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Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[1] Cubism contributed to the formation of Italian Futurism’s artistic style.[2] Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space, Balla’s painting Abstract Speed + Sound, and Russolo’s The Art of Noises. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium 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 Futurist meals. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.[citation needed]

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,[3] 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 Saturday 20 February 1909.[4][5][6] 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.[7]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914).[8] 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.”[9]

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.[10] 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.”[11] 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.[11]

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).[12]

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 leashand the feet of the woman walking ithave 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.”[9] 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.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carr’s Woman with Absinthe (1911), Severini’s Self-Portrait (1912), and Boccioni’s Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist paintinge.g. Boccioni’s The Street Enters the House (1911), Severini’s Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo’s Automobile at Speed (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of “dynamism”. The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture[13] In 1915 Balla also turned to sculpture making abstract “reconstructions”, which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that “the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth … I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.”[14]

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carr, Ardengo Soffici (18791964) and Giovanni Papini (18811956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish “an immobile church with an infallible creed”, and each group dismissed the other as passiste.[citation needed]

Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, “We will glorify warthe world’s only hygienemilitarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”[6][15] Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913.[14] Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.[16] The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda.[17] The combat experience also influenced Futurist music.[18]

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be “heaved overboard from the steamship of modernity”. They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted. Mayakovsky committed suicide on April 14, 1930.

The Futurist architect Antonio Sant’Elia expressed his ideas of modernity in his drawings for La Citt Nuova (The New City) (19121914). This project was never built and Sant’Elia was killed in the First World War, but his ideas influenced later generations of architects and artists.[citation needed] The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant’Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state’s tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 19201940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento’s railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.[citation needed]

Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. 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 other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories was said to encourage 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.”

Luigi Russolo (18851947) wrote The Art of Noises (1913),[19][20] an influential text in 20th-century musical aesthetics. Russolo used instruments he 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. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of 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.[21] Russolo’s intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varse,[11] Stockhausen and John Cage.[citation needed] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step and in his Second Symphony.

Most notable in this respect, however, is the American George Antheil. 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.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Louri, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthses offer a form of dodecaphony, while Formes en l’air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of ‘Futurist Music’ at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper “one listened with considerable distress. Nothing so horrible as Mr Ornstein’s music has been heard so far. Sufferers from complete deafness should attend the next recital.”

The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man’s ultimate fusion with the machine. The altitude of a flying plane, the power of a car’s motor and the roaring loud sounds of complex machinery were all signs of man’s intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi(it). Trained as a classical ballerina, she is known for her “Aerodanze” and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: ” I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;… I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,… And the face had to express what the pilot felt.”[22][23]

Futurism as a literary movement made its official debut with F.T. Marinetti’s Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libert (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as ‘parole in libert’. Arnaldo Ginna’s ‘Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called ‘Synthetic’ characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.

When interviewed about her favorite film of all times,[24] famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Mnilmontant “developed a technique that suggests the movement known in painting as Futurism”.[25]

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini’s Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism’s later exaltation of existing institutions, calling them “reactionary”, and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists’ association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, “I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view.”[26] Mussolini’s mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of “degenerate art” from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism mostly became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti’s artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939.[27] This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters,[28] offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes,[29] portraits of Mussolini (e.g. Dottori’s Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.

Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Filla, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that “The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective” and that “Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything.” Crispolti identifies three main “positions” in aeropainting: “a vision of cosmic projection, at its most typical in Prampolini’s ‘cosmic idealism’ …; a ‘reverie’ of aerial fantasies sometimes verging on fairy-tale (for example in Dottori …); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi).”[30]

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero,Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism.[31][32] Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.

Nonetheless the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner.[citation needed] Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the “Tetsuo” (lit. “Ironman”) films. Futurism has produced several reactions, including the literary genre of cyberpunkin which technology was often treated with a critical eyewhilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals.[citation needed] and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.[33][34]

A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism’s focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.[35]

Futurist ideas have been discerned in Western dance music since the 1980s.[36]

Japanese Composer Ryuichi Sakamoto’s 1986 album ‘Futurista’ was inspired by the movement. It features a speech from Tommaso Marinetti in the track ‘Variety Show’.[37]

In 2009, Italian director Marco Bellocchio included Futurist art in his feature film “Vincere”.[38]

In 2014, the Solomon R. Guggenheim Museum featured the exhibition “Italian Futurism, 19091944: Reconstructing the Universe”.[39] This was the first comprehensive overview of Italian Futurism to be presented in the United States.[40]

Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir dune nuit. Published in Les Annales politiques et littraires, 1 December 1912

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, Lautobus. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, LHomme au balcon; Severini, 191213, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 191112, La Rvolte. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

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Futurism – Wikipedia

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Blockchain Futurist Conference | Aug 15-16 2018 Toronto …

Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[1] Cubism contributed to the formation of Italian Futurism’s artistic style.[2] Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space, Balla’s painting Abstract Speed + Sound, and Russolo’s The Art of Noises. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium 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 Futurist meals. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.[citation needed]

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,[3] 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 Saturday 20 February 1909.[4][5][6] 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.[7]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914).[8] 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.”[9]

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.[10] 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.”[11] 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.[11]

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).[12]

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 leashand the feet of the woman walking ithave 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.”[9] 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.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carr’s Woman with Absinthe (1911), Severini’s Self-Portrait (1912), and Boccioni’s Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist paintinge.g. Boccioni’s The Street Enters the House (1911), Severini’s Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo’s Automobile at Speed (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of “dynamism”. The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture[13] In 1915 Balla also turned to sculpture making abstract “reconstructions”, which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that “the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth … I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.”[14]

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carr, Ardengo Soffici (18791964) and Giovanni Papini (18811956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish “an immobile church with an infallible creed”, and each group dismissed the other as passiste.[citation needed]

Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, “We will glorify warthe world’s only hygienemilitarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”[6][15] Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913.[14] Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.[16] The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda.[17] The combat experience also influenced Futurist music.[18]

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be “heaved overboard from the steamship of modernity”. They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted. Mayakovsky committed suicide on April 14, 1930.

The Futurist architect Antonio Sant’Elia expressed his ideas of modernity in his drawings for La Citt Nuova (The New City) (19121914). This project was never built and Sant’Elia was killed in the First World War, but his ideas influenced later generations of architects and artists.[citation needed] The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant’Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state’s tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 19201940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento’s railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.[citation needed]

Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. 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 other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories was said to encourage 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.”

Luigi Russolo (18851947) wrote The Art of Noises (1913),[19][20] an influential text in 20th-century musical aesthetics. Russolo used instruments he 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. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of 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.[21] Russolo’s intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varse,[11] Stockhausen and John Cage.[citation needed] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step and in his Second Symphony.

Most notable in this respect, however, is the American George Antheil. 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.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Louri, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthses offer a form of dodecaphony, while Formes en l’air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of ‘Futurist Music’ at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper “one listened with considerable distress. Nothing so horrible as Mr Ornstein’s music has been heard so far. Sufferers from complete deafness should attend the next recital.”

The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man’s ultimate fusion with the machine. The altitude of a flying plane, the power of a car’s motor and the roaring loud sounds of complex machinery were all signs of man’s intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi(it). Trained as a classical ballerina, she is known for her “Aerodanze” and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: ” I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;… I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,… And the face had to express what the pilot felt.”[22][23]

Futurism as a literary movement made its official debut with F.T. Marinetti’s Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libert (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as ‘parole in libert’. Arnaldo Ginna’s ‘Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called ‘Synthetic’ characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.

When interviewed about her favorite film of all times,[24] famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Mnilmontant “developed a technique that suggests the movement known in painting as Futurism”.[25]

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini’s Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism’s later exaltation of existing institutions, calling them “reactionary”, and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists’ association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, “I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view.”[26] Mussolini’s mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of “degenerate art” from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism mostly became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti’s artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939.[27] This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters,[28] offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes,[29] portraits of Mussolini (e.g. Dottori’s Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.

Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Filla, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that “The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective” and that “Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything.” Crispolti identifies three main “positions” in aeropainting: “a vision of cosmic projection, at its most typical in Prampolini’s ‘cosmic idealism’ …; a ‘reverie’ of aerial fantasies sometimes verging on fairy-tale (for example in Dottori …); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi).”[30]

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero,Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism.[31][32] Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.

Nonetheless the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner.[citation needed] Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the “Tetsuo” (lit. “Ironman”) films. Futurism has produced several reactions, including the literary genre of cyberpunkin which technology was often treated with a critical eyewhilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals.[citation needed] and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.[33][34]

A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism’s focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.[35]

Futurist ideas have been discerned in Western dance music since the 1980s.[36]

Japanese Composer Ryuichi Sakamoto’s 1986 album ‘Futurista’ was inspired by the movement. It features a speech from Tommaso Marinetti in the track ‘Variety Show’.[37]

In 2009, Italian director Marco Bellocchio included Futurist art in his feature film “Vincere”.[38]

In 2014, the Solomon R. Guggenheim Museum featured the exhibition “Italian Futurism, 19091944: Reconstructing the Universe”.[39] This was the first comprehensive overview of Italian Futurism to be presented in the United States.[40]

Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir dune nuit. Published in Les Annales politiques et littraires, 1 December 1912

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, Lautobus. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, LHomme au balcon; Severini, 191213, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 191112, La Rvolte. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

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Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[1] Cubism contributed to the formation of Italian Futurism’s artistic style.[2] Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space, Balla’s painting Abstract Speed + Sound, and Russolo’s The Art of Noises. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium 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 Futurist meals. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.[citation needed]

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,[3] 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 Saturday 20 February 1909.[4][5][6] 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.[7]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914).[8] 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.”[9]

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.[10] 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.”[11] 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.[11]

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).[12]

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 leashand the feet of the woman walking ithave 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.”[9] 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.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carr’s Woman with Absinthe (1911), Severini’s Self-Portrait (1912), and Boccioni’s Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist paintinge.g. Boccioni’s The Street Enters the House (1911), Severini’s Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo’s Automobile at Speed (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of “dynamism”. The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture[13] In 1915 Balla also turned to sculpture making abstract “reconstructions”, which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that “the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth … I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.”[14]

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carr, Ardengo Soffici (18791964) and Giovanni Papini (18811956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish “an immobile church with an infallible creed”, and each group dismissed the other as passiste.[citation needed]

Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, “We will glorify warthe world’s only hygienemilitarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”[6][15] Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913.[14] Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.[16] The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda.[17] The combat experience also influenced Futurist music.[18]

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be “heaved overboard from the steamship of modernity”. They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted. Mayakovsky committed suicide on April 14, 1930.

The Futurist architect Antonio Sant’Elia expressed his ideas of modernity in his drawings for La Citt Nuova (The New City) (19121914). This project was never built and Sant’Elia was killed in the First World War, but his ideas influenced later generations of architects and artists.[citation needed] The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant’Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state’s tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 19201940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento’s railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.[citation needed]

Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. 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 other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories was said to encourage 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.”

Luigi Russolo (18851947) wrote The Art of Noises (1913),[19][20] an influential text in 20th-century musical aesthetics. Russolo used instruments he 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. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of 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.[21] Russolo’s intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varse,[11] Stockhausen and John Cage.[citation needed] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step and in his Second Symphony.

Most notable in this respect, however, is the American George Antheil. 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.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Louri, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthses offer a form of dodecaphony, while Formes en l’air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of ‘Futurist Music’ at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper “one listened with considerable distress. Nothing so horrible as Mr Ornstein’s music has been heard so far. Sufferers from complete deafness should attend the next recital.”

The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man’s ultimate fusion with the machine. The altitude of a flying plane, the power of a car’s motor and the roaring loud sounds of complex machinery were all signs of man’s intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi(it). Trained as a classical ballerina, she is known for her “Aerodanze” and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: ” I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;… I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,… And the face had to express what the pilot felt.”[22][23]

Futurism as a literary movement made its official debut with F.T. Marinetti’s Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libert (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as ‘parole in libert’. Arnaldo Ginna’s ‘Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called ‘Synthetic’ characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.

When interviewed about her favorite film of all times,[24] famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Mnilmontant “developed a technique that suggests the movement known in painting as Futurism”.[25]

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini’s Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism’s later exaltation of existing institutions, calling them “reactionary”, and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists’ association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, “I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view.”[26] Mussolini’s mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of “degenerate art” from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism mostly became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti’s artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939.[27] This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters,[28] offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes,[29] portraits of Mussolini (e.g. Dottori’s Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.

Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Filla, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that “The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective” and that “Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything.” Crispolti identifies three main “positions” in aeropainting: “a vision of cosmic projection, at its most typical in Prampolini’s ‘cosmic idealism’ …; a ‘reverie’ of aerial fantasies sometimes verging on fairy-tale (for example in Dottori …); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi).”[30]

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero,Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism.[31][32] Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.

Nonetheless the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner.[citation needed] Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the “Tetsuo” (lit. “Ironman”) films. Futurism has produced several reactions, including the literary genre of cyberpunkin which technology was often treated with a critical eyewhilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals.[citation needed] and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.[33][34]

A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism’s focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.[35]

Futurist ideas have been discerned in Western dance music since the 1980s.[36]

Japanese Composer Ryuichi Sakamoto’s 1986 album ‘Futurista’ was inspired by the movement. It features a speech from Tommaso Marinetti in the track ‘Variety Show’.[37]

In 2009, Italian director Marco Bellocchio included Futurist art in his feature film “Vincere”.[38]

In 2014, the Solomon R. Guggenheim Museum featured the exhibition “Italian Futurism, 19091944: Reconstructing the Universe”.[39] This was the first comprehensive overview of Italian Futurism to be presented in the United States.[40]

Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir dune nuit. Published in Les Annales politiques et littraires, 1 December 1912

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, Lautobus. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, LHomme au balcon; Severini, 191213, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 191112, La Rvolte. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

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Futurism – Wikipedia

THOMAS FREY: | Futurist Speaker Thomas Frey

Thomas Frey is the Senior Futurist at the DaVinci Institute, and Googles top rated Futurist Speaker. Unlike most speakers, Thomas works closely with his Board of Visionaries to develop original research studies. This enables him to speak on unusual topics and translate trends into unique business opportunities. This video serves as a great example of Thomass unique perspective of the future.

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THOMAS FREY: | Futurist Speaker Thomas Frey

Futuristic – definition of futuristic by The Free Dictionary

.

1. Of or relating to the future.

a. Of, characterized by, or expressing a vision of the future: futuristic decor.

b. Being ahead of the times; innovative or revolutionary: futuristic computer software.

3. Of or relating to futurism.

futuristically adv.

1. (Art Terms) denoting or relating to design, technology, etc, that is thought likely to be current or fashionable at some future time; ultramodern

2. (Art Movements) of or relating to futurism

futuristically adv

adj.

1. of or pertaining to the future.

2. ahead of the times; advanced.

3. (sometimes cap.) of or pertaining to futurism.

[191015]

fu`turistically, adv.

ThesaurusAntonymsRelated WordsSynonymsLegend:

Translations

futurisztikus

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Futuristic – definition of futuristic by The Free Dictionary

Futurism | Definition of Futurism by Merriam-Webster

Taofeek held a presentation for his brand Head of State+’s spring/summer 2019 collection, which paid homage to 70s afro-futurism styles and West African youth culture.

Presenting public programs on Thursdays and weekends, ColorLab will offer a 45-minute workshop on the science of color on Saturday and one inspired by Afro-futurism on Sunday.

His tenure was defined by an ability to maintain the house codes (skinny suits, techno-futurism, lots of black) that Slimane and Co. established.

Another vision of flying futurism the jet pack is falling behind.

The production, like all of Wests prodigious enterprises, is genre-resistanta trunk of gooey soul samples, neon futurism, winking self-aggrandizement, with flashes of sincerity.

When Tech Meets Art, futurism discussion; Cool Neon, programmable LED talk/exhibit; extended aquarium/exhibition hours; Incoming, planetarium showing; cocktails.

In Your Spirit: With Uranian New Moon energy igniting your house of futurism, this is a month for reasserting your connection to that distant spark on the horizon.

After Marinettis futurism became Mussolinis fascism, the Italian economy all but collapsed.

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Futurism | Definition of Futurism by Merriam-Webster

Cyberpunk – Wikipedia

Cyberpunk is a subgenre of science fiction in a futuristic setting that tends to focus on a “combination of lowlife and high tech”[1] featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order.[2]

Much of cyberpunk is rooted in the New Wave science fiction movement of the 1960s and 70s, when writers like Philip K. Dick, Roger Zelazny, J. G. Ballard, Philip Jos Farmer and Harlan Ellison examined the impact of drug culture, technology and the sexual revolution while avoiding the utopian tendencies of earlier science fiction. Released in 1984, William Gibson’s influential debut novel Neuromancer would help solidify cyberpunk as a genre, drawing influence from punk subculture and early hacker culture. Other influential cyberpunk writers included Bruce Sterling and Rudy Rucker.

Early films in the genre include Ridley Scott’s 1982 film Blade Runner, one of several of Philip K. Dick’s works that have been adapted into films. The films Johnny Mnemonic[3] and New Rose Hotel,[4][5] both based upon short stories by William Gibson, flopped commercially and critically. More recent additions to this genre of filmmaking include the 2017 release of Blade Runner 2049, sequel to the original 1982 film, and the 2018 Netflix TV series Altered Carbon.

Lawrence Person has attempted to define the content and ethos of the cyberpunk literary movement stating:

Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.

Cyberpunk plots often center on conflict among artificial intelligences, hackers, and megacorporations, and tend to be set in a near-future Earth, rather than in the far-future settings or galactic vistas found in novels such as Isaac Asimov’s Foundation or Frank Herbert’s Dune.[7] The settings are usually post-industrial dystopias but tend to feature extraordinary cultural ferment and the use of technology in ways never anticipated by its original inventors (“the street finds its own uses for things”).[8] Much of the genre’s atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction.[9]

The origins of cyberpunk are rooted in the New Wave science fiction movement of the 1960s and 70s, where New Worlds, under the editorship of Michael Moorcock, began inviting and encouraging stories that examined new writing styles, techniques, and archetypes. Reacting to conventional storytelling, New Wave authors attempted to present a world where society coped with a constant upheaval of new technology and culture, generally with dystopian outcomes. Writers like Roger Zelazny, J.G. Ballard, Philip Jose Farmer, and Harlan Ellison often examined the impact of drug culture, technology, and the sexual revolution with an avant-garde style influenced by the Beat Generation (especially William S. Burroughs’ own SF), dadaism, and their own ideas.[10] Ballard attacked the idea that stories should follow the “archetypes” popular since the time of Ancient Greece, and the assumption that these would somehow be the same ones that would call to modern readers, as Joseph Campbell argued in The Hero with a Thousand Faces. Instead, Ballard wanted to write a new myth for the modern reader, a style with “more psycho-literary ideas, more meta-biological and meta-chemical concepts, private time systems, synthetic psychologies and space-times, more of the sombre half-worlds one glimpses in the paintings of schizophrenics.”[11]

This had a profound influence on a new generation of writers, some of whom would come to call their movement “Cyberpunk”. One, Bruce Sterling, later said:

Ballard, Zelazny, and the rest of New Wave was seen by the subsequent generation as delivering more “realism” to science fiction, and they attempted to build on this.

Similarly influential, and generally cited as proto-cyberpunk, is the Philip K. Dick novel Do Androids Dream of Electric Sheep, first published in 1968. Presenting precisely the general feeling of dystopian post-economic-apocalyptic future as Gibson and Sterling later deliver, it examines ethical and moral problems with cybernetic, artificial intelligence in a way more “realist” than the Isaac Asimov Robot series that laid its philosophical foundation. This novel was made into the seminal movie Blade Runner, released in 1982. This was one year after another story, “Johnny Mnemonic” helped move proto-cyberpunk concepts into the mainstream. This story, which also became a film years later, involves another dystopian future, where human couriers deliver computer data, stored cybernetically in their own minds.

In 1983 a short story written by Bruce Bethke, called Cyberpunk, was published in Amazing Stories. The term was picked up by Gardner Dozois, editor of Isaac Asimov’s Science Fiction Magazine and popularized in his editorials. Bethke says he made two lists of words, one for technology, one for troublemakers, and experimented with combining them variously into compound words, consciously attempting to coin a term that encompassed both punk attitudes and high technology.

He described the idea thus:

Afterward, Dozois began using this term in his own writing, most notably in a Washington Post article where he said “About the closest thing here to a self-willed esthetic school would be the purveyors of bizarre hard-edged, high-tech stuff, who have on occasion been referred to as cyberpunks Sterling, Gibson, Shiner, Cadigan, Bear.”[14]

About that time, William Gibson’s novel Neuromancer was published, delivering a glimpse of a future encompassed by what became an archetype of cyberpunk “virtual reality”, with the human mind being fed light-based worldscapes through a computer interface. Some, perhaps ironically including Bethke himself, argued at the time that the writers whose style Gibson’s books epitomized should be called “Neuromantics”, a pun on the name of the novel plus “New Romantics”, a term used for a New Wave pop music movement that had just occurred in Britain, but this term did not catch on. Bethke later paraphrased Michael Swanwick’s argument for the term: “the movement writers should properly be termed neuromantics, since so much of what they were doing was clearly Imitation Neuromancer”.

Sterling was another writer who played a central role, often consciously, in the cyberpunk genre, variously seen as keeping it on track, or distorting its natural path into a stagnant formula.[15] In 1986 he edited a volume of cyberpunk stories called Mirrorshades: The Cyberpunk Anthology, an attempt to establish what cyberpunk was, from Sterling’s perspective.[16]

In the subsequent decade, the motifs of Gibson’s Neuromancer became formulaic, climaxing in the satirical extremes of Neal Stephenson’s Snow Crash in 1992.

Bookending the Cyberpunk era, Bethke himself published a novel in 1995 called Headcrash: like Snow Crash a satirical attack on the genre’s excesses. It won the key cyberpunk honor named after its spiritual founder, the Philip K. Dick Award.

It satirized the genre in this way:

The impact of cyberpunk, though, has been long-lasting. Elements of both the setting and storytelling have become normal in science fiction in general, and a slew of sub-genres now have -punk tacked onto their names, most obviously Steampunk, but also a host of other Cyberpunk derivatives.

Primary figures in the cyberpunk movement include William Gibson, Neal Stephenson, Bruce Sterling, Bruce Bethke, Pat Cadigan, Rudy Rucker, and John Shirley. Philip K. Dick (author of Do Androids Dream of Electric Sheep?, from which the film Blade Runner was adapted) is also seen by some as prefiguring the movement.[18]

Blade Runner can be seen as a quintessential example of the cyberpunk style and theme.[7] Video games, board games, and tabletop role-playing games, such as Cyberpunk 2020 and Shadowrun, often feature storylines that are heavily influenced by cyberpunk writing and movies. Beginning in the early 1990s, some trends in fashion and music were also labeled as cyberpunk. Cyberpunk is also featured prominently in anime and manga:[19] Akira, Gunnm, Ghost in the Shell, Cowboy Bebop, Serial Experiments Lain, Dennou Coil, Ergo Proxy and Psycho Pass being among the most notable.[19]

Cyberpunk writers tend to use elements from hardboiled detective fiction, film noir, and postmodernist prose to describe an often nihilistic underground side of an electronic society. The genre’s vision of a troubled future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s. Gibson defined cyberpunk’s antipathy towards utopian SF in his 1981 short story “The Gernsback Continuum,” which pokes fun at and, to a certain extent, condemns utopian science fiction.[22][23][24]

In some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the line between actual and virtual reality.[25] A typical trope in such work is a direct connection between the human brain and computer systems. Cyberpunk settings are dystopias with corruption, computers and internet connectivity. Giant, multinational corporations have for the most part replaced governments as centers of political, economic, and even military power.

The economic and technological state of Japan is a regular theme in the Cyberpunk literature of the ’80s. Of Japan’s influence on the genre, William Gibson said, “Modern Japan simply was cyberpunk.”[21] Cyberpunk is often set in urbanized, artificial landscapes, and “city lights, receding” was used by Gibson as one of the genre’s first metaphors for cyberspace and virtual reality.[26] The cityscapes of Hong Kong[27] and Shanghai[28] have had major influences in the urban backgrounds, ambiance and settings in many cyberpunk works such as Blade Runner and Shadowrun. Ridley Scott envisioned the landscape of cyberpunk Los Angeles in Blade Runner to be “Hong Kong on a very bad day”.[29] The streetscapes of Ghost in the Shell were based on Hong Kong. Its director Mamoru Oshii felt that Hong Kong’s strange and chaotic streets where “old and new exist in confusing relationships”, fit the theme of the film well.[27] Hong Kong’s Kowloon Walled City is particularly notable for its disorganized hyper-urbanization and breakdown in traditional urban planning to be an inspiration to cyberpunk landscapes.

One of the cyberpunk genre’s prototype characters is Case, from Gibson’s Neuromancer.[30] Case is a “console cowboy,” a brilliant hacker who has betrayed his organized criminal partners. Robbed of his talent through a crippling injury inflicted by the vengeful partners, Case unexpectedly receives a once-in-a-lifetime opportunity to be healed by expert medical care but only if he participates in another criminal enterprise with a new crew.

Like Case, many cyberpunk protagonists are manipulated, placed in situations where they have little or no choice, and although they might see things through, they do not necessarily come out any further ahead than they previously were. These anti-heroes”criminals, outcasts, visionaries, dissenters and misfits”[31]call to mind the private eye of detective fiction. This emphasis on the misfits and the malcontents is the “punk” component of cyberpunk.

Cyberpunk can be intended to disquiet readers and call them to action. It often expresses a sense of rebellion, suggesting that one could describe it as a type of culture revolution in science fiction. In the words of author and critic David Brin:

…a closer look [at cyberpunk authors] reveals that they nearly always portray future societies in which governments have become wimpy and pathetic …Popular science fiction tales by Gibson, Williams, Cadigan and others do depict Orwellian accumulations of power in the next century, but nearly always clutched in the secretive hands of a wealthy or corporate elite.[32]

Cyberpunk stories have also been seen as fictional forecasts of the evolution of the Internet. The earliest descriptions of a global communications network came long before the World Wide Web entered popular awareness, though not before traditional science-fiction writers such as Arthur C. Clarke and some social commentators such as James Burke began predicting that such networks would eventually form.[33]

Minnesota writer Bruce Bethke coined the term in 1980 for his short story “Cyberpunk,” which was published in the November 1983 issue of Amazing Science Fiction Stories.[34] The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, Pat Cadigan and others. Of these, Sterling became the movement’s chief ideologue, thanks to his fanzine Cheap Truth. John Shirley wrote articles on Sterling and Rucker’s significance.[35] John Brunner’s 1975 novel The Shockwave Rider is considered by many[who?] to be the first cyberpunk novel with many of the tropes commonly associated with the genre, some five years before the term was popularized by Dozois.[36]

William Gibson with his novel Neuromancer (1984) is arguably the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as “the archetypal cyberpunk work,”[6] Neuromancer was awarded the Hugo, Nebula, and Philip K. Dick Awards. Count Zero (1986) and Mona Lisa Overdrive (1988) followed after Gibson’s popular debut novel. According to the Jargon File, “Gibson’s near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly nave and tremendously stimulating.”[37]

Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality.[38] Shortly thereafter, however, some critics arose to challenge its status as a revolutionary movement. These critics said that the SF New Wave of the 1960s was much more innovative as far as narrative techniques and styles were concerned.[39] Furthermore, while Neuromancer’s narrator may have had an unusual “voice” for science fiction, much older examples can be found: Gibson’s narrative voice, for example, resembles that of an updated Raymond Chandler, as in his novel The Big Sleep (1939).[38] Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers’ worksoften citing J. G. Ballard, Philip K. Dick, Harlan Ellison, Stanisaw Lem, Samuel R. Delany, and even William S. Burroughs.[38] For example, Philip K. Dick’s works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities.[40] The influential cyberpunk movie Blade Runner (1982) is based on his book, Do Androids Dream of Electric Sheep?.[41] Humans linked to machines are found in Pohl and Kornbluth’s Wolfbane (1959) and Roger Zelazny’s Creatures of Light and Darkness (1968).[citation needed]

In 1994, scholar Brian Stonehill suggested that Thomas Pynchon’s 1973 novel Gravity’s Rainbow “not only curses but precurses what we now glibly dub cyberspace.”[42] Other important predecessors include Alfred Bester’s two most celebrated novels, The Demolished Man and The Stars My Destination,[43] as well as Vernor Vinge’s novella True Names.[44]

Science-fiction writer David Brin describes cyberpunk as “the finest free promotion campaign ever waged on behalf of science fiction.” It may not have attracted the “real punks,” but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to Hollywood and to the visual arts generally. Although the “self-important rhetoric and whines of persecution” on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the “rebels did shake things up. We owe them a debt.”[45]

Fredric Jameson considers cyberpunk the “supreme literary expression if not of postmodernism, then of late capitalism itself”.[46]

Cyberpunk further inspired many professional writers who were not among the “original” cyberpunks to incorporate cyberpunk ideas into their own works,[citation needed] such as George Alec Effinger’s When Gravity Fails. Wired magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today’s cyberpunk fans, which Paula Yoo claims “proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world.”[47]

The film Blade Runner (1982)adapted from Philip K. Dick’s Do Androids Dream of Electric Sheep?is set in 2019 in a dystopian future in which manufactured beings called replicants are slaves used on space colonies and are legal prey on Earth to various bounty hunters who “retire” (kill) them. Although Blade Runner was largely unsuccessful in its first theatrical release, it found a viewership in the home video market and became a cult film.[48] Since the movie omits the religious and mythical elements of Dick’s original novel (e.g. empathy boxes and Wilbur Mercer), it falls more strictly within the cyberpunk genre than the novel does. William Gibson would later reveal that upon first viewing the film, he was surprised at how the look of this film matched his vision when he was working on Neuromancer. The film’s tone has since been the staple of many cyberpunk movies, such as The Matrix trilogy (1999-2003), which uses a wide variety of cyberpunk elements.

The number of films in the genre or at least using a few genre elements has grown steadily since Blade Runner. Several of Philip K. Dick’s works have been adapted to the silver screen. The films Johnny Mnemonic[3] and New Rose Hotel,[4][5] both based upon short stories by William Gibson, flopped commercially and critically. These box offices misses significantly slowed the development of cyberpunk as a literary or cultural form although a sequel to the 1982 film Blade Runner was released in October 2017 with Harrison Ford reprising his role from the original film.

In addition, “tech-noir” film as a hybrid genre, means a work of combining neo-noir and science fiction or cyberpunk. It includes many cyberpunk films such as Blade Runner, Burst City,[49] Robocop, 12 Monkeys, The Lawnmower Man, Hackers, Hardware, and Strange Days.

Cyberpunk themes are widely visible in anime and manga. In Japan, where cosplay is popular and not only teenagers display such fashion styles, cyberpunk has been accepted and its influence is widespread. William Gibson’s Neuromancer, whose influence dominated the early cyberpunk movement, was also set in Chiba, one of Japan’s largest industrial areas, although at the time of writing the novel Gibson did not know the location of Chiba and had no idea how perfectly it fit his vision in some ways. The exposure to cyberpunk ideas and fiction in the mid 1980s has allowed it to seep into the Japanese culture.

Cyberpunk anime and manga draw upon a futuristic vision which has elements in common with western science fiction and therefore have received wide international acceptance outside Japan. “The conceptualization involved in cyberpunk is more of forging ahead, looking at the new global culture. It is a culture that does not exist right now, so the Japanese concept of a cyberpunk future, seems just as valid as a Western one, especially as Western cyberpunk often incorporates many Japanese elements.”[50] William Gibson is now a frequent visitor to Japan, and he came to see that many of his visions of Japan have become a reality:

Modern Japan simply was cyberpunk. The Japanese themselves knew it and delighted in it. I remember my first glimpse of Shibuya, when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-sunsall that towering, animated crawl of commercial informationsaid, “You see? You see? It is Blade Runner town.” And it was. It so evidently was.[21]

Cyberpunk has influenced many anime and manga including the ground-breaking Akira, Appleseed, Ghost in the Shell, Ergo Proxy, Battle Angel Alita, Megazone 23, Neo Tokyo, Goku Midnight Eye, Cyber City Oedo 808, Bubblegum Crisis, A.D. Police: Dead End City, Angel Cop, Extra, Blame!, Armitage III, Texhnolyze, Serial Experiments Lain, Neon Genesis Evangelion and Psycho-Pass.

There are many cyberpunk video games. Popular series include the Megami Tensei series, Deus Ex series, Syndicate series, and System Shock and its sequel. Other games, like Blade Runner, Ghost in the Shell, and the Matrix series, are based upon genre movies, or role-playing games (for instance the various Shadowrun games).

Several RPGs called Cyberpunk exist: Cyberpunk, Cyberpunk 2020 and Cyberpunk v3, by R. Talsorian Games, and GURPS Cyberpunk, published by Steve Jackson Games as a module of the GURPS family of RPGs. Cyberpunk 2020 was designed with the settings of William Gibson’s writings in mind, and to some extent with his approval[citation needed], unlike the approach taken by FASA in producing the transgenre Shadowrun game. Both are set in the near future, in a world where cybernetics are prominent. In addition, Iron Crown Enterprises released an RPG named Cyberspace, which was out of print for several years until recently being re-released in online PDF form. CD Projekt Red is currently developing Cyberpunk 2077, a cyberpunk first-person open world RPG video-game based on the tabletop RPG Cyberpunk 2020[51][52][53].In 1990, in a convergence of cyberpunk art and reality, the United States Secret Service raided Steve Jackson Games’s headquarters and confiscated all their computers. Officials denied that the target had been the GURPS Cyberpunk sourcebook, but Jackson would later write that he and his colleagues “were never able to secure the return of the complete manuscript; […] The Secret Service at first flatly refused to return anything then agreed to let us copy files, but when we got to their office, restricted us to one set of out-of-date files then agreed to make copies for us, but said “tomorrow” every day from March 4 to March 26. On March 26 we received a set of disks which purported to be our files, but the material was late, incomplete and well-nigh useless.”[54] Steve Jackson Games won a lawsuit against the Secret Service, aided by the new Electronic Frontier Foundation. This event has achieved a sort of notoriety, which has extended to the book itself as well. All published editions of GURPS Cyberpunk have a tagline on the front cover, which reads “The book that was seized by the U.S. Secret Service!” Inside, the book provides a summary of the raid and its aftermath.

Cyberpunk has also inspired several tabletop, miniature and board games such as Necromunda by Games Workshop. Netrunner is a collectible card game introduced in 1996, based on the Cyberpunk 2020 role-playing game. Tokyo NOVA, debuting in 1993, is a cyberpunk role-playing game that uses playing cards instead of dice.

Julie Romandetta[55]

Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content. Often dealing with dystopian visions of the future or biomechanical themes, some fit more squarely in the category than others. Bands whose music has been classified as cyberpunk include Psydoll, Front Line Assembly, Clock DVA and Sigue Sigue Sputnik. Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes. Albums such as Gary Numan’s Replicas, The Pleasure Principle and Telekon were heavily inspired by the works of Philip K. Dick. Kraftwerk’s The Man-Machine and Computer World albums both explored the theme of humanity becoming dependent on technology. Nine Inch Nails’ concept album Year Zero also fits into this category. Fear Factory concept albums are heavily based upon future dystopia, cybernetics, clash between man and machines, virtual worlds. Billy Idol’s Cyberpunk drew heavily from cyberpunk literature and the cyberdelic counter culture in its creation. 1. Outside, a cyberpunk narrative fueled concept album by David Bowie, was warmly met by critics upon its release in 1995. Many musicians have also taken inspiration from specific cyberpunk works or authors, including Sonic Youth, whose albums Sister and Daydream Nation take influence from the works of Philip K. Dick and William Gibson respectively.

Vaporwave and Synthwave are also influenced by cyberpunk. The former has been interpreted as a dystopian[56] critique of capitalism[57] in the vein of cyberpunk and the latter as a nostalgic retrofuturistic revival of aspects of cyberpunk’s origins.

Some Neo-Futurism artworks and cityscapes have been influenced by cyberpunk, such as[21] the Sony Center in the Potsdamer Platz public square of Berlin, Germany.[58]

Several subcultures have been inspired by cyberpunk fiction. These include the cyberdelic counter culture of the late 1980s and early 90s. Cyberdelic, whose adherents referred to themselves as “cyberpunks”, attempted to blend the psychedelic art and drug movement with the technology of cyberculture. Early adherents included Timothy Leary, Mark Frauenfelder and R. U. Sirius. The movement largely faded following the dot-com bubble implosion of 2000.

Cybergoth is a fashion and dance subculture which draws its inspiration from cyberpunk fiction, as well as rave and Gothic subcultures. In addition, a distinct cyberpunk fashion of its own has emerged in recent years[when?] which rejects the raver and goth influences of cybergoth, and draws inspiration from urban street fashion, “post apocalypse”, functional clothing, high tech sports wear, tactical uniform and multifunction. This fashion goes by names like “tech wear”, “goth ninja” or “tech ninja”. Important designers in this type of fashion[according to whom?] are ACRONYM, Demobaza,[59] Boris Bidjan Saberi, Rick Owens and Alexander Wang.

The Kowloon Walled City in Hong Kong (demolished in 1994) is often referenced as the model cyberpunk/dystopian slum as, given its poor living conditions at the time coupled with the city’s political, physical, and economic isolation has caused many in academia to be fascinated by the ingenuity of its spawning.[60]

As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, some of which could be considered as playing off the cyberpunk label, others which could be considered as legitimate explorations into newer territory. These focused on technology and its social effects in different ways. One prominent subgenre is “steampunk,” which is set in an alternate history Victorian era that combines anachronistic technology with cyberpunk’s bleak film noir world view. The term was originally coined around 1987 as a joke to describe some of the novels of Tim Powers, James P. Blaylock, and K.W. Jeter, but by the time Gibson and Sterling entered the subgenre with their collaborative novel The Difference Engine the term was being used earnestly as well.[61]

Another subgenre is “biopunk” (cyberpunk themes dominated by biotechnology) from the early 1990s, a derivative style building on biotechnology rather than informational technology. In these stories, people are changed in some way not by mechanical means, but by genetic manipulation. Paul Di Filippo is seen as the most prominent biopunk writer, including his half-serious ribofunk. Bruce Sterling’s Shaper/Mechanist cycle is also seen as a major influence. In addition, some people consider works such as Neal Stephenson’s The Diamond Age to be postcyberpunk.

Cyberpunk works have been described as well-situated within postmodern literature.[62]

Role playing game publisher R. Talsorian Games, owner of the Cyberpunk 2020 franchise, trademarked the word “Cyberpunk” in the United States in 2012.[63] Video game developer CD Projekt, which is developing Cyberpunk 2077, bought the U.S. trademark from R. Talsorian Games, and has filed a trademark in the European Union.[64][65]

Read more here:

Cyberpunk – Wikipedia

Best Cyberpunk Books | BestScienceFictionBooks.com

So here we have a sub-genre of science fiction that has a cool name, because of which its authors dress in leather jackets and wear mirror shades – at least according to one well known scion of the craft – Neal Stephenson. But what – aside from an excuse to wear cool shades – is Cyberpunk?

Well basically Cyberpunk is all about dystopian, networked, future earth type societies. The technological focus is usually on computing, genetics and artificial or virtual intelligences, primarily. Oh and corporations. Usually big ones. Sub-sub genres (have we all gone mad?) include Steampunk – the same thing with Victorian overtones, and Biopunk – the same thing focused on genetic engineering and such. Additionally, books written after 1993 have a nasty habit of being called Post Cyberpunk.

Cyberpunk Derrivates — “The Punks”

Post-Cyberpunk – which is cyberpunk, but all grown up, after the teenage hormones and depressions have dissipated some – leaving the genre feeling a little more respectable. Then there’s Dieselpunk – sometimes referred to as ‘gritty Steampunk’

Decopunk – Dieselpunk made all shiny and modernistic, like the Art Deco art styles of the 1920’s to 1950’s

Nanopunk – the new kid on the block, still deciding what kind of a creature he’s going to be – but focussed on nanotechnology at the expense of biotechnology so far; Stonepunk – sic. The Flintstones (fancy stone age tech)

Clockpunk – concerned with clockwork mechanisms, likes to live in the renaissance period;

Teslapunk – alternate history where we got stuck at electricity, never going so far as to try anything else, and got really good at it (traces family line back to 18th, 19th and early 20th century imaginings of what electricity would do)

Atompunk – which would pretty much be Superman’s pre-digital world in DC Comics (think: cold war, Sputnik, Space and arms races, superheroes, Dick Tracy);

Elfpunk – what elves and other folklorish creatures would be like if they managed to survive to inhabit our current or future world

Mythpunk – same as Elfpunk, but rooted in ancient myth (Hercules, the Valkyries – that sort of thing)

Nowpunk – which is a word invented by Bruce Stirling to describe one of his books. I really have no idea why it has stuck around, but you can go look it up for yourself – http://en.wikipedia.org/wiki/Nowpunk#Nowpunk.

I think it means Cyberpunk set – well – like now. I guess the movie ‘hackers’ would be an example here.

It should be noted (for those new to this) that the term ‘Cyberpunk’ is derivative of the term ‘cyberspace’, not ‘cyborg’. Cyborgs do occasionally appear in cyberpunk novels, as do other forms of synthetic life, and the synthesis of biological life with technology is a recurring theme, but the focus of cyberpunk is more on information technologies: networks, computers, being able to plug oneself directly into virtual environments by whatever means – that sort of thing. An example would be the ‘Tron’ movies. Both of them. Most of the action is contained within a virtual environment Another popular example of cyberpunk is the ‘Matrix’ series of movies. Technically most of the movies took place in cyberspace, not out in the ‘real’ world. I still think that ‘the matrix’ establishes a great premise for arguing in favour of existentialism – but that’s for another time.

Finally: a quote that may help clarify things: “Cyberpunk literature, in general, deals with marginalized people in technologically-enhanced cultural ‘systems’. In cyberpunk stories’ settings, there is usually a ‘system’ which dominates the lives of most ‘ordinary’ people, be it an oppressive government, a group of large, paternalistic corporations, or a fundamentalist religion. These systems are enhanced by certain technologies (today advancing at a rate that is bewildering to most people), particularly ‘information technology’ (computers, the mass media), making the system better at keeping those within it inside it. Often this technological system extends into its human ‘components’ as well, via brain implants, prosthetic limbs, cloned or genetically engineered organs, etc. Humans themselves become part of ‘the Machine’. This is the ‘cyber’ aspect of cyberpunk. However, in any cultural system, there are always those who live on its margins, on ‘the Edge’: criminals, outcasts, visionaries, or those who simply want freedom for its own sake. Cyberpunk literature focuses on these people, and often on how they turn the system’s technological tools to their own ends. This is the ‘punk’ aspect of cyberpunk.” Erich Schneider of ‘The Cyberpunk Project’.

So without further ado: the top 25 best Cyberpunk (and derivative otherpunk) novels – arranged from best to less so.

You can view the crowd-ranked version of this list and vote on the entries at the bottom of this page.

Excerpt from:

Best Cyberpunk Books | BestScienceFictionBooks.com

Cyberpunk 2020 – Wikipedia

Cyberpunk, mainly known by its second edition title Cyberpunk 2020, is a cyberpunk role-playing game written by Mike Pondsmith and published by R. Talsorian Games in 1988. Because of the release in 1990 of the second edition, set in a fictional 2020, the first edition is often now referred to as Cyberpunk 2013, following the fictional year, 2013, in which the game was set when it was first released in 1988. The third edition, published by R. Talsorian Games in 2005, is referred to as Cyberpunk V3.0 and is set further along the same fictional timeline as the former editions, during the 2030s.

This role-playing game is inspired by the novel Hardwired by Walter Jon Williams, who helped playtest the game. Hardwired, in turn, was written as a homage to Roger Zelazny’s Damnation Alley. The game includes a number of elements now associated with the 1980s,[citation needed] such as the idea of style over substance and glam rock.

The game tends to emphasize some aspects of the source material more than others. Much of the focus of the game is paid to combat, high-tech weaponry and cybernetic modification; however, performance-enhancing and recreational drug use is either played down or discouraged. Although artificial intelligence, genetic engineering, and cloning are barely mentioned in the core rulebook they are reintroduced in later add-ons such as the chromebook manuals.

The range of characters players can adopt is diverse, ranging from hardwired mercenaries with psycholinked weapons and boosted reflexes, to Armani-wearing corporate mega-yuppies who make and break national economies with the stroke of a pen.

Cyberpunk 2020 is the second edition of the original game, Cyberpunk 2013, often just called “Cyberpunk.” It was originally published as a boxed set in 1988, and R. Talsorian released a few supplements for this edition, including Rockerboy, Solo of Fortune, and Hardwired, the latter based on the Walter Jon Williams novel of the same name. Another supplement was Near Orbit (made obsolete by Deep Space in Cyberpunk 2020)

The second edition featured rules updates and changes, and additionally moved the timeline forward by 7 years, to 2020. The game’s timeline was also retconned to accommodate the German reunification in 1990.

The basic rules system of Cyberpunk 2020 (called the Interlock System) is skill-based instead of level-based, with players being awarded points to be spent on their skill sets. New skills outside their expertise can be learned but in-game time needs to be spent on this. A large part of the system is the player characters’ ability to augment themselves with cyber-technology and the ensuing loss of humanity as they become more machine than man.

Cyberpunk 2020 claims to lend itself to play in the street level, dark film noir genre, but certain aspects of the basic system can influence game sessions toward a high body-count, 1980s action movie style.

Although each player must choose a character class or “role” from those given in the basic rules, there is enough variation in the skill system so that no two members of the same class are alike. Because Cyberpunk 2020 is skill-based, the choice of skills around the class-specific special ability allows a wide range of character development choices including non-combatants.

The combat system, called “Friday Night Firefight”, emphasizes lethality. Several pages in the rules are devoted to discussing real combat vs. the illusions often seen on TV. Attempts are made to keep the combat as realistic as possible in a game setting. No matter who the character is, a single bullet can result in a lethal wound. This encourages a more tactically oriented and thought-out game play, which is in accordance to the rough-and-gritty ethos of the Cyberpunk genre. Also, the amount of damage a character can sustain does not increase as the character develops. The only way a character can become more damage resistant is to either become better at not being hit, physically augment their body with muscle (trained or implanted) or cybernetics, or wear armor.

Cyberpunk 2020, as the name implies, takes place in the year 2020. The game’s default setting is the fictional Night City, a city of five million people on the west coast of the United States located between Los Angeles and San Francisco. It is described as being near San Jose but the map puts it closer to Monterey. Later supplements to the game have contained information about the rest of the US and the world.

Following a vast socio-economical collapse and a period of martial law, the United States government has had to rely on several megacorporations to survive. This has given them a veritable carte blanche to operate as they will.

The Cyberpunk 2020 equivalent of character classes are roles, of which the main rulebook contains 9, and later supplements have expanded the number considerably. Each role has a special ability which gives a character a unique edge.

The game’s backstory had a series of powerful characters that influenced the world of Cyberpunk.

Firestorm was supposed to be the bridge between Cyberpunk 2020 (the 2nd edition rules and milieu) and Cyberpunk V.3 (the 3rd Edition rules and milieu). Its purpose was to shake up everything and get players prepared for the new background they were cooking up.

Set in 2023, the backstory has two deep-ocean-based megacorporations dueling for control over a third one (the period known as the “Ocean War”). When it escalates into open warfare, they each hire mercenaries. One hires the Japanese diversified technology and security services firm Arasaka and the other hires the American military technology and mercenary services firm Militech.

During the conflict, the long-standing bitter rivalry between Arasaka and Militech causes them to forget about their customers and go for each other. In the beginning they feud quietly (the phase called the “Shadow War”). But the covert war between the two heats up, becoming the Fourth Corporate War.

In the course of the adventure setting, the characters are hired to hunt down a pesky netrunner who is making their anonymous employer unhappy. Little do they realize that the hacker is the infamous (and already “dead”) Rache Bartmoss. Regardless of what they do, their employer pinpoints the apartment with an orbital mass-driver and vaporizes it.

Set in 2024, the second part of the Firestorm series sees Arasaka mobilize the Japanese Defense Force to take on Militech and the American military in a series of “proxy conflicts” (the phase dubbed the “Hot War”).

Waves of cyberviruses corrupt databases worldwide, leaving the isolated Arasaka Towers arcology in Night City the last viable data storage mainframe in the world.

Militech gathers together the surviving meta-characters and a Special Forces team played by the player characters into a “super team”. Their job: to take out Arasaka’s Night City arcology with a tactical nuke to deny its assets to Arasaka.

Then they find out that Alt Cunningham, who was captured by Arasaka earlier, is trapped inside the mainframe. Of course, Johnny won’t let Alt die a second time, so the team tries to break her out.

The end result is that the meta-characters go out in a blaze of glory. Johnny Silverhand dies at the hands of Arasaka’s cyborg assassin Adam Smasher in order to buy Spider Murphy enough time to break Alt into a series of datapackets and downloads her into the Net. Morgan Blackhand then takes on Adam Smasher atop Arasaka Towers while the rest of the team gets extracted out. The outcome of the duel is greatly disputed because the low-yield tactical nuke the team deployed sets off the 2-kiloton “self destruct” bomb Arasaka had placed in its data core. This destroyed much of downtown Night City and contaminated the ruins and anything downwind of it with lethal fallout.

The long-awaited third volume, Aftershock promised to tie all the loose ends together and herald the end of the old Cyberpunk 2020 (or “Cyberpunk V.2”) game world and usher in the beginning of the new Cyberpunk 2030 (or “Cyberpunk V.3”) game world. It was later cancelled and its material was folded into the Cyberpunk 203X rules book.

Cybergeneration takes place in an alternate future of the core Cyberpunk 2020 timeline, where a nanotech virus epidemic has resulted in a subgroup of teenagers with unusual, superhuman skills. It began as a supplement that still required the Cyberpunk 2020 rulebook, but the second edition became a standalone game.

Ever since the 1998 release of the Cyberpunk 2020 sourcebook Firestorm: Shockwave, fans of the game had been waiting for a third edition of the Cyberpunk game, known as Cyberpunk 203X. Over the years, the entire project had at times been discounted as vaporware, its delays due to other projects and Pondsmith’s involvement in the development of The Matrix Online.[citation needed]

The game was released first in PDF form on December 17, 2005 and as a conventional book on January 15, 2006.

The setting has been heavily updated from its last event book series, Firestorm, which covered the opening of the Fourth Corporate War. The aftermath of the Fourth Corporate War has resulted in widespread corruption of the Net and major losses of hardcopied data, to the point that all data is intangible and recent recorded history is in doubt. An example that pops up in Pondsmith’s demos at conventions, releases on the Internet, and in the finished game is that history has become so corrupted that many people in the world now believe Richard Nixon, instead of resigning over Watergate, committed suicide on camera and that memes such as the moon landing being hoaxed become prevalent.

The war has also led to the collapse of nations, the world economy, and many of the staple megacorporations. This civil upheaval leads to the rise of the “altcults”, alternative cultures similar in vein to the “phyles” from Neal Stephenson’s The Diamond Age. In fact, Cyberpunk V.3 has more to do with the new postcyberpunk literary movement and transhumanism than with the Gibson-Sterling mirrorshades movement.

In addition to rules changes to the Fuzion system and background, Cyberpunk V.3 also uses concepts taken from Pondsmith’s experience at Microsoft with computer and video games as well as corporate culture, such as a simpler character generation system using templates, web-based active content URL links for updates, and making groups, organizations, and corporations their own “characters”.

In addition, there is also the Fallen Angels, space-bound scavengers, the Ghosts, people who have uploaded their minds, and the Neo-Corps, the surviving corporations of the Cyberpunk 2020 world that are now organized in the form of organized crime syndicates. However, the six listed above are the only ones that have been mentioned in deep detail.

Two Cyberpunk 2020 novels have been published, both written by Stephen Billias:

Two different, independent collectible card games have been licensed and produced based on the Cyberpunk setting. The first, called Netrunner, was designed by Richard Garfield, and released by Wizards of the Coast in 1996 (the game has since been re-released as Android:_Netrunner but is no longer associated with the fictional Cyberpunk universe). The second was called Cyberpunk CCG, released in 2003, designed by Peter Wacks and published by Social Games.

Cyberpunk was ranked 10th in the 1996 reader poll of Arcane magazine to determine the 50 most popular roleplaying games of all time. The UK magazine’s editor Paul Pettengale commented: “Cyberpunk was the first of the ‘straight’ cyberpunk RPGs, and is still the best. The difference between cyberpunk and other sci-fi is a matter of style and attitude. Everything about the Cyberpunk game, from the background to the rules system, is designed to create this vital atmosphere. Cyberpunk is set in an unforgiving world where betrayal and double-crosses are common, trust is hard to find and paranoia is a useful survival trait.”[4]

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Cyberpunk 2020 – Wikipedia

Futurist – Wikipedia

Futurists or futurologists are scientists and social scientists whose specialty is futurology or the attempt to systematically explore predictions and possibilities about the future and how they can emerge from the present, whether that of human society in particular or of life on Earth in general.

The term “futurist” most commonly refers to people who attempt to predict the future (sometimes called trend analysis) such as authors, consultants, thinkers, organizational leaders and others who engage in interdisciplinary and systems thinking to advise private and public organizations on such matters as diverse global trends, possible scenarios, emerging market opportunities and risk management. Futurist is not in the sense of the art movement futurism.

The Oxford English Dictionary identifies the earliest use of the term futurism in English as 1842, to refer, in a theological context, to the Christian eschatological tendency of that time. The next recorded use is the label adopted by the Italian and Russian Futurists, the artistic, literary and political movements of the 1920s and 1930s which sought to reject the past and fervently embrace speed, technology, and often violent change.

There are a number of organizations that specialize in this field including the World Future Society.

Visionary writers such as Jules Verne, Edward Bellamy, and H.G.Wells were not in their day characterized as futurists. The term futurology in its contemporary sense was first coined in the mid1940s by the German Professor Ossip K. Flechtheim, who proposed a new science of probability. Flechtheim argued that even if systematic forecasting did no more than unveil the subset of statistically highly probable processes of change and charted their advance, it would still be of crucial social value.[1]

In the mid1940s the first professional “futurist” consulting institutions like RAND and SRI began to engage in long-range planning, systematic trend watching, scenario development, and visioning, at first under World WarII military and government contract and, beginning in the 1950s, for private institutions and corporations. The period from the late 1940s to the mid1960s laid the conceptual and methodological foundations of the modern futures studies field. Bertrand de Jouvenel’s The Art of Conjecture in 1963 and Dennis Gabor’s Inventing the Future in 1964 are considered key early works, and the first U.S.university course devoted entirely to the future was taught by the late Alvin Toffler at the New School in 1966.[2]

More generally, the label includes such disparate lay, professional, and academic groups as visionaries, foresight consultants, corporate strategists, policy analysts, cultural critics, planners, marketers, forecasters, prediction market developers, roadmappers, operations researchers, investment managers, actuaries, and other risk analyzers, and future-oriented individuals educated in every academic discipline, including anthropology, complexity studies, computer science, economics, engineering, urban design, evolutionary biology, history, management, mathematics, philosophy, physical sciences, political science, psychology, sociology, systems theory, technology studies, trend analysis, and other disciplines.

“Futures studies”sometimes referred to as futurology, futures research, and foresightcan be summarized as being concerned with “three P’s and a W”, i.e. “possible, probable, and preferable” futures, plus “wildcards”, which are low-probability, high-impact events, should they occur. Even with high-profile, probable events, such as the fall of telecommunications costs, the growth of the internet, or the aging demographics of particular countries, there is often significant uncertainty in the rate or continuation of a trend. Thus, a key part of futures analysis is the managing of uncertainty and risk.[3]

Not all futurists engage in the practice of futurology as generally defined. Pre-conventional futurists (see below) would generally not. And while religious futurists, astrologers, occultists, New Age divinists, etc. use methodologies that include study, none of their personal revelation or belief-based work would fall within a consensus definition of futurology as used in academics or by futures studies professionals.

Several authors have become recognized as futurists. They research trends, particularly in technology, and write their observations, conclusions, and predictions. In earlier eras, many futurists were at academic institutions. John McHale, author of The Future of the Future, published a ‘Futures Directory’, and directed a think tank called The Centre For Integrative Studies at a university. Futurists have started consulting groups or earn money as speakers, with examples including Alvin Toffler, John Naisbitt and Patrick Dixon. Frank Feather is a business speaker that presents himself as a pragmatic futurist. Some futurists have commonalities with science fiction, and some science-fiction writers, such as Arthur C. Clarke,[4] are known as futurists.[citation needed] In the introduction to The Left Hand of Darkness, Ursula K. Le Guin distinguished futurists from novelists, writing of the study as the business of prophets, clairvoyants, and futurists. In her words, “a novelist’s business is lying”.

A survey of 108 futurists[5] found the following shared assumptions:

The term has also been used to refer to popular electronic music acts who emerged in the 1970s, such as Orchestral Manoeuvres in the Dark and The Human League.[6][7]

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Futurist – Wikipedia

Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[1] Cubism contributed to the formation of Italian Futurism’s artistic style.[2] Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space, Balla’s painting Abstract Speed + Sound, and Russolo’s The Art of Noises. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium 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 Futurist meals. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.[citation needed]

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,[3] 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 Saturday 20 February 1909.[4][5][6] 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.[7]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914).[8] 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.”[9]

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.[10] 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.”[11] 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.[11]

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).[12]

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 leashand the feet of the woman walking ithave 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.”[9] 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.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carr’s Woman with Absinthe (1911), Severini’s Self-Portrait (1912), and Boccioni’s Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist paintinge.g. Boccioni’s The Street Enters the House (1911), Severini’s Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo’s Automobile at Speed (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of “dynamism”. The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture[13] In 1915 Balla also turned to sculpture making abstract “reconstructions”, which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that “the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth … I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.”[14]

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carr, Ardengo Soffici (18791964) and Giovanni Papini (18811956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish “an immobile church with an infallible creed”, and each group dismissed the other as passiste.[citation needed]

Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, “We will glorify warthe world’s only hygienemilitarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”[6][15] Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913.[14] Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.[16] The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda.[17] The combat experience also influenced Futurist music.[18]

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be “heaved overboard from the steamship of modernity”. They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted. Mayakovsky committed suicide on April 14, 1930.

The Futurist architect Antonio Sant’Elia expressed his ideas of modernity in his drawings for La Citt Nuova (The New City) (19121914). This project was never built and Sant’Elia was killed in the First World War, but his ideas influenced later generations of architects and artists.[citation needed] The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant’Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state’s tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 19201940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento’s railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.[citation needed]

Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. 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 other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories was said to encourage 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.”

Luigi Russolo (18851947) wrote The Art of Noises (1913),[19][20] an influential text in 20th-century musical aesthetics. Russolo used instruments he 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. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of 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.[21] Russolo’s intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varse,[11] Stockhausen and John Cage.[citation needed] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step and in his Second Symphony.

Most notable in this respect, however, is the American George Antheil. 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.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Louri, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthses offer a form of dodecaphony, while Formes en l’air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of ‘Futurist Music’ at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper “one listened with considerable distress. Nothing so horrible as Mr Ornstein’s music has been heard so far. Sufferers from complete deafness should attend the next recital.”

The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man’s ultimate fusion with the machine. The altitude of a flying plane, the power of a car’s motor and the roaring loud sounds of complex machinery were all signs of man’s intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi(it). Trained as a classical ballerina, she is known for her “Aerodanze” and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: ” I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;… I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,… And the face had to express what the pilot felt.”[22][23]

Futurism as a literary movement made its official debut with F.T. Marinetti’s Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libert (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques. There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as ‘parole in libert’. Arnaldo Ginna’s ‘Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called ‘Synthetic’ characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.

When interviewed about her favorite film of all times,[24] famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Mnilmontant “developed a technique that suggests the movement known in painting as Futurism”.[25]

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini’s Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism’s later exaltation of existing institutions, calling them “reactionary”, and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists’ association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, “I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view.”[26] Mussolini’s mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of “degenerate art” from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti’s artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939.[27] This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters,[28] offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes,[29] portraits of Mussolini (e.g. Dottori’s Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.

Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Filla, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that “The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective” and that “Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything.” Crispolti identifies three main “positions” in aeropainting: “a vision of cosmic projection, at its most typical in Prampolini’s ‘cosmic idealism’ …; a ‘reverie’ of aerial fantasies sometimes verging on fairy-tale (for example in Dottori …); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi).”[30]

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero, Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism.[31][32] Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.

Nonetheless the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner.[citation needed] Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the “Tetsuo” (lit. “Ironman”) films. Futurism has produced several reactions, including the literary genre of cyberpunkin which technology was often treated with a critical eyewhilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals.[citation needed] and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.[33][34]

A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism’s focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.[35]

Futurist ideas have been discerned in Western dance music since the 1980s.[36]

Japanese Composer Ryuichi Sakamoto’s 1986 album ‘Futurista’ was inspired by the movement. It features a speech from Tommaso Marinetti in the track ‘Variety Show’.[37]

In 2009, Italian director Marco Bellocchio included Futurist art in his feature film “Vincere”.[38]

In 2014, the Solomon R. Guggenheim Museum featured the exhibition “Italian Futurism, 19091944: Reconstructing the Universe”.[39] This was the first comprehensive overview of Italian Futurism to be presented in the United States.[40]

Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir dune nuit. Published in Les Annales politiques et littraires, 1 December 1912

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, Lautobus. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, LHomme au balcon; Severini, 191213, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 191112, La Rvolte. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

Link:

Futurism – Wikipedia

Libertarianism – Wikipedia

“Libertarians” redirects here. For political parties that may go by this name, see Libertarian Party.

Libertarianism (from Latin: libertas, meaning “freedom”) is a collection of political philosophies and movements that uphold liberty as a core principle.[1] Libertarians seek to maximize political freedom and autonomy, emphasizing freedom of choice, voluntary association, and individual judgment.[2][3][4] Libertarians share a skepticism of authority and state power, but they diverge on the scope of their opposition to existing political and economic systems. Various schools of libertarian thought offer a range of views regarding the legitimate functions of state and private power, often calling for the restriction or dissolution of coercive social institutions.[5]

Left-libertarian ideologies seek to abolish capitalism and private ownership of the means of production, or else to restrict their purview or effects, in favor of common or cooperative ownership and management, viewing private property as a barrier to freedom and liberty.[6][7][8][9] In contrast, modern right-libertarian ideologies, such as minarchism and anarcho-capitalism, instead advocate laissez-faire capitalism and strong private property rights,[10] such as in land, infrastructure, and natural resources.

The first recorded use of the term “libertarian” was in 1789, when William Belsham wrote about libertarianism in the context of metaphysics.[11]

“Libertarian” came to mean an advocate or defender of liberty, especially in the political and social spheres, as early as 1796, when the London Packet printed on 12 February: “Lately marched out of the Prison at Bristol, 450 of the French Libertarians”.[12] The word was again used in a political sense in 1802 in a short piece critiquing a poem by “the author of Gebir” and has since been used with this meaning.[13][14][15]

The use of the word “libertarian” to describe a new set of political positions has been traced to the French cognate, libertaire, coined in a letter French libertarian communist Joseph Djacque wrote to mutualist Pierre-Joseph Proudhon in 1857.[16][17][18] Djacque also used the term for his anarchist publication Le Libertaire: Journal du Mouvement Social, which was printed from 9 June 1858 to 4 February 1861 in New York City.[19][20] In the mid-1890s, Sbastien Faure began publishing a new Le Libertaire while France’s Third Republic enacted the lois sclrates (“villainous laws”), which banned anarchist publications in France. Libertarianism has frequently been used as a synonym for anarchism since this time.[21][22][23]

The term “libertarianism” was first used in the United States as a synonym for classic liberalism in May 1955 by writer Dean Russell, a colleague of Leonard Read and a classic liberal himself. He justified the choice of the word as follows: “Many of us call ourselves ‘liberals.’ And it is true that the word ‘liberal’ once described persons who respected the individual and feared the use of mass compulsions. But the leftists have now corrupted that once-proud term to identify themselves and their program of more government ownership of property and more controls over persons. As a result, those of us who believe in freedom must explain that when we call ourselves liberals, we mean liberals in the uncorrupted classical sense. At best, this is awkward and subject to misunderstanding. Here is a suggestion: Let those of us who love liberty trade-mark and reserve for our own use the good and honorable word ‘libertarian'”.[24]

Subsequently, a growing number of Americans with classical liberal beliefs in the United States began to describe themselves as “libertarian”. The person most responsible for popularizing the term “libertarian” was Murray Rothbard,[25] who started publishing libertarian works in the 1960s.

Libertarianism in the United States has been described as conservative on economic issues and liberal on personal freedom[26] (for common meanings of conservative and liberal in the United States) and it is also often associated with a foreign policy of non-interventionism.[27][28]

Although the word “libertarian” has been used to refer to socialists internationally, its meaning in the United States has deviated from its political origins.[29][30]

There is contention about whether left and right libertarianism “represent distinct ideologies as opposed to variations on a theme”.[31] All libertarians begin with a conception of personal autonomy from which they argue in favor of civil liberties and a reduction or elimination of the state.

Left-libertarianism encompasses those libertarian beliefs that claim the Earth’s natural resources belong to everyone in an egalitarian manner, either unowned or owned collectively. Contemporary left-libertarians such as Hillel Steiner, Peter Vallentyne, Philippe Van Parijs, Michael Otsuka and David Ellerman believe the appropriation of land must leave “enough and as good” for others or be taxed by society to compensate for the exclusionary effects of private property. Libertarian socialists (social and individualist anarchists, libertarian Marxists, council communists, Luxemburgists and DeLeonists) promote usufruct and socialist economic theories, including communism, collectivism, syndicalism and mutualism. They criticize the state for being the defender of private property and believe capitalism entails wage slavery.

Right-libertarianism[32] developed in the United States in the mid-20th century and is the most popular conception of libertarianism in that region.[33] It is commonly referred to as a continuation or radicalization of classical liberalism.[34][35] Right-libertarians, while often sharing left-libertarians’ advocacy for social freedom, also value the social institutions that enforce conditions of capitalism, while rejecting institutions that function in opposition to these on the grounds that such interventions represent unnecessary coercion of individuals and abrogation of their economic freedom.[36] Anarcho-capitalists[37][38] seek complete elimination of the state in favor of privately funded security services while minarchists defend “night-watchman states”, which maintain only those functions of government necessary to maintain conditions of capitalism and personal security.

Anarchism envisages freedom as a form of autonomy,[39] which Paul Goodman describes as “the ability to initiate a task and do it one’s own way, without orders from authorities who do not know the actual problem and the available means”.[40] All anarchists oppose political and legal authority, but collectivist strains also oppose the economic authority of private property.[41] These social anarchists emphasize mutual aid, whereas individualist anarchists extoll individual sovereignty.[42]

Some right-libertarians consider the non-aggression principle (NAP) to be a core part of their beliefs.[43][44]

Libertarians have been advocates and activists of civil liberties, including free love and free thought.[45][46] Advocates of free love viewed sexual freedom as a clear, direct expression of individual sovereignty and they particularly stressed women’s rights as most sexual laws discriminated against women: for example, marriage laws and anti-birth control measures.[47]

Free love appeared alongside anarcha-feminism and advocacy of LGBT rights. Anarcha-feminism developed as a synthesis of radical feminism and anarchism and views patriarchy as a fundamental manifestation of compulsory government. It was inspired by the late-19th-century writings of early feminist anarchists such as Lucy Parsons, Emma Goldman, Voltairine de Cleyre and Virginia Bolten. Anarcha-feminists, like other radical feminists, criticise and advocate the abolition of traditional conceptions of family, education and gender roles. Free Society (18951897 as The Firebrand, 18971904 as Free Society) was an anarchist newspaper in the United States that staunchly advocated free love and women’s rights, while criticizing “comstockery”, the censorship of sexual information.[48] In recent times, anarchism has also voiced opinions and taken action around certain sex-related subjects such as pornography,[49] BDSM[50] and the sex industry.[50]

Free thought is a philosophical viewpoint that holds opinions should be formed on the basis of science, logic and reason in contrast with authority, tradition or other dogmas.[51][52] In the United States, free thought was an anti-Christian, anti-clerical movement whose purpose was to make the individual politically and spiritually free to decide on religious matters. A number of contributors to Liberty were prominent figures in both free thought and anarchism. In 1901, Catalan anarchist and free-thinker Francesc Ferrer i Gurdia established “modern” or progressive schools in Barcelona in defiance of an educational system controlled by the Catholic Church.[53] Fiercely anti-clerical, Ferrer believed in “freedom in education”, i.e. education free from the authority of the church and state.[54] The schools’ stated goal was to “educate the working class in a rational, secular and non-coercive setting”. Later in the 20th century, Austrian Freudo-Marxist Wilhelm Reich became a consistent propagandist for sexual freedom going as far as opening free sex-counselling clinics in Vienna for working-class patients[55] as well as coining the phrase “sexual revolution” in one of his books from the 1940s.[56] During the early 1970s, the English anarchist and pacifist Alex Comfort achieved international celebrity for writing the sex manuals The Joy of Sex and More Joy of Sex.

Most left-libertarians are anarchists and believe the state inherently violates personal autonomy: “As Robert Paul Wolff has argued, since ‘the state is authority, the right to rule’, anarchism which rejects the State is the only political doctrine consistent with autonomy in which the individual alone is the judge of his moral constraints”.[41] Social anarchists believe the state defends private property, which they view as intrinsically harmful, while market-oriented left-libertarians argue that so-called free markets actually consist of economic privileges granted by the state. These latter libertarians advocate instead for freed markets, which are freed from these privileges.[57]

There is a debate amongst right-libertarians as to whether or not the state is legitimate: while anarcho-capitalists advocate its abolition, minarchists support minimal states, often referred to as night-watchman states. Libertarians take a skeptical view of government authority.[58][unreliable source?] Minarchists maintain that the state is necessary for the protection of individuals from aggression, theft, breach of contract and fraud. They believe the only legitimate governmental institutions are the military, police and courts, though some expand this list to include fire departments, prisons and the executive and legislative branches.[59] They justify the state on the grounds that it is the logical consequence of adhering to the non-aggression principle and argue that anarchism is immoral because it implies that the non-aggression principle is optional, that the enforcement of laws under anarchism is open to competition.[citation needed] Another common justification is that private defense agencies and court firms would tend to represent the interests of those who pay them enough.[60]

Anarcho-capitalists argue that the state violates the non-aggression principle (NAP) by its nature because governments use force against those who have not stolen or vandalized private property, assaulted anyone or committed fraud.[61][62] Linda & Morris Tannehill argue that no coercive monopoly of force can arise on a truly free market and that a government’s citizenry can not desert them in favor of a competent protection and defense agency.[63]

Left-libertarians believe that neither claiming nor mixing one’s labor with natural resources is enough to generate full private property rights[64][65] and maintain that natural resources ought to be held in an egalitarian manner, either unowned or owned collectively.[66]

Right-libertarians maintain that unowned natural resources “may be appropriated by the first person who discovers them, mixes his labor with them, or merely claims themwithout the consent of others, and with little or no payment to them”. They believe that natural resources are originally unowned and therefore private parties may appropriate them at will without the consent of, or owing to, others.[67]

Left-libertarians (social and individualist anarchists, libertarian Marxists and left-wing market anarchists) argue in favor of socialist theories such as communism, syndicalism and mutualism (anarchist economics). Daniel Gurin writes that “anarchism is really a synonym for socialism. The anarchist is primarily a socialist whose aim is to abolish the exploitation of man by man. Anarchism is only one of the streams of socialist thought, that stream whose main components are concern for liberty and haste to abolish the State”.[68]

Right-libertarians are economic liberals of either the Austrian School or Chicago school and support laissez-faire capitalism.[69]

Wage labour has long been compared by socialists and anarcho-syndicalists to slavery.[70][71][72][73] As a result, the term “wage slavery” is often utilised as a pejorative for wage labor.[74] Advocates of slavery looked upon the “comparative evils of Slave Society and of Free Society, of slavery to human Masters and slavery to Capital”[75] and proceeded to argue that wage slavery was actually worse than chattel slavery.[76] Slavery apologists like George Fitzhugh contended that workers only accepted wage labour with the passage of time, as they became “familiarized and inattentive to the infected social atmosphere they continually inhale[d]”.[75]

According to Noam Chomsky, analysis of the psychological implications of wage slavery goes back to the Enlightenment era. In his 1791 book On the Limits of State Action, classical liberal thinker Wilhelm von Humboldt explained how “whatever does not spring from a man’s free choice, or is only the result of instruction and guidance, does not enter into his very nature; he does not perform it with truly human energies, but merely with mechanical exactness” and so when the labourer works under external control “we may admire what he does, but we despise what he is”.[77] For Marxists, labour-as-commodity, which is how they regard wage labour,[78] provides an absolutely fundamental point of attack against capitalism.[79] “It can be persuasively argued”, noted philosopher John Nelson, “that the conception of the worker’s labour as a commodity confirms Marx’s stigmatization of the wage system of private capitalism as ‘wage-slavery;’ that is, as an instrument of the capitalist’s for reducing the worker’s condition to that of a slave, if not below it”.[80] That this objection is fundamental follows immediately from Marx’s conclusion that wage labour is the very foundation of capitalism: “Without a class dependent on wages, the moment individuals confront each other as free persons, there can be no production of surplus value; without the production of surplus-value there can be no capitalist production, and hence no capital and no capitalist!”.[81]

Left-libertarianism (or left-wing libertarianism) names several related, but distinct approaches to political and social theory which stresses both individual freedom and social equality. In its classical usage, left-libertarianism is a synonym for anti-authoritarian varieties of left-wing politics, i.e. libertarian socialism, which includes anarchism and libertarian Marxism, among others.[82][83] Left-libertarianism can also refer to political positions associated with academic philosophers Hillel Steiner, Philippe Van Parijs and Peter Vallentyne that combine self-ownership with an egalitarian approach to natural resouces.[84]

While maintaining full respect for personal property, left-libertarians are skeptical of or fully against private property, arguing that neither claiming nor mixing one’s labor with natural resources is enough to generate full private property rights[85][86] and maintain that natural resources (land, oil, gold and vegetation) should be held in an egalitarian manner, either unowned or owned collectively. Those left-libertarians who support private property do so under the condition that recompense is offered to the local community.[86] Many left-libertarian schools of thought are communist, advocating the eventual replacement of money with labor vouchers or decentralized planning.

On the other hand, left-wing market anarchism, which includes Pierre-Joseph Proudhon’s mutualism and Samuel Edward Konkin III’s agorism, appeals to left-wing concerns such as egalitarianism, gender and sexuality, class, immigration and environmentalism within the paradigm of a socialist free market.[82]

Right-libertarianism (or right-wing libertarianism) refers to libertarian political philosophies that advocate negative rights, natural law and a major reversal of the modern welfare state.[87] Right-libertarians strongly support private property rights and defend market distribution of natural resources and private property.[88] This position is contrasted with that of some versions of left-libertarianism, which maintain that natural resources belong to everyone in an egalitarian manner, either unowned or owned collectively.[89] Right-libertarianism includes anarcho-capitalism and laissez-faire, minarchist liberalism.[note 1]

Elements of libertarianism can be traced as far back as the ancient Chinese philosopher Lao-Tzu and the higher-law concepts of the Greeks and the Israelites.[90][91] In 17th-century England, libertarian ideas began to take modern form in the writings of the Levellers and John Locke. In the middle of that century, opponents of royal power began to be called Whigs, or sometimes simply “opposition” or “country” (as opposed to Court) writers.[92]

During the 18th century, classical liberal ideas flourished in Europe and North America.[93][94] Libertarians of various schools were influenced by classical liberal ideas.[95] For libertarian philosopher Roderick T. Long, both libertarian socialists and libertarian capitalists “share a commonor at least an overlapping intellectual ancestry… both claim the seventeenth century English Levellers and the eighteenth century French encyclopedists among their ideological forebears; and (also)… usually share an admiration for Thomas Jefferson[96][97][98] and Thomas Paine”.[99]

John Locke greatly influenced both libertarianism and the modern world in his writings published before and after the English Revolution of 1688, especially A Letter Concerning Toleration (1667), Two Treatises of Government (1689) and An Essay Concerning Human Understanding (1690). In the text of 1689, he established the basis of liberal political theory: that people’s rights existed before government; that the purpose of government is to protect personal and property rights; that people may dissolve governments that do not do so; and that representative government is the best form to protect rights.[100] The United States Declaration of Independence was inspired by Locke in its statement: “[T]o secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed. That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it”.[101] Nevertheless scholar Ellen Meiksins Wood says that “there are doctrines of individualism that are opposed to Lockean individualism… and non-Lockean individualism may encompass socialism”.[102]

According to Murray Rothbard, the libertarian creed emerged from the classical liberal challenges to an “absolute central State and a king ruling by divine right on top of an older, restrictive web of feudal land monopolies and urban guild controls and restrictions”, the mercantilism of a bureaucratic warfaring state allied with privileged merchants. The object of classical liberals was individual liberty in the economy, in personal freedoms and civil liberty, separation of state and religion, and peace as an alternative to imperial aggrandizement. He cites Locke’s contemporaries, the Levellers, who held similar views. Also influential were the English “Cato’s Letters” during the early 1700s, reprinted eagerly by American colonists who already were free of European aristocracy and feudal land monopolies.[101]

In January of 1776, only two years after coming to America from England, Thomas Paine published his pamphlet Common Sense calling for independence for the colonies.[103] Paine promoted classical liberal ideas in clear, concise language that allowed the general public to understand the debates among the political elites.[104] Common Sense was immensely popular in disseminating these ideas,[105] selling hundreds of thousands of copies.[106] Paine later would write the Rights of Man and The Age of Reason and participate in the French Revolution.[103] Paine’s theory of property showed a “libertarian concern” with the redistribution of resources.[107]

In 1793, William Godwin wrote a libertarian philosophical treatise, Enquiry Concerning Political Justice and its Influence on Morals and Happiness, which criticized ideas of human rights and of society by contract based on vague promises. He took classical liberalism to its logical anarchic conclusion by rejecting all political institutions, law, government and apparatus of coercion as well as all political protest and insurrection. Instead of institutionalized justice, Godwin proposed that people influence one another to moral goodness through informal reasoned persuasion, including in the associations they joined as this would facilitate happiness.[108][109]

Modern anarchism sprang from the secular or religious thought of the Enlightenment, particularly Jean-Jacques Rousseau’s arguments for the moral centrality of freedom.[110]

As part of the political turmoil of the 1790s in the wake of the French Revolution, William Godwin developed the first expression of modern anarchist thought.[111][112] According to Peter Kropotkin, Godwin was “the first to formulate the political and economical conceptions of anarchism, even though he did not give that name to the ideas developed in his work”,[113] while Godwin attached his anarchist ideas to an early Edmund Burke.[114]

Godwin is generally regarded as the founder of the school of thought known as philosophical anarchism. He argued in Political Justice (1793)[112][115] that government has an inherently malevolent influence on society and that it perpetuates dependency and ignorance. He thought that the spread of the use of reason to the masses would eventually cause government to wither away as an unnecessary force. Although he did not accord the state with moral legitimacy, he was against the use of revolutionary tactics for removing the government from power. Rather, Godwin advocated for its replacement through a process of peaceful evolution.[112][116]

His aversion to the imposition of a rules-based society led him to denounce, as a manifestation of the people’s “mental enslavement”, the foundations of law, property rights and even the institution of marriage. Godwin considered the basic foundations of society as constraining the natural development of individuals to use their powers of reasoning to arrive at a mutually beneficial method of social organization. In each case, government and its institutions are shown to constrain the development of our capacity to live wholly in accordance with the full and free exercise of private judgment.

In France, various anarchist currents were present during the Revolutionary period, with some revolutionaries using the term anarchiste in a positive light as early as September 1793.[117] The enrags opposed revolutionary government as a contradiction in terms. Denouncing the Jacobin dictatorship, Jean Varlet wrote in 1794 that “government and revolution are incompatible, unless the people wishes to set its constituted authorities in permanent insurrection against itself”.[118] In his “Manifesto of the Equals”, Sylvain Marchal looked forward to the disappearance, once and for all, of “the revolting distinction between rich and poor, of great and small, of masters and valets, of governors and governed”.[118]

Libertarian socialism, libertarian communism and libertarian Marxism are all phrases which activists with a variety of perspectives have applied to their views.[119] Anarchist communist philosopher Joseph Djacque was the first person to describe himself as a libertarian.[120] Unlike mutualist anarchist philosopher Pierre-Joseph Proudhon, he argued that “it is not the product of his or her labor that the worker has a right to, but to the satisfaction of his or her needs, whatever may be their nature”.[121][122] According to anarchist historian Max Nettlau, the first use of the term “libertarian communism” was in November 1880, when a French anarchist congress employed it to more clearly identify its doctrines.[123] The French anarchist journalist Sbastien Faure started the weekly paper Le Libertaire (The Libertarian) in 1895.[124]

Individualist anarchism refers to several traditions of thought within the anarchist movement that emphasize the individual and their will over any kinds of external determinants such as groups, society, traditions, and ideological systems.[125][126] An influential form of individualist anarchism called egoism[127] or egoist anarchism was expounded by one of the earliest and best-known proponents of individualist anarchism, the German Max Stirner.[128] Stirner’s The Ego and Its Own, published in 1844, is a founding text of the philosophy.[128] According to Stirner, the only limitation on the rights of the individual is their power to obtain what they desire,[129] without regard for God, state or morality.[130] Stirner advocated self-assertion and foresaw unions of egoists, non-systematic associations continually renewed by all parties’ support through an act of will,[131] which Stirner proposed as a form of organisation in place of the state.[132] Egoist anarchists argue that egoism will foster genuine and spontaneous union between individuals.[133] Egoism has inspired many interpretations of Stirner’s philosophy. It was re-discovered and promoted by German philosophical anarchist and LGBT activist John Henry Mackay. Josiah Warren is widely regarded as the first American anarchist,[134] and the four-page weekly paper he edited during 1833, The Peaceful Revolutionist, was the first anarchist periodical published.[135] For American anarchist historian Eunice Minette Schuster, “[i]t is apparent… that Proudhonian Anarchism was to be found in the United States at least as early as 1848 and that it was not conscious of its affinity to the Individualist Anarchism of Josiah Warren and Stephen Pearl Andrews… William B. Greene presented this Proudhonian Mutualism in its purest and most systematic form.”.[136] Later, Benjamin Tucker fused Stirner’s egoism with the economics of Warren and Proudhon in his eclectic influential publication Liberty. From these early influences, individualist anarchism in different countries attracted a small yet diverse following of bohemian artists and intellectuals,[137] free love and birth control advocates (anarchism and issues related to love and sex),[138][139] individualist naturists nudists (anarcho-naturism),[140][141][142] free thought and anti-clerical activists[143][144] as well as young anarchist outlaws in what became known as illegalism and individual reclamation[145][146] (European individualist anarchism and individualist anarchism in France). These authors and activists included Emile Armand, Han Ryner, Henri Zisly, Renzo Novatore, Miguel Gimenez Igualada, Adolf Brand and Lev Chernyi.

In 1873, the follower and translator of Proudhon, the Catalan Francesc Pi i Margall, became President of Spain with a program which wanted “to establish a decentralized, or “cantonalist,” political system on Proudhonian lines”,[147] who according to Rudolf Rocker had “political ideas…much in common with those of Richard Price, Joseph Priestly [sic], Thomas Paine, Jefferson, and other representatives of the Anglo-American liberalism of the first period. He wanted to limit the power of the state to a minimum and gradually replace it by a Socialist economic order”.[148] On the other hand, Fermn Salvochea was a mayor of the city of Cdiz and a president of the province of Cdiz. He was one of the main propagators of anarchist thought in that area in the late 19th century and is considered to be “perhaps the most beloved figure in the Spanish Anarchist movement of the 19th century”.[149][150] Ideologically, he was influenced by Bradlaugh, Owen and Paine, whose works he had studied during his stay in England and Kropotkin, whom he read later.[149] The revolutionary wave of 19171923 saw the active participation of anarchists in Russia and Europe. Russian anarchists participated alongside the Bolsheviks in both the February and October 1917 revolutions. However, Bolsheviks in central Russia quickly began to imprison or drive underground the libertarian anarchists. Many fled to the Ukraine.[151] There, in the Ukrainian Free Territory they fought in the Russian Civil War against the White movement, monarchists and other opponents of revolution and then against Bolsheviks as part of the Revolutionary Insurrectionary Army of Ukraine led by Nestor Makhno, who established an anarchist society in the region for a number of months. Expelled American anarchists Emma Goldman and Alexander Berkman protested Bolshevik policy before they left Russia.[152]

The victory of the Bolsheviks damaged anarchist movements internationally as workers and activists joined Communist parties. In France and the United States, for example, members of the major syndicalist movements of the CGT and IWW joined the Communist International.[153] In Paris, the Dielo Truda group of Russian anarchist exiles, which included Nestor Makhno, issued a 1926 manifesto, the Organizational Platform of the General Union of Anarchists (Draft), calling for new anarchist organizing structures.[154][155]

The Bavarian Soviet Republic of 19181919 had libertarian socialist characteristics.[156][157] In Italy, from 1918 to 1921 the anarcho-syndicalist trade union Unione Sindacale Italiana grew to 800,000 members.[158]

In the 1920s and 1930s, with the rise of fascism in Europe, anarchists began to fight fascists in Italy,[159] in France during the February 1934 riots[160] and in Spain where the CNT (Confederacin Nacional del Trabajo) boycott of elections led to a right-wing victory and its later participation in voting in 1936 helped bring the popular front back to power. This led to a ruling class attempted coup and the Spanish Civil War (19361939).[161] Gruppo Comunista Anarchico di Firenze held that the during early twentieth century, the terms libertarian communism and anarchist communism became synonymous within the international anarchist movement as a result of the close connection they had in Spain (anarchism in Spain) (with libertarian communism becoming the prevalent term).[162]

Murray Bookchin wrote that the Spanish libertarian movement of the mid-1930s was unique because its workers’ control and collectiveswhich came out of a three-generation “massive libertarian movement”divided the republican camp and challenged the Marxists. “Urban anarchists” created libertarian communist forms of organization which evolved into the CNT, a syndicalist union providing the infrastructure for a libertarian society. Also formed were local bodies to administer social and economic life on a decentralized libertarian basis. Much of the infrastructure was destroyed during the 1930s Spanish Civil War against authoritarian and fascist forces.[163] The Iberian Federation of Libertarian Youth[164] (FIJL, Spanish: Federacin Ibrica de Juventudes Libertarias), sometimes abbreviated as Libertarian Youth (Juventudes Libertarias), was a libertarian socialist[165] organisation created in 1932 in Madrid.[166] In February 1937, the FIJL organised a plenum of regional organisations (second congress of FIJL). In October 1938, from the 16th through the 30th in Barcelona the FIJL participated in a national plenum of the libertarian movement, also attended by members of the CNT and the Iberian Anarchist Federation (FAI).[167] The FIJL exists until today. When the republican forces lost the Spanish Civil War, the city of Madrid was turned over to the francoist forces in 1939 by the last non-francoist mayor of the city, the anarchist Melchor Rodrguez Garca.[168] During autumn of 1931, the “Manifesto of the 30” was published by militants of the anarchist trade union CNT and among those who signed it there was the CNT General Secretary (19221923) Joan Peiro, Angel Pestaa CNT (General Secretary in 1929) and Juan Lopez Sanchez. They were called treintismo and they were calling for “libertarian possibilism” which advocated achieving libertarian socialist ends with participation inside structures of contemporary parliamentary democracy.[169] In 1932, they establish the Syndicalist Party which participates in the 1936 spanish general elections and proceed to be a part of the leftist coalition of parties known as the Popular Front obtaining 2 congressmen (Pestaa and Benito Pabon). In 1938, Horacio Prieto, general secretary of the CNT, proposes that the Iberian Anarchist Federation transforms itself into a “Libertarian Socialist Party” and that it participates in the national elections.[170]

The Manifesto of Libertarian Communism was written in 1953 by Georges Fontenis for the Federation Communiste Libertaire of France. It is one of the key texts of the anarchist-communist current known as platformism.[171] In 1968, in Carrara, Italy the International of Anarchist Federations was founded during an international anarchist conference to advance libertarian solidarity. It wanted to form “a strong and organised workers movement, agreeing with the libertarian ideas”.[172][173] In the United States, the Libertarian League was founded in New York City in 1954 as a left-libertarian political organisation building on the Libertarian Book Club.[174][175] Members included Sam Dolgoff,[176] Russell Blackwell, Dave Van Ronk, Enrico Arrigoni[177] and Murray Bookchin.

In Australia, the Sydney Push was a predominantly left-wing intellectual subculture in Sydney from the late 1940s to the early 1970s which became associated with the label “Sydney libertarianism”. Well known associates of the Push include Jim Baker, John Flaus, Harry Hooton, Margaret Fink, Sasha Soldatow,[178] Lex Banning, Eva Cox, Richard Appleton, Paddy McGuinness, David Makinson, Germaine Greer, Clive James, Robert Hughes, Frank Moorhouse and Lillian Roxon. Amongst the key intellectual figures in Push debates were philosophers David J. Ivison, George Molnar, Roelof Smilde, Darcy Waters and Jim Baker, as recorded in Baker’s memoir Sydney Libertarians and the Push, published in the libertarian Broadsheet in 1975.[179] An understanding of libertarian values and social theory can be obtained from their publications, a few of which are available online.[180][181]

In 1969, French platformist anarcho-communist Daniel Gurin published an essay in 1969 called “Libertarian Marxism?” in which he dealt with the debate between Karl Marx and Mikhail Bakunin at the First International and afterwards suggested that “[l]ibertarian marxism rejects determinism and fatalism, giving the greater place to individual will, intuition, imagination, reflex speeds, and to the deep instincts of the masses, which are more far-seeing in hours of crisis than the reasonings of the ‘elites’; libertarian marxism thinks of the effects of surprise, provocation and boldness, refuses to be cluttered and paralysed by a heavy ‘scientific’ apparatus, doesn’t equivocate or bluff, and guards itself from adventurism as much as from fear of the unknown”.[182] Libertarian Marxist currents often draw from Marx and Engels’ later works, specifically the Grundrisse and The Civil War in France.[183] They emphasize the Marxist belief in the ability of the working class to forge its own destiny without the need for a revolutionary party or state.[184] Libertarian Marxism includes such currents as council communism, left communism, Socialisme ou Barbarie, Lettrism/Situationism and operaismo/autonomism and New Left.[185][unreliable source?] In the United States, from 1970 to 1981 there existed the publication Root & Branch[186] which had as a subtitle “A Libertarian Marxist Journal”.[187] In 1974, the Libertarian Communism journal was started in the United Kingdom by a group inside the Socialist Party of Great Britain.[188] In 1986, the anarcho-syndicalist Sam Dolgoff started and led the publication Libertarian Labor Review in the United States[189] which decided to rename itself as Anarcho-Syndicalist Review in order to avoid confusion with right-libertarian views.[190]

The indigenous anarchist tradition in the United States was largely individualist.[191] In 1825, Josiah Warren became aware of the social system of utopian socialist Robert Owen and began to talk with others in Cincinnati about founding a communist colony.[192] When this group failed to come to an agreement about the form and goals of their proposed community, Warren “sold his factory after only two years of operation, packed up his young family, and took his place as one of 900 or so Owenites who had decided to become part of the founding population of New Harmony, Indiana”.[193] Warren termed the phrase “cost the limit of price”[194] and “proposed a system to pay people with certificates indicating how many hours of work they did. They could exchange the notes at local time stores for goods that took the same amount of time to produce”.[195] He put his theories to the test by establishing an experimental labor-for-labor store called the Cincinnati Time Store where trade was facilitated by labor notes. The store proved successful and operated for three years, after which it was closed so that Warren could pursue establishing colonies based on mutualism, including Utopia and Modern Times. “After New Harmony failed, Warren shifted his ideological loyalties from socialism to anarchism (which was no great leap, given that Owen’s socialism had been predicated on Godwin’s anarchism)”.[196] Warren is widely regarded as the first American anarchist[195] and the four-page weekly paper The Peaceful Revolutionist he edited during 1833 was the first anarchist periodical published,[135] an enterprise for which he built his own printing press, cast his own type and made his own printing plates.[135]

Catalan historian Xavier Diez reports that the intentional communal experiments pioneered by Warren were influential in European individualist anarchists of the late 19th and early 20th centuries such as mile Armand and the intentional communities started by them.[197] Warren said that Stephen Pearl Andrews, individualist anarchist and close associate, wrote the most lucid and complete exposition of Warren’s own theories in The Science of Society, published in 1852.[198] Andrews was formerly associated with the Fourierist movement, but converted to radical individualism after becoming acquainted with the work of Warren. Like Warren, he held the principle of “individual sovereignty” as being of paramount importance. Contemporary American anarchist Hakim Bey reports:

Steven Pearl Andrews… was not a fourierist, but he lived through the brief craze for phalansteries in America and adopted a lot of fourierist principles and practices… a maker of worlds out of words. He syncretized abolitionism in the United States, free love, spiritual universalism, Warren, and Fourier into a grand utopian scheme he called the Universal Pantarchy… He was instrumental in founding several ‘intentional communities,’ including the ‘Brownstone Utopia’ on 14th St. in New York, and ‘Modern Times’ in Brentwood, Long Island. The latter became as famous as the best-known fourierist communes (Brook Farm in Massachusetts & the North American Phalanx in New Jersey)in fact, Modern Times became downright notorious (for ‘Free Love’) and finally foundered under a wave of scandalous publicity. Andrews (and Victoria Woodhull) were members of the infamous Section 12 of the 1st International, expelled by Marx for its anarchist, feminist, and spiritualist tendencies.[199]

For American anarchist historian Eunice Minette Schuster, “[it is apparent… that Proudhonian Anarchism was to be found in the United States at least as early as 1848 and that it was not conscious of its affinity to the Individualist Anarchism of Josiah Warren and Stephen Pearl Andrews. William B. Greene presented this Proudhonian Mutualism in its purest and most systematic form”.[200] William Batchelder Greene was a 19th-century mutualist individualist anarchist, Unitarian minister, soldier and promoter of free banking in the United States. Greene is best known for the works Mutual Banking, which proposed an interest-free banking system; and Transcendentalism, a critique of the New England philosophical school. After 1850, he became active in labor reform.[200] “He was elected vice-president of the New England Labor Reform League, the majority of the members holding to Proudhon’s scheme of mutual banking, and in 1869 president of the Massachusetts Labor Union”.[200] Greene then published Socialistic, Mutualistic, and Financial Fragments (1875).[200] He saw mutualism as the synthesis of “liberty and order”.[200] His “associationism… is checked by individualism… ‘Mind your own business,’ ‘Judge not that ye be not judged.’ Over matters which are purely personal, as for example, moral conduct, the individual is sovereign, as well as over that which he himself produces. For this reason he demands ‘mutuality’ in marriagethe equal right of a woman to her own personal freedom and property”.[200]

Poet, naturalist and transcendentalist Henry David Thoreau was an important early influence in individualist anarchist thought in the United States and Europe. He is best known for his book Walden, a reflection upon simple living in natural surroundings; and his essay Civil Disobedience (Resistance to Civil Government), an argument for individual resistance to civil government in moral opposition to an unjust state. In Walden, Thoreau advocates simple living and self-sufficiency among natural surroundings in resistance to the advancement of industrial civilization.[201] Civil Disobedience, first published in 1849, argues that people should not permit governments to overrule or atrophy their consciences and that people have a duty to avoid allowing such acquiescence to enable the government to make them the agents of injustice. These works influenced green anarchism, anarcho-primitivism and anarcho-pacifism,[202] as well as figures including Mohandas Gandhi, Martin Luther King, Jr., Martin Buber and Leo Tolstoy.[202] “Many have seen in Thoreau one of the precursors of ecologism and anarcho-primitivism represented today in John Zerzan. For George Woodcock this attitude can be also motivated by certain idea of resistance to progress and of rejection of the growing materialism which is the nature of American society in the mid-19th century”.[201] Zerzan included Thoreau’s “Excursions” in his edited compilation of anti-civilization writings, Against Civilization: Readings and Reflections.[203] Individualist anarchists such as Thoreau[204][205] do not speak of economics, but simply the right of disunion from the state and foresee the gradual elimination of the state through social evolution. Agorist author J. Neil Schulman cites Thoreau as a primary inspiration.[206]

Many economists since Adam Smith have argued thatunlike other taxesa land value tax would not cause economic inefficiency.[207] It would be a progressive tax[208]primarily paid by the wealthyand increase wages, reduce economic inequality, remove incentives to misuse real estate and reduce the vulnerability that economies face from credit and property bubbles.[209][210] Early proponents of this view include Thomas Paine, Herbert Spencer, and Hugo Grotius,[84] but the concept was widely popularized by the economist and social reformer Henry George.[211] George believed that people ought to own the fruits of their labor and the value of the improvements they make, thus he was opposed to income taxes, sales taxes, taxes on improvements and all other taxes on production, labor, trade or commerce. George was among the staunchest defenders of free markets and his book Protection or Free Trade was read into the U.S. Congressional Record.[212] Yet he did support direct management of natural monopolies as a last resort, such as right-of-way monopolies necessary for railroads. George advocated for elimination of intellectual property arrangements in favor of government sponsored prizes for inventors.[213][not in citation given] Early followers of George’s philosophy called themselves single taxers because they believed that the only legitimate, broad-based tax was land rent. The term Georgism was coined later, though some modern proponents prefer the term geoism instead,[214] leaving the meaning of “geo” (Earth in Greek) deliberately ambiguous. The terms “Earth Sharing”,[215] “geonomics”[216] and “geolibertarianism”[217] are used by some Georgists to represent a difference of emphasis, or real differences about how land rent should be spent, but all agree that land rent should be recovered from its private owners.

Individualist anarchism found in the United States an important space for discussion and development within the group known as the “Boston anarchists”.[218] Even among the 19th-century American individualists there was no monolithic doctrine and they disagreed amongst each other on various issues including intellectual property rights and possession versus property in land.[219][220][221] Some Boston anarchists, including Benjamin Tucker, identified as socialists, which in the 19th century was often used in the sense of a commitment to improving conditions of the working class (i.e. “the labor problem”).[222] Lysander Spooner, besides his individualist anarchist activism, was also an anti-slavery activist and member of the First International.[223] Tucker argued that the elimination of what he called “the four monopolies”the land monopoly, the money and banking monopoly, the monopoly powers conferred by patents and the quasi-monopolistic effects of tariffswould undermine the power of the wealthy and big business, making possible widespread property ownership and higher incomes for ordinary people, while minimizing the power of would-be bosses and achieving socialist goals without state action. Tucker’s anarchist periodical, Liberty, was published from August 1881 to April 1908. The publication, emblazoned with Proudhon’s quote that liberty is “Not the Daughter But the Mother of Order” was instrumental in developing and formalizing the individualist anarchist philosophy through publishing essays and serving as a forum for debate. Contributors included Benjamin Tucker, Lysander Spooner, Auberon Herbert, Dyer Lum, Joshua K. Ingalls, John Henry Mackay, Victor Yarros, Wordsworth Donisthorpe, James L. Walker, J. William Lloyd, Florence Finch Kelly, Voltairine de Cleyre, Steven T. Byington, John Beverley Robinson, Jo Labadie, Lillian Harman and Henry Appleton.[224] Later, Tucker and others abandoned their traditional support of natural rights and converted to an egoism modeled upon the philosophy of Max Stirner.[220] A number of natural rights proponents stopped contributing in protest and “[t]hereafter, Liberty championed egoism, although its general content did not change significantly”.[225] Several publications “were undoubtedly influenced by Liberty’s presentation of egoism. They included: I published by C.L. Swartz, edited by W.E. Gordak and J.W. Lloyd (all associates of Liberty); The Ego and The Egoist, both of which were edited by Edward H. Fulton. Among the egoist papers that Tucker followed were the German Der Eigene, edited by Adolf Brand, and The Eagle and The Serpent, issued from London. The latter, the most prominent English-language egoist journal, was published from 1898 to 1900 with the subtitle ‘A Journal of Egoistic Philosophy and Sociology'”.[225]

By around the start of the 20th century, the heyday of individualist anarchism had passed.[226] H. L. Mencken and Albert Jay Nock were the first prominent figures in the United States to describe themselves as libertarians;[227] they believed Franklin D. Roosevelt had co-opted the word “liberal” for his New Deal policies which they opposed and used “libertarian” to signify their allegiance to individualism.[citation needed] In 1914, Nock joined the staff of The Nation magazine, which at the time was supportive of liberal capitalism. A lifelong admirer of Henry George, Nock went on to become co-editor of The Freeman from 1920 to 1924, a publication initially conceived as a vehicle for the single tax movement, financed by the wealthy wife of the magazine’s other editor, Francis Neilson.[228] Critic H.L. Mencken wrote that “[h]is editorials during the three brief years of the Freeman set a mark that no other man of his trade has ever quite managed to reach. They were well-informed and sometimes even learned, but there was never the slightest trace of pedantry in them”.[229]

Executive Vice President of the Cato Institute, David Boaz, writes: “In 1943, at one of the lowest points for liberty and humanity in history, three remarkable women published books that could be said to have given birth to the modern libertarian movement”.[230] Isabel Paterson’s The God of the Machine, Rose Wilder Lane’s The Discovery of Freedom and Ayn Rand’s The Fountainhead each promoted individualism and capitalism. None of the three used the term libertarianism to describe their beliefs and Rand specifically rejected the label, criticizing the burgeoning American libertarian movement as the “hippies of the right”.[231] Rand’s own philosophy, Objectivism, is notedly similar to libertarianism and she accused libertarians of plagiarizing her ideas.[231] Rand stated:

All kinds of people today call themselves “libertarians,” especially something calling itself the New Right, which consists of hippies who are anarchists instead of leftist collectivists; but anarchists are collectivists. Capitalism is the one system that requires absolute objective law, yet libertarians combine capitalism and anarchism. That’s worse than anything the New Left has proposed. It’s a mockery of philosophy and ideology. They sling slogans and try to ride on two bandwagons. They want to be hippies, but don’t want to preach collectivism because those jobs are already taken. But anarchism is a logical outgrowth of the anti-intellectual side of collectivism. I could deal with a Marxist with a greater chance of reaching some kind of understanding, and with much greater respect. Anarchists are the scum of the intellectual world of the Left, which has given them up. So the Right picks up another leftist discard. That’s the libertarian movement.[232]

In 1946, Leonard E. Read founded the Foundation for Economic Education (FEE), an American nonprofit educational organization which promotes the principles of laissez-faire economics, private property, and limited government.[233] According to Gary North, former FEE director of seminars and a current Ludwig von Mises Institute scholar, FEE is the “granddaddy of all libertarian organizations”.[234] The initial officers of FEE were Leonard E. Read as President, Austrian School economist Henry Hazlitt as Vice-President and Chairman David Goodrich of B. F. Goodrich. Other trustees on the FEE board have included wealthy industrialist Jasper Crane of DuPont, H. W. Luhnow of William Volker & Co. and Robert Welch, founder of the John Birch Society.[236][237]

Austrian school economist Murray Rothbard was initially an enthusiastic partisan of the Old Right, particularly because of its general opposition to war and imperialism,[238] but long embraced a reading of American history that emphasized the role of elite privilege in shaping legal and political institutions. He was part of Ayn Rand’s circle for a brief period, but later harshly criticized Objectivism.[239] He praised Rand’s Atlas Shrugged and wrote that she “introduced me to the whole field of natural rights and natural law philosophy”, prompting him to learn “the glorious natural rights tradition”.[240](pp121, 132134) He soon broke with Rand over various differences, including his defense of anarchism. Rothbard was influenced by the work of the 19th-century American individualist anarchists[241] and sought to meld their advocacy of free markets and private defense with the principles of Austrian economics.[242] This new philosophy he called anarcho-capitalism.

Karl Hess, a speechwriter for Barry Goldwater and primary author of the Republican Party’s 1960 and 1964 platforms, became disillusioned with traditional politics following the 1964 presidential campaign in which Goldwater lost to Lyndon B. Johnson. He parted with the Republicans altogether after being rejected for employment with the party, and began work as a heavy-duty welder. Hess began reading American anarchists largely due to the recommendations of his friend Murray Rothbard and said that upon reading the works of communist anarchist Emma Goldman, he discovered that anarchists believed everything he had hoped the Republican Party would represent. For Hess, Goldman was the source for the best and most essential theories of Ayn Rand without any of the “crazy solipsism that Rand was so fond of”.[243] Hess and Rothbard founded the journal Left and Right: A Journal of Libertarian Thought, which was published from 1965 to 1968, with George Resch and Leonard P. Liggio. In 1969, they edited The Libertarian Forum 1969, which Hess left in 1971. Hess eventually put his focus on the small scale, stating that “Society is: people together making culture”. He deemed two of his cardinal social principles to be “opposition to central political authority” and “concern for people as individuals”. His rejection of standard American party politics was reflected in a lecture he gave during which he said: “The Democrats or liberals think that everybody is stupid and therefore they need somebody… to tell them how to behave themselves. The Republicans think everybody is lazy”.[244]

The Vietnam War split the uneasy alliance between growing numbers of American libertarians and conservatives who believed in limiting liberty to uphold moral virtues. Libertarians opposed to the war joined the draft resistance and peace movements, as well as organizations such as Students for a Democratic Society (SDS). In 1969 and 1970, Hess joined with others, including Murray Rothbard, Robert LeFevre, Dana Rohrabacher, Samuel Edward Konkin III and former SDS leader Carl Oglesby to speak at two “left-right” conferences which brought together activists from both the Old Right and the New Left in what was emerging as a nascent libertarian movement.[245] As part of his effort to unite right and left-libertarianism, Hess would join the SDS as well as the Industrial Workers of the World (IWW), of which he explained: “We used to have a labor movement in this country, until I.W.W. leaders were killed or imprisoned. You could tell labor unions had become captive when business and government began to praise them. They’re destroying the militant black leaders the same way now. If the slaughter continues, before long liberals will be asking, ‘What happened to the blacks? Why aren’t they militant anymore?'”.[246] Rothbard ultimately broke with the left, allying himself instead with the burgeoning paleoconservative movement.[247] He criticized the tendency of these left-libertarians to appeal to “‘free spirits,’ to people who don’t want to push other people around, and who don’t want to be pushed around themselves” in contrast to “the bulk of Americans,” who “might well be tight-assed conformists, who want to stamp out drugs in their vicinity, kick out people with strange dress habits, etc”.[248] This left-libertarian tradition has been carried to the present day by Samuel Edward Konkin III’s agorists, contemporary mutualists such as Kevin Carson and Roderick T. Long and other left-wing market anarchists.[249]

In 1971, a small group of Americans led by David Nolan formed the Libertarian Party,[250] which has run a presidential candidate every election year since 1972. Other libertarian organizations, such as the Center for Libertarian Studies and the Cato Institute, were also formed in the 1970s.[251] Philosopher John Hospers, a one-time member of Rand’s inner circle, proposed a non-initiation of force principle to unite both groups, but this statement later became a required “pledge” for candidates of the Libertarian Party and Hospers became its first presidential candidate in 1972.[citation needed] In the 1980s, Hess joined the Libertarian Party and served as editor of its newspaper from 1986 to 1990.

Modern libertarianism gained significant recognition in academia with the publication of Harvard University professor Robert Nozick’s Anarchy, State, and Utopia in 1974, for which he received a National Book Award in 1975.[252] In response to John Rawls’s A Theory of Justice, Nozick’s book supported a nightwatchman state on the grounds that it was an inevitable phenomenon which could arise without violating individual rights.[253]

In the early 1970s, Rothbard wrote that “[o]ne gratifying aspect of our rise to some prominence is that, for the first time in my memory, we, ‘our side,’ had captured a crucial word from the enemy… ‘Libertarians’… had long been simply a polite word for left-wing anarchists, that is for anti-private property anarchists, either of the communist or syndicalist variety. But now we had taken it over”.[254] Since the resurgence of neoliberalism in the 1970s, this modern American libertarianism has spread beyond North America via think tanks and political parties.[255][256]

A surge of popular interest in libertarian socialism occurred in western nations during the 1960s and 1970s.[257] Anarchism was influential in the Counterculture of the 1960s[258][259][260] and anarchists actively participated in the late sixties students and workers revolts.[261] In 1968, the International of Anarchist Federations was founded in Carrara, Italy during an international anarchist conference held there in 1968 by the three existing European federations of France, the Italian and the Iberian Anarchist Federation as well as the Bulgarian federation in French exile.[173][262] The uprisings of May 1968 also led to a small resurgence of interest in left communist ideas. Various small left communist groups emerged around the world, predominantly in the leading capitalist countries. A series of conferences of the communist left began in 1976, with the aim of promoting international and cross-tendency discussion, but these petered out in the 1980s without having increased the profile of the movement or its unity of ideas.[263] Left communist groups existing today include the International Communist Party, International Communist Current and the Internationalist Communist Tendency. The housing and employment crisis in most of Western Europe led to the formation of communes and squatter movements like that of Barcelona, Spain. In Denmark, squatters occupied a disused military base and declared the Freetown Christiania, an autonomous haven in central Copenhagen.

Around the turn of the 21st century, libertarian socialism grew in popularity and influence as part of the anti-war, anti-capitalist and anti-globalisation movements.[264] Anarchists became known for their involvement in protests against the meetings of the World Trade Organization (WTO), Group of Eight and the World Economic Forum. Some anarchist factions at these protests engaged in rioting, property destruction and violent confrontations with police. These actions were precipitated by ad hoc, leaderless, anonymous cadres known as black blocs and other organisational tactics pioneered in this time include security culture, affinity groups and the use of decentralised technologies such as the internet.[264] A significant event of this period was the confrontations at WTO conference in Seattle in 1999.[264] For English anarchist scholar Simon Critchley, “contemporary anarchism can be seen as a powerful critique of the pseudo-libertarianism of contemporary neo-liberalism…One might say that contemporary anarchism is about responsibility, whether sexual, ecological or socio-economic; it flows from an experience of conscience about the manifold ways in which the West ravages the rest; it is an ethical outrage at the yawning inequality, impoverishment and disenfranchisment that is so palpable locally and globally”.[265] This might also have been motivated by “the collapse of ‘really existing socialism’ and the capitulation to neo-liberalism of Western social democracy”.[266]

Libertarian socialists in the early 21st century have been involved in the alter-globalization movement, squatter movement; social centers; infoshops; anti-poverty groups such as Ontario Coalition Against Poverty and Food Not Bombs; tenants’ unions; housing cooperatives; intentional communities generally and egalitarian communities; anti-sexist organizing; grassroots media initiatives; digital media and computer activism; experiments in participatory economics; anti-racist and anti-fascist groups like Anti-Racist Action and Anti-Fascist Action; activist groups protecting the rights of immigrants and promoting the free movement of people, such as the No Border network; worker co-operatives, countercultural and artist groups; and the peace movement.

In the United States, polls (circa 2006) find that the views and voting habits of between 10 and 20 percent (and increasing) of voting age Americans may be classified as “fiscally conservative and socially liberal, or libertarian”.[267][268] This is based on pollsters and researchers defining libertarian views as fiscally conservative and socially liberal (based on the common United States meanings of the terms) and against government intervention in economic affairs and for expansion of personal freedoms.[267] Through 20 polls on this topic spanning 13 years, Gallup found that voters who are libertarian on the political spectrum ranged from 1723% of the United States electorate.[269] However, a 2014 Pew Poll found that 23% of Americans who identify as libertarians have no idea what the word means.[270]

2009 saw the rise of the Tea Party movement, an American political movement known for advocating a reduction in the United States national debt and federal budget deficit by reducing government spending and taxes, which had a significant libertarian component[271] despite having contrasts with libertarian values and views in some areas, such as nationalism, free trade, social issues and immigration.[272] A 2011 Reason-Rupe poll found that among those who self-identified as Tea Party supporters, 41 percent leaned libertarian and 59 percent socially conservative.[273] The movement, named after the Boston Tea Party, also contains conservative[274] and populist elements[275] and has sponsored multiple protests and supported various political candidates since 2009. Tea Party activities have declined since 2010 with the number of chapters across the country slipping from about 1,000 to 600.[276][277] Mostly, Tea Party organizations are said to have shifted away from national demonstrations to local issues.[276] Following the selection of Paul Ryan as Mitt Romney’s 2012 vice presidential running mate, The New York Times declared that Tea Party lawmakers are no longer a fringe of the conservative coalition, but now “indisputably at the core of the modern Republican Party”.[278]

In 2012, anti-war presidential candidates (Libertarian Republican Ron Paul and Libertarian Party candidate Gary Johnson) raised millions of dollars and garnered millions of votes despite opposition to their obtaining ballot access by Democrats and Republicans.[279] The 2012 Libertarian National Convention, which saw Gary Johnson and James P. Gray nominated as the 2012 presidential ticket for the Libertarian Party, resulted in the most successful result for a third-party presidential candidacy since 2000 and the best in the Libertarian Party’s history by vote number. Johnson received 1% of the popular vote, amounting to more than 1.2 million votes.[280][281] Johnson has expressed a desire to win at least 5 percent of the vote so that the Libertarian Party candidates could get equal ballot access and federal funding, thus subsequently ending the two-party system.[282][283][284]

Since the 1950s, many American libertarian organizations have adopted a free market stance, as well as supporting civil liberties and non-interventionist foreign policies. These include the Ludwig von Mises Institute, Francisco Marroqun University, the Foundation for Economic Education, Center for Libertarian Studies, the Cato Institute and Liberty International. The activist Free State Project, formed in 2001, works to bring 20,000 libertarians to New Hampshire to influence state policy.[285] Active student organizations include Students for Liberty and Young Americans for Liberty.

A number of countries have libertarian parties that run candidates for political office. In the United States, the Libertarian Party was formed in 1972 and is the third largest[286][287] American political party, with over 370,000 registered voters in the 35 states that allow registration as a Libertarian[288] and has hundreds of party candidates elected or appointed to public office.[289]

Current international anarchist federations which sometimes identify themselves as libertarian include the International of Anarchist Federations, the International Workers’ Association, and International Libertarian Solidarity. The largest organised anarchist movement today is in Spain, in the form of the Confederacin General del Trabajo (CGT) and the CNT. CGT membership was estimated to be around 100,000 for 2003.[290] Other active syndicalist movements include the Central Organisation of the Workers of Sweden and the Swedish Anarcho-syndicalist Youth Federation in Sweden; the Unione Sindacale Italiana in Italy; Workers Solidarity Alliance in the United States; and Solidarity Federation in the United Kingdom. The revolutionary industrial unionist Industrial Workers of the World claiming 2,000 paying members as well as the International Workers Association, an anarcho-syndicalist successor to the First International, also remain active. In the United States, there exists the Common Struggle Libertarian Communist Federation.

Criticism of libertarianism includes ethical, economic, environmental, pragmatic, and philosophical concerns.[291] It has also been argued that laissez-faire capitalism does not necessarily produce the best or most efficient outcome,[292] nor does its policy of deregulation prevent the abuse of natural resources. Furthermore, libertarianism has been criticized as utopian due to the lack of any such societies today.

Critics such as Corey Robin describe right-libertarianism as fundamentally a reactionary conservative ideology, united with more traditional conservative thought and goals by a desire to enforce hierarchical power and social relations:[293]

Conservatism, then, is not a commitment to limited government and libertyor a wariness of change, a belief in evolutionary reform, or a politics of virtue. These may be the byproducts of conservatism, one or more of its historically specific and ever-changing modes of expression. But they are not its animating purpose. Neither is conservatism a makeshift fusion of capitalists, Christians, and warriors, for that fusion is impelled by a more elemental forcethe opposition to the liberation of men and women from the fetters of their superiors, particularly in the private sphere. Such a view might seem miles away from the libertarian defense of the free market, with its celebration of the atomistic and autonomous individual. But it is not. When the libertarian looks out upon society, he does not see isolated individuals; he sees private, often hierarchical, groups, where a father governs his family and an owner his employees.

John Donahue argues that if political power were radically shifted to local authorities, parochial local interests would predominate at the expense of the whole and that this would exacerbate current problems with collective action.[294]

Michael Lind has observed that of the 195 countries in the world today, none have fully actualized a libertarian society:

If libertarianism was a good idea, wouldn’t at least one country have tried it? Wouldn’t there be at least one country, out of nearly two hundred, with minimal government, free trade, open borders, decriminalized drugs, no welfare state and no public education system?[295]

Lind has also criticised libertarianism, particularly the right-wing and free market variant of the ideology, as being incompatible with democracy and apologetic towards autocracy.[296]

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Libertarianism – Wikipedia

Can Libertarianism Be a Governing Philosophy?

The discussion we are about to have naturally divides itself into two aspects:

First: Could libertarianism, if implemented, sustain a state apparatus and not devolve into autocracy or anarchy? By that I mean the lawless versions of autocracy and anarchy, not stable monarchy or emergent rule of law without a state. Second: even if the answer were Yesor, Yes, if . . . we would still need to know whether enough citizens desired a libertarian order that it could feasibly be voluntarily chosen. That is, I am ruling out involuntary imposition by force of libertarianism as a governing philosophy.

I will address both questions, but want to assert at the outset that the first is the more important and more fundamental one. If the answer to it is No, there is no point in moving on to the second question. If the answer is Yes, it may be possible to change peoples minds about accepting a libertarian order.

The Destinationalists

As I have argued elsewhere[1], there are two main paths to deriving libertarian principles, destinations and directions. The destinationist approach shares the method of most other ethical paradigms: the enunciation of timeless moral and ethical precepts that describe the ideal libertarian society.

What makes for a distinctly libertarian set of principles is two precepts:

The extreme forms of these principles, for destinationists, can be hard for outsiders to accept. One example is noted by Matt Zwolinski, who cites opinion data gathered from libertarians by Liberty magazine and presented in its periodic Liberty Poll. A survey question frequently included in the survey was:

Suppose that you are on a friends balcony on the 50th floor of a condominium complex. You trip, stumble and fall over the edge. You catch a flagpole on the next floor down. The owner opens his window and demands you stop trespassing.

Zwolinski writes that in 1988, 84 percent of respondents to the flagpole question

said they believed that in such circumstances they should enter the owners residence against the owners wishes. 2% (one respondent) said that they should let go and fall to their death, and 15% said they should hang on and wait for somebody to throw them a rope. In 1999, the numbers were 86%, 1%, and 13%. In 2008, they were 89.2%, 0.9%, and 9.9%.

The interesting thing is that, while the answers to the flagpole question were almost unchanged over time, with a slight upward drift in those who would aggress by trespassing, support for the non-aggression principle itself plummeted. Writes Zwolinski:

Respondents were asked to say whether they agreed or disagreed with [the non-aggression principle]. In 1988, a full 90% of respondents said that they agreed. By 1999, however, the percentage expressing agreement had dropped by almost half to 50%. And by 2008, it was down to 39.7%.

If we take support for the non-aggression principle as a Rorschach test, it does not appear that most people, maybe not even everyone who identifies as a libertarian, are fully convinced that the principle is an absolute categorical moral principle.

The Directionalists

Of course, it could be true that many who identify now as libertarians, and those who might be attracted to libertarianism in the future, are directionalists. A directional approach holds that any policy action that increases the liberty and welfare of individuals is an improvement, and should be supported by libertarians, even if the policy itself violates either the self-ownership principle or the non-aggression principle.

A useful example here might be school vouchers. Instead of being a monopoly provider of public school education, the state might specialize in funding but leave the provision of education at least partly to private sector actors. The destinationist would object (and correctly) that the policy still involves the initiation of violence in collecting taxes involuntarily imposed on at least individuals who would not pay without the threat of coercion. In contrast, the directionalist might support vouchers, since parents would at least be afforded more liberty in choosing schools for their children, and the system would be subject to more competition, thus holding providers responsible for the quality of education being delivered.

Here, then, is a slightly modified take on the central question: Would a hybrid version of libertarianism, one that advocated for the destination but accepted directional improvements, be a viable governing philosophy? Even with this amendment, allowing for directional improvements as part of the core governing philosophy, is libertarianismto use a trope of the momentsustainable? The reason this approach could be useful is that it correlates to one of the great divisions within the libertarian movement: the split between political anarchists, who believe that any coercive state apparatus is ultimately incompatible with liberty, and the minarchists, who believe that a limited government is desirable, even necessary, and that it is also possible.

Limiting Leviathan: Getting Power to Stay Where You Put It

For a state to be consistent with both the self-ownership principle and the non-aggression principle, there must be certain core rights to property, expression, and action that are inviolable. This inviolability extends even to situations where initiating force would greatly benefit most people, meaning that consequentialist considerations cannot outweigh the rights of individuals.

Where might such a state originate, and how could it be continually limited to only those functions for which it was originally justified? One common answer is a form of contractarianism. (Another is convention, which is beyond the scope in this essay. See Robert Sugden[2] and Gerard Gaus[3] for a review of some of the issues.) This is not to say that actual states are the results of explicitly contractual arrangements; rather, there is an as if element: rational citizens in a state of nature would have voluntarily consented to the limited coercion of a minarchist state, given the substantial and universal improvement in welfare that results from having a provider of public goods and a neutral enforcer of contracts. Without a state, claims the minarchist, these two functionspublic goods provision and contract enforcementare either impossible or so difficult as to make the move to create a coercive state universally welcome for all citizens.

Contractarianism is of course an enormous body of work in philosophy, ranging from Thomas Hobbes and Jean-Jacques Rousseau to David Gauthier and John Rawls. Our contractarians, the libertarian versions, start with James Buchanan and Jan Narveson. Buchanans contractarianism is stark: Rules start with us, and the justification for coercion is, but can only be, our consent to being coerced. It is not clear that Buchanan would accept the full justification of political authority by tacit contract, but Buchanan also claims that each group in society should start from where we are now, meaning that changes in the rules require something as close to unanimous consent as possible.[4]

Narvesons view is closer to the necessary evil claim for justifying government. We need a way to be secure from violence, and to be able to enter into binding agreements that are enforceable. He wrote in The Libertarian Idea (1988) that there is no alternative that can provide reasons to everyone for accepting it, no matter what their personal values or philosophy of life may be, and thus motivating this informal, yet society-wide institution. He goes on to say:

Without resort to obfuscating intuitions, of self-evident rights and the like, the contractarian view offers an intelligible account both of why it is rational to want a morality and of what, broadly speaking, the essentials of that morality must consist in: namely, those general rules that are universally advantageous to rational agents. We each need morality, first because we are vulnerable to the depredations of others, and second because we can all benefit from cooperation with others. So we need protection, in the form of the ability to rely on our fellows not to engage in activities harmful to us; and we need to be able to rely on those with whom we deal. We each need this regardless of what else we need or value.

The problem, or so the principled political anarchist would answer, is that Leviathan cannot be limited unless for some reason Leviathan wants to limit itself.

One of the most interesting proponent of this view is Anthony de Jasay, an independent philosopher of political economy. Jasay would not dispute the value of credible commitments for contracts. His quarrel comes when contractarians invoke a founding myth. When I think of the Social Contract (the capitals signify how important it is!), I am reminded of that scene from Monty Python where King Arthur is talking to the peasants:

King Arthur: I am your king.

Woman: Well, I didnt vote for you.

King Arthur: You dont vote for kings.

Woman: Well howd you become king then?

[holy music . . . ]

King Arthur: The Lady of the Lake, her arm clad in the purest shimmering samite held aloft Excalibur from the bosom of the water, signifying by divine providence that I, Arthur, was to carry Excalibur. That is why I am your king.

Dennis: [interrupting] Listen, strange women lyin in ponds distributin swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony.

According to Jasay, there are two distinct problems with contractarian justifications for the state. Each, separately and independently, is fatal for the project, in his view. Together they put paid to the notion that a libertarian could favor minarchism.

The first problem is the enforceable contracts justification. The second is the limiting Leviathan problem.

The usual statement of the first comes from Hobbes: Covenants, without the sword, are but words. That means that individuals cannot enter into binding agreements without some third party to enforce the agreement. Since entering into binding agreements is a central precondition for mutually beneficial exchange and broad-scale market cooperation, we need a powerful, neutral enforcer. So, we all agree on that; the enforcer collects the taxes that we all agreed on and, in exchange, enforces all our contracts for us. (See John Thrasher[5] for some caveats.)

Butwait. Jasay compares this to jumping over your own shadow. If contracts cannot be enforced save by coercion from a third party, how can the contract between citizens and the state be enforced? [I]t takes courage to affirm that rational people could unanimously wish to have a sovereign contract enforcer bound by no contract, wrote Jasay in his book Against Politics (1997). By courage he does not intend a compliment. Either those who make this claim are contradicting themselves (since we cant have contracts, well use a contract to solve the problem) or the argument is circular (cooperation requires enforceable contracts, but these require a norm of cooperation).

Jasay put the question this way in On Treating Like Cases Alike: Review of Politics by Principle Not Interest, his 1999 essay in the Independent Review:

If man can no more bind himself by contract than he can jump over his own shadow, how can he jump over his own shadow and bind himself in a social contract? He cannot be both incapable of collective action and capable of it when creating the coercive agency needed to enforce his commitment. One can, without resorting to a bootstrap theory, accept the idea of an exogenous coercive agent, a conqueror whose regime is better than anything the conquered people could organize for themselves. Consenting to such an accomplished fact, however, can hardly be represented as entering into a contract, complete with a contracts ethical implications of an act of free will. [Emphasis in original]

In sum, the former claimthat contracts cannot be enforcedcannot then be used to conjure enforceable contracts out of a shadow. The latter claimthat people will cooperate on their ownmeans that no state is necessary in the first place. The conclusion Jasay reaches is that states, if they exist, may well be able to compel people to obey. The usual argument goes like this:

The state exists and enjoys the monopoly of the use of force for some reason, probably a historical one, that we need not inquire into. What matters is that without the state, society could not function tolerably, if at all. Therefore all rational persons would choose to enter into a social contract to create it. Indeed, we should regard the state as if it were the result of our social contract, hence indisputably legitimate.[6]

Jasay concludes that this argument must be false. As Robert Nozick famously put it in Anarchy, State, and Utopia (1974), tacit consent isnt worth the paper its not written on. We cannot confect a claim that states deserve our obedience based on consent. For consent is what true political authority requires: not that our compliance can be compelled, but that the state deserves our compliance. Ordered anarchy with no formal state is therefore a better solution, in Jasays view, because consent is either not real or is not enough.

Of course, this is simply an extension of a long tradition in libertarian thought, dating at least to Lysander Spooner. As Spooner said:

If the majority, however large, of the people of a country, enter into a contract of government, called a constitution, by which they agree to aid, abet or accomplish any kind of injustice, or to destroy or invade the natural rights of any person or persons whatsoever, whether such persons be parties to the compact or not, this contract of government is unlawful and voidand for the same reason that a treaty between two nations for a similar purpose, or a contract of the same nature between two individuals, is unlawful and void. Such a contract of government has no moral sanction. It confers no rightful authority upon those appointed to administer it. It confers no legal or moral rights, and imposes no legal or moral obligation upon the people who are parties to it. The only duties, which any one can owe to it, or to the government established under color of its authority, are disobedience, resistance, destruction.[7]

Now for the other problem highlighted by Jasay, that of limiting Leviathan. Let us assume the best of state officials: that they genuinely intend to do good. We might make the standard Public Choice assumption that officials want to use power to benefit themselves, but let us put that aside; instead, officials genuinely want to improve the lives of their citizens.

This means a minarchist state is not sustainable. Officials, thinking of the society as a collective rather than as individuals with inviolable rights, will immediately discover opportunities to raise taxes, and create new programs and new powers that benefit those in need. In fact, it is precisely the failure of the Public Choice assumptions of narrow self-interest that ensure this outcome. It might be possible in theory to design a principal-agent system of bureaucratic contract that constrains selfish officials. But if state power attracts those who are willing to sacrifice the lives or welfare of some for the greater good, then minarchy is quickly breached and Leviathan swells without the possibility of constraint.

I hasten to add that it need not be true, for Jasays claim to go through, that the concept of the greater good have any empirical content. It is enough that a few people believe, and can brandish the greater good like a truncheon, smashing rules and laws designed to stop the expansion of state power. No one who wants to do good will pass up a chance to do good, even if it means changing the rules. This process is much like that described by F.A. Hayek in Why the Worst Get on Top (see Chapter 10 of The Road to Serfdom) or Bertrand de Jouvenels Power (1945).

So, again, we reach a contradiction: Either 1) minarchy is not possible, because it is overwhelmed by the desire to do good, or minarchy is not legitimate because it is based on a mythical tacit consent; or 2) no state, minarchist or otherwise, is necessary because people can limit their actions on their own. Citizens might conclude that such self-imposed limits on their own actions are morally required, and that reputation and competition can limit the extent of depredation and reward cooperation in settings with repeated interaction. Jasay would argue, then, that constitutions and parchment barriers are either unnecessary (if people are self-governing) or ineffective (if they are not). Leviathan either cannot exist or else it is illimitable.

But Thats Not Enough

What I have argued so far is that destinationist libertarianism that is fully faithful to the self-ownership principle and the non-aggression principle could not be an effective governing philosophy. The only exception to this claim would be if libertarianism were universally believed, and people all agreed to govern themselves in the absence of a coercive state apparatus of any kind. Of course, one could object that even then something like a state would emerge, because of the economies of scale in the provision of defense, leading to a dominant protection network as described by Nozick. Whether that structure of service-delivery is necessarily a state is an interesting question, but not central to our current inquiry.

My own view is that libertarianism is, and in fact should be, a philosophy of governing that is robust and useful. But then I am a thoroughgoing directionalist. The state and its deputized coercive instruments have expanded the scope and intensity of their activities far beyond what people need to achieve cooperative goals, and beyond what they want in terms of immanent intrusions into our private lives.

Given the constant push and pull of politics, and the desire of groups to create and maintain rents for themselves, the task of leaning into the prevailing winds of statism will never be done. But it is a coherent and useful governing philosophy. When someone asks how big the state should be, there arent many people who think the answer is zero. But thats not on the table, anyway. My answer is smaller than it is now. Any policy change that grants greater autonomy (but also responsibility) to individual citizens, or that lessens government control over private action, is desirable; and libertarians are crucial for providing compelling intellectual justifications for why this is so.

In short, I dont advocate abandoning destinationist debates. The positing of an ideal is an important device for recruitment and discussion. But at this point we have been going in the wrong direction, for decades. It should be possible to find allies and fellow travelers. They may want to get off the train long before we arrive at the end of the line, but for many miles our paths toward smaller government follow the same track.

[1] Michael Munger, Basic Income Is Not an Obligation, but It Might Be a Legitimate Choice, Basic Income Studies 6:2 (December 2011), 1-13.

[2] Robert Sugden, Can a Humean Be a Contractarian? in Perspectives in Moral Science, edited by Michael Baurmann and Bernd Lahno, Frankfurt School Verlag (2009), 1123.

[3] Gerald Gaus, Why the Conventionalist Needs the Social Contract (and Vice Versa), Rationality, Markets and Morals, Frankfurt School Verlag, 4 (2013), 7187.

[4] For more on the foundation of Buchanans thought, see my forthcoming essay in the Review of Austrian Economics, Thirty Years After the Nobel: James Buchanans Political Philosophy.

[5] John Thrasher, Uniqueness and Symmetry in Bargaining Theories of Justice, Philosophical Studies 167 (2014), 683699.

[6] Anthony de Jasay, Pious Lies: The Justification of States and Welfare States, Economic Affairs 24:2 (2004), 63-64.

[7] Lysander Spooner, The Unconstitutionality of Slavery (Boston: Bela Marsh, 1860), pp. 9-10.

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Can Libertarianism Be a Governing Philosophy?

6 Reasons Why I Gave Up On Libertarianism Return Of Kings

These days, libertarianism tends to be quite discredited. It is now associated with the goofy candidature of Gary Johnson, having a rather narrow range of issueslegalize weed! less taxes!, cucking ones way to politics through sweeping all the embarrassing problems under the carpet, then surrendering to liberal virtue-signaling and endorsing anti-white diversity.

Now, everyone on the Alt-Right, manosphere und so wieser is laughing at those whose adhesion to a bunch of abstract premises leads to endorse globalist capital, and now that Trump officially heads the State, wed be better off if some private companies were nationalized than let to shadowy overlords.

To Americans, libertarianism has been a constant background presence. Its main icons, be them Ayn Rand, Murray Rothbard or Friedrich Hayek, were always read and discussed here and there, and never fell into oblivion although they barely had media attention. The academic and political standing of libertarianism may be marginal, it has always been granted small platforms and resurrected from time to time in the public landscape, one of the most conspicuous examples of it being the Tea Party demonstrations.

To a frog like yours trulyKek being now praised by thousands of well-meaning memers, I can embrace the frog moniker gladlylibertarianism does not have the same standing at all. In French universities, libertarian thinkers are barely discussed, even in classes that are supposed to tackle economics: for one hour spent talking about Hayek, Keynes easily enjoys ten, and the same goes on when comparing the attention given to, respectively, Adam Smith and Karl Marx.

On a wider perspective, a lot of the contemporary French identity is built on Jacobinism, i.e. on crushing underfoot organic regional sociability in the name of a bureaucratized and Masonic republic. The artificial construction of France is exactly the kind of endeavour libertarianism loathes. No matter why the public choices school, for example, is barely studied here: pompous leftist teachers and mediocre fonctionnaires are too busy gushing about themselves, sometimes hiding the emptiness of their life behind a ridiculous epic narrative that turns social achievements into heroic feats, to give a fair hearing to pertinent criticism.

When I found out about libertarianism, I was already sick of the dominant fifty shades of leftism political culture. The gloomy mediocrity of small bureaucrats, including most school teachers, combined with their petty political righteousness, always repelled me. Thus, the discovery oflaissez-faire advocates felt like stumbling on an entirely new scene of thoughtand my initial feeling was vindicated when I found about the naturalism often associated with it, something refreshing and intuitively more satisfying than the mainstream culture-obsessed, biology-denying view.

Libertarianism looked like it could solve everything. More entrepreneurship, more rights to those who actually create wealth and live through the good values of personal responsibility and work ethic, less parasitesbe they bureaucrats or immigrants, no more repressive speech laws. Coincidentally, a new translation of Ayn Rands Atlas Shrugged was published at this time: I devoured it, loving the sense of life, the heroism, the epic, the generally great and achieving ethos contained in it. Arent John Galt and Hank Rearden more appealing than any corrupt politician or beta bureaucrat that pretends to be altruistic while backstabbing his own colleagues and parasitizing the country?

Now, although I still support small-scale entrepreneurship wholeheartedly, I would never defend naked libertarianism, and here is why.

Part of the Rothschild family, where nepotism and consanguinity keep the money in

Unity makes strength, and trust is much easier to cultivate in a small group where everyone truly belongs than in an anonymous great society. Some ethnic groups, especially whites, tend to be instinctively individualistic, with a lot of people favouring personal liberty over belonging, while others, especially Jews, tend to favor extended family business and nepotism.

On a short-term basis, mobile individuals can do better than those who are bound to many social obligations. On the long run, however, extended families manage to create an environment of trust and concentrate capital. And whereas individuals may start cheating each other or scattering their wealth away, thanks to having no proper economic network, families and tribes will be able to invest heavily in some of their members and keep their wealth inside. This has been true for Jewish families, wherever their members work as moneylenders or diamond dealers, for Asians investing in new restaurants or any other business project of their own, and for North Africans taking over pubs and small shops in France.

The latter example is especially telling. White bartenders, butchers, grocers and the like have been chased off French suburbs by daily North African and black violence. No one helped them, everyone being afraid of getting harassed as well and busy with their own business. (Yep, just like what happened and still happens in Rotheram.) As a result, these isolated, unprotected shop-owners sold their outlet for a cheap price and fled. North Africans always covered each others violence and replied in groups against any hurdle, whereas whites lowered their heads and hoped not to be next on the list.

Atlas Shrugged was wrong. Loners get wrecked by groups. Packs of hyenas corner and eat the lone dog.

Libertarianism is not good for individuals on the long runit turns them into asocial weaklings, soon to be legally enslaved by global companies or beaten by groups, be they made of nepotistic family members or thugs.

How the middle classes end up after jobs have been sent overseas and wages lowered

People often believe, thanks to Leftist media and cuckservative posturing, that libertarians are big bosses. This is mostly, if not entirely, false. Most libertarians are middle class guys who want more opportunities, less taxation, and believe that libertarianism will help them to turn into successful entrepreneurs. They may be right in very specific circumstances: during the 2000s, small companies overturned the market of electronics, thus benefiting both to their independent founders and to society as a whole; but ultimately, they got bought by giants like Apple and Google, who are much better off when backed by a corrupt State than on a truly free market.

Libertarianism is a fake alternative, just as impossible to realize as communism: far from putting everyone at its place, it lets ample room to mafias, monopolies, unemployment caused by mechanization and global competition. If one wants the middle classes to survive, one must protect the employment and relative independence of its membersbankers and billionaires be damned.

Spontaneous order helped by a weak government. I hope they at least smoke weed.

A good feature of libertarianism is that it usually goes along with a positive stance on biology and human nature, in contrast with the everything is cultural and ought to be deconstructed left. However, this stance often leads to an exaggerated optimism about human nature. In a society of laissez-faire, the libertarians say, people flourish and the order appears spontaneously.

Well, this is plainly false. As all of the great religions say, after what Christians call the Fall, man is a sinner. If you let children flourish without moral standards and role models, they become spoiled, entitled, manipulative, emotionally fragile and deprived of self-control. If you let women flourish without suspicion, you let free rein to their propensities to hypergamy, hysteria, self-entitlement and everything we can witness in them today. If you let men do as they please, you let them become greedy, envious, and turning into bullies. As a Muslim proverb says, people must be flogged to enter into paradiseand as Aristotle put forth, virtues are trained dispositions, no matter the magnitude of innate talents and propensities.

Michelle The Man Obama and Lying Crooked at a Democrat meeting

When the laissez-faire rules, some will succeed on the market more than others, due to differences in investment, work, and natural abilities. Some will succeed enough to be able to buy someone elses business: this is the natural consequence of differences in wealth and of greed. When corrupt politicians enter the game, things become worse, as they will usually help some large business owners to shield their position against competitorsat the expense of most people, who then lose their independence and live off a wage.

At the end, what we get is a handful of very wealthy individuals who have managed to concentrate most capital and power levers into their hands and a big crowd of low-wage employees ready to cut each others throat for a small promotion, and females waiting in line to get notched by the one per cent while finding the other ninety-nine per cent boring.

Censorship by massive social pressure, monopoly over the institutions and crybullying is perfectly legal. What could go wrong?

On the surface, libertarianism looks good here, because it protects the individuals rights against left-hailing Statism and cuts off the welfare programs that have attracted dozens of millions of immigrants. Beneath, however, things are quite dire. Libertarianism enshrines the leftists right to free speech they abuse from, allows the pressure tactics used by radicals, and lets freethinking individuals getting singled out by SJWs as long as these do not resort to overt stealing or overt physical violence. As for the immigrants, libertarianism tends to oppose the very notion of non-private boundaries, thus letting the local cultures and identities defenseless against both greedy capitalists and subproletarian masses.

Supporting an ideology that allows the leftists to destroy society more or less legally equates to cucking, plain and simple. Desiring an ephemeral cohabitation with rabid ideological warriors is stupid. We should aim at a lasting victory, not at pretending to constrain them through useless means.

Am I the only one to find that Gary Johnson looks like a snail (Spongebob notwithstanding)?

In 2013, one of the rare French libertarians academic teachers, Jean-Louis Caccomo, was forced into a mental ward at the request of his university president. He then spent more than a year getting drugged. Mr. Caccomo had no real psychological problem: his confinement was part of a vicious strategy of pathologization and career-destruction that was already used by the Soviets. French libertarians could have wide denounced the abuse. Nonetheless, most of them freaked out, and almost no one dared to actually defend him publicly.

Why should rational egoists team up and risk their careers to defend one of themselves after all? They would rather posture at confidential social events, rail at organic solidarity and protectionism, or trolling the shit out of individuals of their own social milieu because Ive got the right to mock X, its my right to free speech! The few libertarian people I knew firsthand, the few events I have witnessed in that small milieu, were enough to give me serious doubts about libertarianism: how can a good political ideology breed such an unhealthy mindset?

Political ideologies are tools. They are not ends in themselves. All forms of government arent fit for any people or any era. Political actors must know at least the most important ones to get some inspiration, but ultimately, said actors win on the ground, not in philosophical debates.

Individualism, mindless consumerism, careerism, hedonism are part of the problem. Individual rights granted regardless of ones abilities, situation, and identity are a disaster. Time has come to overcome modernity, not stall in one of its false alternatives. The merchant caste must be regulated, though neither micromanaged or hampered by a parasitic bureaucracy nor denied its members right for small-scale independence. Individual rights must be conditional, boundaries must be restored, minority identities based on anti-white male resentment must be crushed so they cannot devour sociability from the inside again, and the pater familias must assert himself anew.

Long live the State and protectionism as long as they defend the backbone of society and healthy relationships between the sexes, and no quarter for those who think they have a right to wage grievance-mongering against us, no matter if they want to use the State or private companies. At the end, the socialism-libertarianism dichotomy is quite secondary.

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6 Reasons Why I Gave Up On Libertarianism Return Of Kings

Futurism | the arts | Britannica.com

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 February 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.

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theatre: Futurism in Italy

Although it produced one major dramatist, Luigi Pirandello, in the period between the two world wars, the Italian theatre contributed very little to staging or theatre production. What was important was the work of the Futurists led by Marinetti. This movement predated

Marinettis manifesto inspired a group of young painters in Milan to apply Futurist ideas to the visual arts. Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality and expressed their disdain for inherited artistic traditions.

Although they were not yet working in what was to become the Futurist style, the group called for artists to have an emotional involvement in the dynamics of modern life. They wanted to depict visually the perception of movement, speed, and change. To achieve this, the Futurist painters adopted the Cubist technique of using fragmented and intersecting plane surfaces and outlines to show several simultaneous views of an object. But the Futurists additionally sought to portray the objects movement, so their works typically include rhythmic spatial repetitions of an objects outlines during transit. The effect resembles multiple photographic exposures of a moving object. An example is Ballas painting Dynamism of a Dog on a Leash (1912), in which a trotting dachshunds legs are depicted as a blur of multiple images. The Futurist paintings differed from Cubist work in other important ways. While the Cubists favoured still life and portraiture, the Futurists preferred subjects such as speeding automobiles and trains, racing cyclists, dancers, animals, and urban crowds. Futurist paintings have brighter and more vibrant colours than Cubist works, and they reveal dynamic, agitated compositions in which rhythmically swirling forms reach crescendos of violent movement.

Boccioni also became interested in sculpture, publishing a manifesto on the subject in the spring of 1912. He is considered to have most fully realized his theories in two sculptures, Development of a Bottle in Space (1912), in which he represented both the inner and outer contours of a bottle, and Unique Forms of Continuity in Space (1913), in which a human figure is not portrayed as one solid form but is instead composed of the multiple planes in space through which the figure moves.

Futurist principles extended to architecture as well. Antonio SantElia formulated a Futurist manifesto on architecture in 1914. His visionary drawings of highly mechanized cities and boldly modern skyscrapers prefigure some of the most imaginative 20th-century architectural planning.

Boccioni, who had been the most-talented artist in the group, and SantElia both died during military service in 1916. Boccionis death, combined with expansion of the groups personnel and the sobering realities of the devastation caused by World War I, effectively brought an end to the Futurist movement as an important historical force in the visual arts.

Not content with merely taking over the urban and modernist themes of Futurist painting, the writers who embraced Italian literary Futurism sought to develop a language appropriate for what they perceived to be the speed and ruthlessness of the early 20th century. They established new genres, the most significant being parole in libert (words-in-freedom), also referred to as free-word poetry. It was poetry liberated from the constraints of linear typography and conventional syntax and spelling. A brief extract from Marinettis war poem Battaglia peso + odore (1912; Battle Weight + Smell) was appended to one of the Futurists manifestos as an example of words-in-freedom:

Arterial-roads bulging heat fermenting hair armpits drum blinding blondness breathing + rucksack 18 kilograms common sense = seesaw metal moneybox weakness: 3 shudders commands stones anger enemy magnet lightness glory heroism Vanguards: 100 meters machine guns rifle-fire explosion violins brass pim pum pac pac tim tum machine guns tataratatarata

Designed analogies (pictograms where shape analogically mimics meaning), dipinti paroliberi (literary collages combining graphic elements with free-word poetry), and sintesi (minimalist plays) were among other new genres. New forms of dissemination were favoured, including Futurist evenings, mixed-media events, and the use of manifesto leaflets, poster poems, and broadsheet-format journals containing a mixture of literature, painting, and theoretical pronouncements. Until 1914, however, output fell far short of the movements declared program, and Futurist poetsin contrast to Marinettiremained largely traditionalist in their subject matter and idiom, as was demonstrated by the movements debut anthology I poeti futuristi (1912; The Futurist Poets).

Marinetti was for some time primarily associated with his African Mafarka le futuriste (1910; Mafarka the Futurist), a tale of rape, pillage, and battle set in North Africa. Apart from its misogyny, racism, and glorification of a cult of violence, the novel is remembered for its heros creation of a machine brought to life as a superman destined to inherit the future. Only when Marinetti started grounding his avant-garde poetry in the realities of his combat experiences as a war reporter during World War I, however, did a distinctly innovative Futurist idiom emerge, one that represented a significant break from past poetic practices.

The title of literary Futurisms most important manifesto, Distruzione della sintassiimmaginazione senza filiparole in libert (1913; Destruction of SyntaxWireless ImaginationWords-in-Freedom), represented Marinettis demands for a pared-down elliptical language, stripped of adjectives and adverbs, with verbs in the infinitive and mathematical signs and word pairings used to convey information more economically and more boldly. The resultant telegraphic lyricism is most effective in Marinettis war poetry, especially Zang tumb tumb and Dunes (both 1914). A desire to make language more intensive led to a pronounced use of onomatopoeia in poems dealing with machines and waras in the title of Zang tumb tumb, intended to mimic the sound of artillery fireand to a departure from uniform, horizontal typography. A number of Futurist painter-poets blurred the distinction between literature and visual art, as Severini did in Danza serpentina (1914; Serpentine Dance). While Marinettis poetic experiments revealed an indebtedness to Cubism, he elevated Italian literary collage, often created for the purpose of pro-war propaganda, to a distinctively Futurist art form. The culmination of this tendency came with Carrs Festa patriottica (1914; Patriotic Celebration) and Marinettis Les Mots en libert futuristes (1919; Futurist Words-in-Freedom).

A typographical revolution was also proclaimed in the Futurists 1913 manifesto; it grew out of both a desire to make form visually dynamic and a perceived need for visual effects in type that were capable of reflectingthrough size and boldnessthe noise of modern warfare and urban life. A diverse series of shaped poetic layouts depicted speeding cars, trains, and airplanes, exploding bombs, and the confusions of battle. Apart from Marinettis work, the most accomplished typographical experiments are to be found in the poetry of Francesco Cangiullo and Fortunato Depero.

During its first decade, Italian literary Futurism remained a largely homogeneous movement. By contrast, Russian Futurism was fragmented into a number of splinter groups (Ego-Futurists, Cubo-Futurists, Hylaea [Russian Gileya]) associated with a large number of anthologies representing continually regrouping artistic factions. While there was an urbanist strand to Russian Futurism, especially in the poetry of Vladimir Mayakovsky and Yelena Guro, Russian writers were less preoccupied with machines, speed, and violence than their Italian counterparts. The dominant strain of primitivism in Russian Futurism led some to conclude that the two movements have little in common apart from the word Futurism. While there was a shared interest in the renewal of language, the Italians innovations were invariably designed to express an ultramodern sensibility, whereas Russian Futurist poets and playwrights confined their attentions to The Word as Such (the title of one of their most famous manifestos, Slovo kak takovoye, published in 1913). A number of these writers, most impressively Velimir Khlebnikov, explored the archaic roots of language and drew on primitive folk culture for their inspiration.

As was the case in Italy, the main achievements of Russian Futurism lie in poetry and drama. As it did in Italy, neologism played a large role in Russian attempts to renew language, which in turn aimed at the destruction of syntax. The most-famous Futurist poem, Khlebnikovs Zaklyatiye smekhom (1910; Incantation by Laughter), generates a series of permutations built on the root -smekh (laughter) by adding impossible prefixes and suffixes. The result is a typical (for Russian Futurism) concern with etymology and word creation. Khlebnikovs and Alexey Kruchenykhs radical forays into linguistic poetry went hand in hand with an interest in the word as pure sound. Their invented zaumthe largely untranslatable name given to their transrational languagewas intended to take language beyond logical meanings in the direction of a new visionary mysticism. Kruchenykhs opera Pobeda nad solncem (1913; Victory over the Sun) and Khlebnikovs play Zangezi (1922) are two of the most-important examples of the Futurist blend of transrationalism with the cult of the primitive. Mayakovsky, the greatest Russian poet to have gone through a Futurist phase, was coauthor of the manifesto Poshchochina obshchestvennomu vkusu (1912; A Slap in the Face of Public Taste), and his poems figure in many of the movements key anthologies. While sharing an Italian-influenced Futurist sensibility with the Ego-Futurists and belonging more, on account of their concern with verbal innovation, to the body of works by the Cubo-Futurist painter-poets, his poetry and plays are, above all, Futurist in their provocative rejection of the past and their subjectivist approach to the renewal of poetic language.

During the 1920s, Marinetti and those around him gravitated toward fascism, whereas the Soviet communist regime became increasingly intolerant of what it dismissed as avant-garde Formalism. While relations between Italian and Russian Futurism were, on the whole, strained, the Italian Futurists exercised a strong influence on German Expressionism, English Vorticism, and international Dada.

Excerpt from:

Futurism | the arts | Britannica.com

Glen Hiemstra – Futurist Speaker, Consultant and Author

What Is Futurist.com?

Futurist.com is an international consultancy focused on long-range future trends and on strategies and techniques for shaping the preferred future. Our commitment is to a greater understanding of and enthusiasm about the future and future-related subjects.

Founder of Futurist.com, Glen is an internationally respected expert on future trends, long-range planning and creating the preferred future. An inspiring and deeply experienced voice among futurists, Glen has advised professional, business, and governmental organizations for over two decades.

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Glen Hiemstra – Futurist Speaker, Consultant and Author

Futurist – Wikipedia

Futurists or futurologists are scientists and social scientists whose specialty is futurology or the attempt to systematically explore predictions and possibilities about the future and how they can emerge from the present, whether that of human society in particular or of life on Earth in general.

The term “futurist” most commonly refers to people who attempt to predict the future (sometimes called trend analysis) such as authors, consultants, thinkers, organizational leaders and others who engage in interdisciplinary and systems thinking to advise private and public organizations on such matters as diverse global trends, possible scenarios, emerging market opportunities and risk management. Futurist is not in the sense of the art movement futurism.

The Oxford English Dictionary identifies the earliest use of the term futurism in English as 1842, to refer, in a theological context, to the Christian eschatological tendency of that time. The next recorded use is the label adopted by the Italian and Russian Futurists, the artistic, literary and political movements of the 1920s and 1930s which sought to reject the past and fervently embrace speed, technology, and often violent change.

There are a number of organizations that specialize in this field including the World Future Society.

Visionary writers such as Jules Verne, Edward Bellamy, and H.G.Wells were not in their day characterized as futurists. The term futurology in its contemporary sense was first coined in the mid1940s by the German Professor Ossip K. Flechtheim, who proposed a new science of probability. Flechtheim argued that even if systematic forecasting did no more than unveil the subset of statistically highly probable processes of change and charted their advance, it would still be of crucial social value.[1]

In the mid1940s the first professional “futurist” consulting institutions like RAND and SRI began to engage in long-range planning, systematic trend watching, scenario development, and visioning, at first under World WarII military and government contract and, beginning in the 1950s, for private institutions and corporations. The period from the late 1940s to the mid1960s laid the conceptual and methodological foundations of the modern futures studies field. Bertrand de Jouvenel’s The Art of Conjecture in 1963 and Dennis Gabor’s Inventing the Future in 1964 are considered key early works, and the first U.S.university course devoted entirely to the future was taught by the late Alvin Toffler at the New School in 1966.[2]

More generally, the label includes such disparate lay, professional, and academic groups as visionaries, foresight consultants, corporate strategists, policy analysts, cultural critics, planners, marketers, forecasters, prediction market developers, roadmappers, operations researchers, investment managers, actuaries, and other risk analyzers, and future-oriented individuals educated in every academic discipline, including anthropology, complexity studies, computer science, economics, engineering, urban design, evolutionary biology, history, management, mathematics, philosophy, physical sciences, political science, psychology, sociology, systems theory, technology studies, trend analysis, and other disciplines.

“Futures studies”sometimes referred to as futurology, futures research, and foresightcan be summarized as being concerned with “three P’s and a W”, i.e. “possible, probable, and preferable” futures, plus “wildcards”, which are low-probability, high-impact events, should they occur. Even with high-profile, probable events, such as the fall of telecommunications costs, the growth of the internet, or the aging demographics of particular countries, there is often significant uncertainty in the rate or continuation of a trend. Thus, a key part of futures analysis is the managing of uncertainty and risk.[3]

Not all futurists engage in the practice of futurology as generally defined. Pre-conventional futurists (see below) would generally not. And while religious futurists, astrologers, occultists, New Age divinists, etc. use methodologies that include study, none of their personal revelation or belief-based work would fall within a consensus definition of futurology as used in academics or by futures studies professionals.

Several authors have become recognized as futurists. They research trends, particularly in technology, and write their observations, conclusions, and predictions. In earlier eras, many futurists were at academic institutions. John McHale, author of The Future of the Future, published a ‘Futures Directory’, and directed a think tank called The Centre For Integrative Studies at a university. Futurists have started consulting groups or earn money as speakers, with examples including Alvin Toffler, John Naisbitt and Patrick Dixon. Frank Feather is a business speaker that presents himself as a pragmatic futurist. Some futurists have commonalities with science fiction, and some science-fiction writers, such as Arthur C. Clarke,[4] are known as futurists.[citation needed] In the introduction to The Left Hand of Darkness, Ursula K. Le Guin distinguished futurists from novelists, writing of the study as the business of prophets, clairvoyants, and futurists. In her words, “a novelist’s business is lying”.

A survey of 108 futurists[5] found the following shared assumptions:

The term has also been used to refer to popular electronic music acts who emerged in the 1970s, such as Orchestral Manoeuvres in the Dark and The Human League.[6][7]

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Futurist – Wikipedia

Futurist – definition of futurist by The Free Dictionary

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.

n.

1. (sometimes cap.) a follower of futurism.

3. futuristic.

[183545;

ThesaurusAntonymsRelated WordsSynonymsLegend:

Translations

1. (esp US) (= futurologist) futurlogo/a m/f

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