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Now that the sixth generation Ford Mustang has been revealed, the worst kept secret in Detroit is that theres a new F-150 on the way, too.

Ford wont talk about it, but the 13th-generation pickup is expected to make its debut at the North American International Auto Show in January and hit the road later in 2014.

Its rumored to be the most cutting-edge version of the F-Series yet, offering a selection of turbocharged engines, an extensive use of aluminum in its construction, and possibly a 10-speed transmission at some point in its lifecycle, all in the name of fuel economy.

Whats more certain is that its look will be inspired by the Ford Atlas concept that was unveiled at the 2013 NAIAS. Its a bold design filled with modern touches, but not exactly what youd describe as a work of futurism.

Sixty years ago, things were different.

Back in 1953, Fords designers sketched a couple of proposals that were straight out of the atomic age, and were recently dug out of the archives for FoxNews.com.

The first is of a stepside pickup appropriately hard at work at the observation bunker of a ballistic missile launch pad. It features a half-cabover layout similar to a 1970s Econoline van, its blunt nose complimented by square yet smooth bodywork, with large radius curves and flush door handles. Those air in the front fenders? Who knows where they led, but theyd show up again on the 1965 Mustang.

It was a vast departure from the production truck of the day, to be sure, although the third generation model that arrived in 1957 did retain its forward-leaning rear roof pillar and was the first F-Series to integrate the hood and fenders, and use a clamshell hood.

Whats more interesting today, however, is its front-end style. While the grille and lighting arrangement is similar to the 1953 F-Series, its surrounded by a large hexagonal enclosure thats the spitting image of Fords current family face, and an eerie premonition of the Atlas design.

Even more frightening, however, is a proposal for a van also created in 1953. The hearse-like profile and protruding, vampire-fang headlights giving it a dark and dreary demeanor enhanced by the desolate setting of the sketch.

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Ford trucks of future passed

ABSTRACTION For a guide to non-objective art see: Abstract Paintings: Top 100. For a list of styles/periods, see: Abstract Art Movements.

Futurist Painting

The Futurism movement was highly aspirational, though its ideas were neither original nor revolutionary. In general, 20th century painters associated with the Futurist movement worshipped scientific progress, glorifying speed, technology, the automobile, the airplane and industrial achievement. Established traditions were thrust aside in pursuit of victory over nature. When it came to establishing a new Futurist aesthetic, however, a visual idiom with which to express their concerns, Marinetti and the other artists were more hesitant.

To begin with they borrowed the methods of Neo-Impressionism (a general reference to Divisionism), in which forms are broken down into dots and stripes capable of depicting the glitter of light or the blur of high speed movement - see The City Rises (1910-11, Museum of Modern Art, New York) by Boccioni, and Leaving the Theatre (1910-11) by Carlo Carra. Both painters were influenced by Italian Divisionism and the paintings of Vittore Grubicy De Dragon (1851-1920). Following this, Carra and Boccioni visited Severini and Marinetti in Paris (to get a better feel for the avant-garde), where they fell under the influence of analytical Cubism, after which they adopted the methods (fragmented forms, multiple viewpoints, powerful diagonals) of the Cubists - see Dynamic Hieroglyphic of the Bal Tabarin (1912, MoMA NYC) by Gino Severini, as well as his masterpiece Pan-Pan at the Monico (1911-12, original lost, copy in the Pompidou Centre, Paris). Often, Cubist techniques would be combined with urban and political subject matter, often on a large scale - see Funeral of the Anarchist Galli (1910-11, MoMA NYC) by Carlo Carra. Although some Futurist works were relatively static, such as Woman with Absinthe (1911) by Carra, and Matter (1912) by Boccioni, the phenomenon of speed is a constant Futurist theme - see Dynamism of a Dog on a Leash (1912, Allbright-Knox Gallery, Buffalo, USA) by Giacomo Balla. However, Balla eventually went over to abstract art, producing work with no obvious reference to the idea being expressed - see his The Car has Passed (1913, Tate, London). For this kind of geometric abstraction see concrete art.

Futurist Sculpture

In 1912, Umberto Boccioni, the only sculptor among the Futurists, published his own Manifesto - Futurist Painting Sculpture: Plastic Dynamism (Pittura scultura Futuriste: Dinamismo plastico), which expounded his Bergson-type ideas on intuition, inner being and the relationship of form, motion and space. The following year Boccioni produced his masterpiece Unique Forms of Continuity in Space (1913, casts in MoMA New York, Tate London and elsewhere). This work vividly depicts the movement of the body, and illustrates his theory of "dynamism", a theme he also explored in other works like Synthesis of Human Dynamism (1912), Spiral Expansion of Speeding Muscles (1913) and Speeding Muscles (1913).

Exhibitions

Futurist art was first exhibited at a show of modern art in Milan (1911). The first purely Futurist show was in early 1912 at the Galerie Berhein-Jeune in Paris. The show then travelled to the Sackville Gallery London, the Sturm Gallery Berlin, and afterwards to Amerstam, Zurich and Vienna, generating widespread publicity for the movement, thanks largely to Marinetti's promotional flair.

Influence on Contemporary Artists

Italian Futurism had a visible impact on artists across Europe, including the Vorticists in Britain, the Dada movement in Zurich and Berlin, Delaunay's Orphism (Simultanism), Art Deco, American Precisionism, and Surrealism, while futurists in Russia had a strong effect on Rayonism and Constructivism. Russian Futurism began in 1912 with the publication of its manifesto A Slap in the Face For Public Taste. Members included the Russian artists David Burlyuk (1882-1967), Vladimir Mayakovsky (1893-1930), Mikhail Larionov (1881-1964), Natalia Goncharova (1881-1962), Kazimir Malevich (1878-1935) the founder of Suprematism, Velimir Khlebnikov and Alexei Kruchenykh (1886-1968). The movement endured longer in Russia, becoming closely associated with revolutionary politics, and influenced several other Russian art movements.

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Futurism : Italian Modern Art Movement - Visual Arts Encyclopedia

For those whove seen the buzziest of buzzy holiday movies, Spike Jonzes Her, youprobably left the theater with much to think about. One of the biggest questions, at least from a filmmaking standpoint: How did Jonze and his team arrive at the future we see on the screen?

Infinitely relatable though gently different, the Los Angeles of Jonzes unspecified future occupies a new and exciting place in cinematic history--and the history, as it where, of futurism itself. Hers L.A. is a million miles from Blade Runner, but it also not entirely a utopia. What looks bright and cheery can also conceal a dark undertow.

Perhaps the best evidence of this worlds complexityare the words being used to describe it, which according to a quick survey ofarticles on the film include the not-exactly-compatible phrases of utopian, dystopian, near-dystopian, gentrified dystopia, both utopian and dystopian and--why not--neither dystopian nor utopian.

PHOTOS: Holiday movie sneaks 2013

With this in mind, The Times set out to discover how, and why, the world was created. We conducted interviews with the five key people who helped Jonze shape the movies look and feel. It is a team that in most instances have worked with Jonze for years, going back to his 1990s wunderkind days, even as what its members do here is astonishingly forward looking. Over the next five days we will run a separate conversation with each of these players, exploring the rich psychological and philosophical reasons for their choices and the challenges they had to overcome after making them.

Today, costume designer Casey Storm.

Movies Now: One of the things that stands out right away in the filmbesides those much-discussed high-waisted pantsis how basic clothes looks in the future, how simple, how unfuturistic. Was that very much a part of your discussion?

Casey Storm: When we first started talking about how to depict the future we immediately disliked anything you usually see in movies about the future. We wanted to use updated elements of things we know rather than project things we didnt. We didnt want to guess.

MN: Because so many of those movies do just thatthe clothes and the whole movie has this sheen to it, black-and-silver uniforms, latex, lots of bootsalmost as though theres some unofficial rule in a costume-designer handbook that mandates that.

CS: I think with a lot of other movies the logic is that with technology taking over our lives that it creates distance. And when theres distance you lose warmth and end up with coldness. And the way you depict coldness is you use clothes and colors that suggest coldnessblacks and silvers and whites and blues. Or I guess thats the thought progression. We thought what really made more sense, what could very likely be happening, is access. You can choose from everything in the world, so clothes become more individual. The word "bespoke" kept coming up. If you had all the things in the world, what would you gravitate to? For a lot of people it would be something warm and comfortable. So thats what we tried to create.

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Five days of 'Her:' How Spike Jonze created the future

"Russian Futurists" redirects here. For the band, see The Russian Futurists.

Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Futurist Manifesto". Russian Futurism may be said to have been born in December 1912, when the Moscow-based literary group Hylaea (Russian: [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson, and quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911)[1] issued a manifesto entitled A Slap in the Face of Public Taste.[2] Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kiev, Kharkov, and Odessa.

Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky, according to them, should be "heaved overboard from the steamship of modernity". They acknowledged no authorities whatsoever; even Filippo Tommaso Marinettiwhen he arrived in Russia on a proselytizing visit in 1914was obstructed by most Russian Futurists who did not profess to owe him anything.

In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets contributed by Malevich.

Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be'). They found significance in the shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone",[3] known as zaum.

With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed the meaningless slaughter of the Great War and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously.

After the Bolsheviks gained power, Mayakovsky's grouppatronized by Anatoly Lunacharsky, Lenin's minister of educationaspired to dominate Soviet culture. Their influence was paramount during the first years after the revolution, until their programor rather lack thereofwas subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends (Aseyev, Pasternak).

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Futurism is a Christian eschatological view that interprets portions of the Book of Revelation, the Book of Daniel, and other prophecies, as future events in a literal, physical, apocalyptic, and global context.[1] By comparison, other Christian eschatological views interpret these passages as past events in a literal, physical, and local context (Preterism and Historicism), or as present-day events in a non-literal and spiritual context (Idealism).

The futurist interpretation of Revelation and Daniel has been around since the earliest centuries of the Christian Church. Irenaeus of Lyon, for instance, was of the view that Daniel's 70th week awaited a future fulfillment.[2] During the Middle Ages and the Reformation, futuristic interpretations were virtually non-existent, however. To counter the Protestant interpretation of historicism,[3]Roman Catholic Jesuit Francisco Ribera (15371591) wrote a 500 page commentary on the Book of Revelation. This commentary established the futurist interpretation of Bible prophecy.[4]

The futurist view assigns all or most of the prophecy to the future, shortly before the Second Coming; especially when interpreted in conjunction with Daniel, Isaiah 2:11-22, 1 Thessalonians 4:155:11, and other eschatological sections of the Bible.[citation needed]

Futurist interpretations generally predict a resurrection of the dead and a rapture of the living, wherein all true Christians are gathered to Christ prior to the time God's kingdom comes on earth. They also believe a tribulation will occur - a seven-year period of time when believers will experience worldwide persecution and martyrdom, and be purified and strengthened by it. Futurists differ on when believers will be raptured, but there are three primary views: 1) before the tribulation; 2) near or at the midpoint of the tribulation; or 3) at the end of the tribulation. There is also a fourth view of multiple raptures throughout the tribulation, but this view does not have a mainstream following.[citation needed]

Pretribulationists believe that all Christians then alive will be taken up to meet Christ before the Tribulation begins. In this manner, Christians are "kept from" the Tribulation, such as Enoch was removed before God judged the antediluvian world, in contrast with Noah who was "kept through" wrath and judgement of God in the flood of Genesis.[citation needed]

Midtribulationists believe that the rapture of the faithful will occur approximately halfway through the Tribulation, after it begins but before the worst part of it occurs. Some midtribulationists, particularly those[who?] holding to a "pre-wrath rapture" of the church, believe that God's wrath is poured out during a "Great Tribulation" that is limited to the last 3 years of the Tribulation, after believers have been caught up to Christ.[citation needed]

Post-tribulationists believe that Christians will be gathered in the clouds with Christ and join him in his return to earth. (Pretribulationist Tim LaHaye admits a post-tribulation rapture is the closest of the three views to that held by the early church.)[citation needed]

All three views hold that Christians will return with Christ at the end of the Tribulation. Proponents of all three views also generally portray Israel as unwittingly signing a seven-year peace treaty with the Antichrist, which initiates the seven-year Tribulation. Many also tend to view the Antichrist as head of a revived Roman Empire, but the geographic location of this empire is unknown. Hal Lindsey suggests that this revived Roman Empire will be centered in western Europe, with Rome as its capital. Tim LaHaye promotes the belief that Babylon will be the capital of a worldwide empire. Joel Richardson and Walid Shoebat have both recently written books proposing a revived eastern Roman Empire, which will fall with the boundaries of the Ottoman Empire. (Istanbul also has seven hills, was a capital of the Roman Empire as Constantinople, known as the Byzantine Empire, and a body of water in the city is known as the Golden Horn - notable given the eschatological references to the "Little Horn"Daniel 7:8,8:9.)[citation needed]

The futurist view was first proposed by two Catholic writers, Manuel Lacunza and Francisco Ribera. Lacunza wrote under the pen name "Ben-Ezra", and his work was banned by the Catholic Church. It has grown in popularity in the 19th and 20th centuries, so that today it is probably most readily recognized. Books about the "rapture" by authors like Hal Lindsey, and the more recent Left Behind novels (by Jerry Jenkins and Tim LaHaye) and movies, have done much to popularize this school of thought.[citation needed]

The various views on tribulation are actually a subset of theological interpretations on the Millennium, mentioned in Revelation 20. There are three main interpretations: Premillennialism, Amillennialism, and Postmillennialism.[citation needed]

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Futurism (Christianity) - Wikipedia, the free encyclopedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the aeroplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. Key figures of the movement include the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Bruno Munari and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh and Vladimir Mayakovsky, as well as the Portuguese Almada Negreiros. Its members aimed to liberate Italy from the weight of its past, to glorify modernity.[1] Important works include its seminal piece of the literature, Marinetti's Manifesto of Futurism, as well as Boccioni's sculpture, Unique Forms of Continuity in Space, and Balla's painting, Abstract Speed + Sound (pictured). Futurism influenced art movements such as Art Deco, Constructivism, Surrealism, Dada, and to a greater degree, Precisionism, Rayonism, and Vorticism.

Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti.[1] Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carr, Giacomo Balla, Gino Severini and the composer Luigi Russolo.

Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.

Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.[2]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a "universal dynamism", which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it."[3]

The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant garde art.[4] Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.

They often painted modern urban scenes. Carr's Funeral of the Anarchist Galli (191011) is a large canvas representing events that the artist had himself been involved in, in 1904. The action of a police attack and riot is rendered energetically with diagonals and broken planes. His Leaving the Theatre (191011) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.

Boccioni's The City Rises (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, "made his first great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual's complex experience of the modern world together in what has been described as one of the 'minor masterpieces' of early twentieth century painting."[5] The work attempts to convey feelings and sensations experienced in time, using new means of expression, including "lines of force", which were intended to convey the directional tendencies of objects through space, "simultaneity", which combined memories, present impressions and anticipation of future events, and "emotional ambience" in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.[5]

Boccioni's intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition, which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico (Futurist Painting Sculpture: Plastic Dynamism) (1914).[6]

Balla's Dynamism of a Dog on a Leash (1912) exemplifies the Futurists' insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash and the feet of the woman walking it have been multiplied to a blur of movement. It illustrates the precepts of the Technical Manifesto of Futurist Painting that, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular."[3] His Rhythm of the Bow (1912) similarly depicts the movements of a violinist's hand and instrument, rendered in rapid strokes within a triangular frame.

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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 would go on to influence 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 (1885-1947) 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. Feruccio 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 (1910-1980), Julian Krein (1913- 1996), and Alexander Mosolov.

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Futurism, Italian Futurismo, Russian Futurism, an early 20th-century artistic movement that centred in Italy and emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life in general. The most significant results of the movement were in the visual arts and poetry.

Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti (q.v.). The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Movement in art, music, and literature begun in Italy about 1910 and marked esp. by an effort to give formal expression to the dynamic energy and movement of mechanical processes.

1909; Doctrine esthtique (formule par le pote italien Marinetti) exaltant le mouvement, et tout ce qui dans le prsent (vie ardente, vitesse, machinisme, rvolte, got du risque, etc.) prfigurerait le monde futur. Le futurisme italien prnait la violence, la guerre. --- Tendance potique et artistique moderniste (dbarrasse des traits idologiques du futurisme italien). Les futurismes et constructivismes des annes 20.

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Futurism,Italian Futurismo, Russian Futurizm, early 20th-century artistic movement centred in Italy that emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life. During the second decade of the 20th century, the movements influence radiated outward across most of Europe, most significantly to the Russian avant-garde. The most significant results of the movement were in the visual arts and poetry.

Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. Marinetti coined the word Futurism to reflect his goal of discarding the art of the past and celebrating change, originality, and innovation in culture and society. Marinettis manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. Exalting violence and conflict, he called for the sweeping repudiation of traditional values and the destruction of cultural institutions such as museums and libraries. The manifestos rhetoric was passionately bombastic; its aggressive tone was purposely intended to inspire public anger and arouse controversy. ... (195 of 1,839 words)

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Openings Exhibitions Museums USA A foundation dedicated to the countrys Modern artists is due to open in February, to coincide with the Guggenheims examination of the movement

By Julia Halperin. Web only Published online: 19 December 2013

A foundation devoted to the study and presentation of Italian Modern art in the US is due to open to the public in New York on 22 February. Laura Mattioli, the daughter of the late Italian art collector and cotton trader Gianni Mattioli, established the Centre for Italian Modern Art (Cima) to fund research fellowships and present annual displays of work that is rarely seen outside Italy. The fist exhibition at its SoHo location focuses on the Italian Futurist Fortunato Depero (1892-1960).

News of the organisations launch comes as Futurism is gaining wider recognition in New York. In November, Sothebys set a new auction record for the artist Giacono Balla when his painting, Automobile in corsa, 1911, sold for $11.5m. Also opening in February is the Guggenheims Italian Futurism, 1909-1944: Reconstructing the Universe, the first multidisciplinary exhibition to examine the movement in the US. (The shows curator, Vivien Greene, is also on Cimas advisory board.)

Cimas inaugural exhibition (22 February-28 June) is the first in-depth presentation of work by Fortunato Depero in New York since 1928, when the artist moved to the city and opened a workshop on 23rd Street called Futurist House. The exhibition includes 50 works in a variety of media drawn entirely from Mattiolis collection.

Italy is highly praised for its excellence in fashion, design and the culinary arts, but until very recently, Italian Modern and contemporary art has been largely overlooked, says Heather Ewing, the executive director of Cima, in a statement. Strict regulations governing the export of art from Italy have played a large role in limiting its presentation outside the country. Our goal is to serve as an incubator for new discourse, scholarly debate and increased public appreciation of 20th-century Italian art.

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Italian Futurists come to New York

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 the last century, innovations like electricity, x-rays, radio waves, automobiles and airplanes were novel and 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.

Umberto Boccioni,Unique Forms of Continuity in Space,1913 (cast 1931), bronze, 43 7/8 x 34 7/8 x 15 3/4" (MoMA)

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.

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

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 Boccionis Materia of 1912 for example. Nevertheless, the Futurists declared their work to be completely original.

Dynamism of Bodies in Motion 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).

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 Nikeof Samothrace. Nike of Samothrace, marble, c. 190 B.C.E. (Louvre, Paris)

Politics & War 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.

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Italian Futurism - Smarthistory - Smarthistory: a multimedia ...

Pioneering both in terms of performance and design, Onitsuka Tiger produces shoes which are consistently contemporary yet undeniably classic. Inspired by the trends of the past whilst retaining a cutting-edge reputation, the visual influence of their shoe designs call to mind the urban landscapes married with traditional craftsmanship in an arresting aesthetic coalition of heritage and futurism.

The AW13 collection, which features shoes for everyday wear is as distinctive and fresh as one would expect, with diverse design details and multiple colourways. The asymmetric, irregularly laced HARANDIA is a modern winner as the first Onitsuka Tiger shoe to incorporate GEL technology, whilst the retro-infused ULT-RACER is an inspired interpretation of the iconic Ultimate 81 style.

Its campaign reflects an essence of artistic flair coupled with individuality. A series of short promotional films entitled My Town, My Tracksfollows captivating people on a journey through their own urban environments and cites the influences and inspirations their respective neighbourhoods have had on them.

The Other Tribe, a young six-piece from Bristol, are an effervescent dance act melding irrepressible indie with infectious club tracks to create ebullient, feel good music. Here they take us on a journey around their incredible town; the venues where they got their first breaks, the coffee shops where theyve hung out, and the vintage shop where they buy their flamboyant stage gear. My Town, My Tracks presents the port city of Bristol - itself bursting with a robust historical legacy and forward-thinking creativity - through the eyes of The Other Tribe.

Join us on this true insiders tour.

Watch the teaser below.

To view the full video click here.

Words: Anna Wilson

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Onitsuka Tiger x The Other Tribe - 'My Town, My Tracks'

Spike Jonze's new film Her, about a man (Joaquin Phoenix) who falls in love with his Siri-like OS (voiced by Scarlett Johansson), takes place in a future devoid of hovercars and shiny jumpsuits; instead,the minimalist look of the film feels like a carefully curated throwback, best exemplified by the old-fashioned, high-waisted pants worn by Phoenix and other male characters. "Have you ever worn high-waisted pants?" asks Jonze with a grin. "When we were doing wardrobe fittings, I tried them on, and I was like, 'Oh, these feel good! They feel kinda like you're being hugged."

Call it retro-futurism, a style scheme that filmmakers sometimes employ to make their futuristic worlds feel more persuasive like in the 1997 film Gattaca, which was set decades into the future but costumed its characters in sleek, timeless forties fashions. The past, then, can serve as the secret ingredient when imagining an onscreen future that will never seem dated, a world totally unmoored from the present in which it was conceived.

We really don't need to show it's the future by putting people in crazy-shaped hats or epaulets, explains Casey Storm, Jonzes longtime costume designer, who huddled with artists like Jonze, production designer K.K. Barrett, and Opening Ceremony co-founder Humberto Leon when designing the look of Her. When we were making rules for this world we created, we decided that it would be better to take things away rather than add them. When you add things that aren't of this era, you wind up noticing them and it becomes really distracting, so our rules were more like, there won't be any denim in this film, there won't be any baseball hats, there won't be any ties or belts. Even lapels and collars will almost disappear. I think the absence of those things creates a unique world, but you can't quite put your finger on why that is.

And to hear Storm tell it, emulating those uncomplicated, retro looks is something were already starting to do. Dip into present-day Williamsburg, for example, and youll see plenty of young men with long Civil War beards who brew their own beers and stock their iPhone 5s with the latest fiddle-heavy chart toppers, a vivid mishmash of old and new. For people who aren't sure about how much they want to embrace that technology, the reaction might be to go in the other direction and start finding comfort in things from time periods gone by, says Storm, who reached back more than a century for Her: The tapered-leg, high-waisted pants that Phoenixs Theodore wears are based on a mid-1800s pair that Storm found in a costume shop, and even the characters name is retro, since Jonze conceived it with turn-of-the-century president Theodore Roosevelt in mind.

For certain scenes, Storm outfitted Phoenix with collarless shirts straight out of his closet, and he admits of the films retro-futurist look, I think maybe I myself had been trending that way anyway, in pieces here and there. Now that the chic boutique Opening Ceremony has introduced a capsule collection inspired by Storms work on the film, he predicts that the high-waisted mens look will start going mainstream. I think that is coming for sure, and other forward-thinking fashion people are probably just about to start heading in that direction, Storm says. If this film gives Humberto the opportunity to do a collection that people notice, it probably moves that trend forward a little bit faster.

But is that past-the-navel pant a style that Storm himself would rock? I actually own a pair of pants that we made on the film, he laughs. I took it with me. But I have to say that mine are much sleeker and a little bit more hip than Joaquin's: They've navy wool and real thin and real fitted. It feels good to wear them, but you have to be in kinda good shape, or you look ridiculous. I had been juice-cleansing when we made the movie, so I was real skinny at the time, and yeah, he laughs, they looked good.

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Why Spike Jonze’s New Film Her Might Put Men Back Into High-Waisted Pants

Futurism and glamour are inextricably linked in American history. The sleek techno-utopian futures of yesteryearthe ones filled with flying cars, jetpacks, and automatic highwayscouldn't exist without the support of this concept that's equal parts intrigue and attraction.

Virginia Postrel's new book, The Power of Glamour: Longing and the Art of Visual Persuasion, looks at glamour as a powerful force in our culture. I talked with Postrel, who writes a regular column for Bloomberg, about the role that glamour has played in shaping our expectations for the futurefrom the Futurama exhibit of the 1939 World's Fair to the Jet Age dreams of the 1960s.

I also asked Postrel about glamour in the futurism of today, and why the two concepts might feel less connected than ever. Can we embrace a glamorous future when the headlines are filled with techno-centric fears? And is there perhaps a dash of glamour mixed in with our modern concerns about tomorrow?

Gizmodo: How do you define glamour?

Postrel: I think of glamour as a form of communication, persuasion, rhetoric. What happens is you have an audience and you have an objectsomething glamorous. It could be a person, could be a place, could be an idea, could be a carand when that audience is exposed to that object a specific emotion arises, which is a sense of projection and longing.

Glamour is like humor. You get the same sort of thing in the interaction between an audience and something funny. Its just the emotion thats different. So when you see something that strikes you as glamorous, or you hear about or see something glamorous, it makes you think, If only. If only life could be like that. If only I could be there. If only I could be that person, or with that person. If only I could drive that car, fly in that spaceship, or whatever.

And there are always three elements that create that sensation: one is a promise of escape and transformation. A different, better life in different, better circumstances. The other is there is a sense of grace, effortlessness, all the flaws and difficulties are hidden. And the third is mystery. Mystery both draws you in and enhances the grace by hiding things.

Another way of thinking about glamour is to think about the origins of the word glamour. Glamour originally meant a literal magic spell that made people see something that wasnt there. It was a Scottish word. A magician would cast a glamour over peoples eyes and they would see something different. As the word became a more metaphorical concept, it always retained that sense of magic and illusion. And where the illusion lies is in the grace; in the disguising of difficulties and flaws.

Gizmodo: Why do you think Americans remember the 1920s and '30s as the Golden Age of Glamour, and what role did futurism play during this era?

Postrel: Glamour was incredibly important in the 1920s and 30sin the interwar period. We remember it as a Golden Age of Glamour partly because of the association with glamour and the movies. But glamour occurred in many different forms during that periodeverything from the first superhero comic books to streamlined design.

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The Glamour of Futurism: An Interview with Author Virginia Postrel

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