och valdes 1918 till poesins kung i Moskva.[1] Kubo-futurismen hnger samman med kubismen och syftade till att framstlla ting s som de framstod i det inre medvetandet och inte som de tedde sig fr de yttre sinnena.[1] Gemensamt fr de ryska futuristerna var radikalismen och viljan att provocera. Man gnade sig bland annat t galna, fantasifulla, anarkistiska phitt – det vi idag kallar happenings.[1]

Litterarrt gnade sig futuristerna t sprkliga normbrott. De ville befria sprket frn den litterra traditionen och vardagssprkets konventioner och p s stt gra det autonomt.[2] Futuristerna frskte inom poesin bearbeta sprket p stavelseniv – en poet sgs ha framfrt en dikt bestende enbart av stavelsen “ju”.[2] Inriktningen p textens autonomi gav impulser till den gren inom litteraturforskning som kallas rysk formalism. Denna gren satte texten i fokus och underskte dess ljud och form och vad det var som egentligen gjorde den till en text.[2]

See original here:

Futurism Wikipedia

Italian Futurism: An Introduction – Khan Academy

Can you imagine being so enthusiastic about technology that you name your daughter Propeller? Today we take most technological advances for granted, but at the turn of theUmberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931), bronze, 43 7/8 x 34 7/8 x 15 3/4″ (MoMA) last century, innovations like electricity, x-rays, radio waves, automobiles and airplanes were extremely exciting. Italy lagged Britain, France, Germany, and the United States in the pace of its industrial development. Culturally speaking, the countrys artistic reputation was grounded in Ancient, Renaissance and Baroque art and culture. Simply put, Italy represented the past.

In the early 1900s, a group of young and rebellious Italian writers and artists emerged determined to celebrate industrialization. They were frustrated by Italys declining status and believed that the Machine Age would result in an entirely new world order and even a renewed consciousness.

Filippo Tommaso Marinetti, the ringleader of this group, called the movement Futurism. Its members sought to capture the idea of modernity, the sensations and aesthetics of speed, movement, and industrial development.

Marinetti launched Futurism in 1909 with the publication his Futurist manifesto on the front page of the French newspaper Le Figaro. The manifesto set a fiery tone. In it Marinetti lashed out against cultural tradition (passatismo, in Italian) and called for the destruction of museums, libraries, and feminism. Futurism quickly grew into an international movement and its participants issued additional manifestos for nearly every type of art: painting, sculpture, architecture, music, photography, cinemaeven clothing.

The Futurist paintersUmberto Boccioni, Carlo Carr, Luigi Russolo, Gino Severini, and Giacomo Ballasigned their first manifesto in 1910 (the last named his daughter ElicaPropeller!). Futurist painting had first looked to the color and the optical experiments of the late 19th century, but in the fall of 1911, Marinetti and the Futurist painters visited the Salon dAutomne in Paris and saw Cubism in person for the first time. Cubism had an immediate impact that can be seen in BoccionisMateriaof 1912 for example. Nevertheless, the Futurists declared their work to be completely original.

Umberto Boccioni, Materia, 1912 (reworked 1913), oil on canvas, 226 x 150 cm (Mattioli Collection loaned to Peggy Guggenheim Collection, Venice)

The Futurists were particularly excited by the works of late 19th-century scientist and photographer tienne-Jules Marey, whose chronophotographic (time-based) studies depicted the mechanics of animal and human movement.

A precursor to cinema, Mareys innovative experiments with time-lapse photography were especially influential for Balla. In his painting Dynamism of a Dog on a Leash, the artist playfully renders the dog’s (and dog walker’s) feet as continuous movements through space over time.

Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas, 35 1/2 x 43 1/4 ” (Albright-Knox Art Gallery, Buffalo)

Entranced by the idea of the dynamic, the Futurists sought to represent an objects sensations, rhythms and movements in their images, poems and manifestos. Such characteristics are beautifully expressed in Boccionis most iconic masterpiece, Unique Forms of Continuity in Space (see above).

Nike (Winged Victory) of Samothrace, c. 190 B.C.E. 3.28m high, Hellenistic Period, marge, (Muse du Louvre, Paris) The choice of shiny bronze lends a mechanized quality to Boccioni’s sculpture, so here is the Futurists ideal combination of human and machine. The figures pose is at once graceful and forceful, and despite their adamant rejection of classical arts, it is also very similar to the Nike of Samothrace.

Futurism was one of the most politicized art movements of the twentieth century. It merged artistic and political agendas in order to propel change in Italy and across Europe. The Futurists would hold what they called serate futuriste, or Futurist evenings, where they would recite poems and display art, while also shouting politically charged rhetoric at the audience in the hope of inciting riot. They believed that agitation and destruction would end the status quo and allow for the regeneration of a stronger, energized Italy.

These positions led the Futurists to support the coming war, and like most of the groups members, leading painter Boccioni enlisted in the army during World War I. He was trampled to death after falling from a horse during training. After the war, the members intense nationalism led to an alliance with Benito Mussolini and his National Fascist Party. Although Futurism continued to develop new areas of focus (aeropittura, for example) and attracted new membersthe so-called second generation of Futurist artiststhe movements strong ties to Fascism has complicated the study of this historically significant art.

Essay by Emily Casden

Additional resources:

Unique Forms in the Continuity of Space at MoMA

The Futurist Manifestos and related materials

Charles Bernstein reading the Futurist Manifesto at MoMA (video)

Boccioni’s Materia in the Peggy Guggenheim Collection

tienne-Jules Marey at MoMA

Here is the original post:

Italian Futurism: An Introduction – Khan Academy