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Daily Archives: December 23, 2013
The Immortal Life of Henrietta Lacks by Rebecca Skloot – Book …
Posted: December 23, 2013 at 5:42 am
Discussion Guides
1. On page xiii, Rebecca Skloot states This is a work of nonfiction. No names have been changed, no characters invented, no events fabricated. Consider the process Skloot went through to verify dialogue, recreate scenes, and establish facts. Imagine trying to re-create scenes such as when Henrietta discovered her tumor (page 15). What does Skloot say on pages xiiixiv and in the notes section (page 346) about how she did this?
2. One of Henriettas relatives said to Skloot, If you pretty up how people spoke and change the things they said, thats dishonest (page xiii). Throughout, Skloot is true to the dialect in which people spoke to her: the Lackses speak in a heavy Southern accent, and Lengauer and Hsu speak as non-native English speakers. What impact did the decision to maintain speech authenticity have on the story?
3. As much as this book is about Henrietta Lacks, it is also about Deborah learning of the mother she barely knew, while also finding out the truth about her sister, Elsie. Imagine discovering similar information about one of your family members. How would you react? What questions would you ask?
4. In a review for the New York Times, Dwight Garner writes, Ms. Skloot is a memorable character herself. She never intrudes on the narrative, but she takes us along with her on her reporting. How would the story have been different if she had not been a part of it? What do you think would have happened to scenes like the faith healing on page 289? Are there other scenes you can think of where her presence made a difference? Why do you think she decided to include herself in the story?
5. Deborah shares her mothers medical records with Skloot, but is adamant that she not copy everything. On page 284 Deborah says, Everybody in the world got her cells, only thing we got of our mother is just them records and her Bible. Discuss the deeper meaning behind this sentence. Think not only of her words, but also of the physical reaction she was having to delving into her mothers and sisters medical histories. If you were in Deborahs situation, how would you react to someone wanting to look into your mothers medical records?
6. This is a story with many layers. Though its not told chronologically, it is divided into three sections. Discuss the significance of the titles given to each part: Life, Death, and Immortality. How would the story have been different if it were told chronologically?
7. As a journalist, Skloot is careful to present the encounter between the Lacks family and the world of medicine without taking sides. Since readers bring their own experiences and opinions to the text, some may feel she took the scientists side, while others may feel she took the familys side. What are your feelings about this? Does your opinion fall on one side or the other, or somewhere in the middle, and why?
8. Henrietta signed a consent form that said, I hereby give consent to the staff of The Johns Hopkins Hospital to perform any operative procedures and under any anaesthetic either local or general that they may deem necessary in the proper surgical care and treatment of: ________ (page 31). Based on this statement, do you believe TeLinde and Gey had the right to obtain a sample from her cervix to use in their research? What information would they have had to give her for Henrietta to give informed consent? Do you think Henrietta would have given explicit consent to have a tissue sample used in medical research if she had been given all the information? Do you always thoroughly read consent forms before signing them?
9. In 1976, when Mike Rogerss Rolling Stone article was printed, many viewed it as a story about race (see page 197 for reference). How do you think public interpretation might have been different if the piece had been published at the time of Henriettas death in 1951? How is this different from the way her story is being interpreted today? How do you think Henriettas experiences with the medical system would have been different had she been a white woman? What about Elsies fate?
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Could humans attain immortality? – Curiosity
Posted: at 5:42 am
Mankind's quest for immortality has taken an interesting path. In the 1500s, Juan Ponce de Leon sought the legendary "Fountain of Youth." Today, optimistic individuals sign up to be cryogenically frozen in the hopes of being restored to life and good health in the future. Others promote everything from extreme calorie deprivation to popping pills of Resveratrol to combat the aging process. The pursuit of immortality has even led to the formation in 2002 of The Immortality Institute (ImmInst.org), an international, non-profit, member-based organization dedicated to "conquering the blight of involuntary death."
The simple fact that the aging process is still largely a mystery -- there are countless theories surrounding how it works -- is just one reason immortality will likely never be realized. This is because aging affects practically every cell, organ and system in the body: The heart becomes less efficient, blood vessels lose elasticity, bones and muscles weaken, digestion slows down, brain cells decrease -- the list goes on and on. Finding an everlasting antidote or replacement for each of these deteriorating functions is highly unlikely. Even if, as futurologist Ian Pearson has proposed, we succeed at downloading our minds into machines so that the failing of the body becomes irrelevant, what's to say that machine will be in it for the long haul?
It's certainly conceivable that experts may one day be able to extend the human lifespan to an extent unimaginable today. After all, scientists have already designed artificial hearts and highly functional artificial limbs, and they are close to releasing an artificial retina that can restore sight to the blind [source: CBS News]. But the possibility of extending life indefinitely, forever and ever amen, is a long shot. The human body simply is not meant to last forever -- just look at what happened to Goldie Hawn and Meryl Streep in "Death Becomes Her."
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Transhumanist art – Wikipedia, the free encyclopedia
Posted: at 5:42 am
Transhumanist art is an art movement which focuses on the concept of transhumanity, a transitional stage in a perceived progression from human to transhuman to posthuman. Transhumanist art claimed a role for artists as purveyors of futuristic aspiration and visionary thinking in an era of scientific and technological challenge,[1] questioning traditional roles of the artist, the era of modern art and conventional aesthetics. Instead its proponents advocate a future-oriented aesthetics, often reflecting transdisciplinary works in art, science and technology.
Transhumanist Arts is an art period reflecting creative works of transhumanity. Just as Modern Art represents much of the arts of the 20th Century, Transhumanist Arts covers the late 20th Century into the 21st Century. The Transhumanist Arts period coalesces arts, sciences and technologies in reflecting the efforts of transhumans in enhancing and augmenting our minds and bodies as we strive for superlongevity and ultimately indefinite lifespans. The ideas generated by those whose work is transhumanist in scope, exemplifies the content of the transhumanist culture and is generated through many modes, from painting to New Media, and modes yet to be discovered.[2]
As a consequence of its philosophical foundations, transhumanist art emphasizes the message of the art works over the mediums used by artists in producing their works. In this regard, transhumanist art reflects the ideas of Marshall McLuhan that humans are extending themselves and their bodies through technology.
Artists and the arts, throughout history, have been a voice and a vision of civilization. Artists, as communicators, reach out to others and introduce insight and vision about society and culture. Artists and the arts bring together the passions, the dreams and the hopes of humanity and transhumanity and express these emotions in ways that touch us deeply.
The art works of transhumanist art reflect a proactive vision of the future, stemming from both science fiction and traditional fiction.
[Transhumanist Arts] is in general optimistic, creative, combining intelligence and emotion in unexpected ways and is future-directed instead of backward-looking. Especially important is the automorphism sub-movement, which seeks to make self-transformation and living itself into art. On the other hand it should not be confused with techno and futurist art, which it overlaps with.
Transhumanist artworks include traditional art practices such as painting,[3]printmaking, and sculpture; in multi-media, digital, virtual reality simulations, Internet art, electronic art and robotics; in moving images of videography and filmmaking; in literature through poetry[4] and fiction; in music through real-time compositions and digitized electronic or synthesized compositions;[5] and in conceptual art and exploratory practices coalescing artificial intelligence (AI), artificial general intelligence (AGI), and nanotechnology.
Transhumanist art can include product design[citation needed], industrial design[citation needed] and architecture[6] as well as the works of scientists,[7]engineers[citation needed] and innovators[citation needed] whose goals are transhumanist in scope.
Transhumanist art was first recognized in 1979 when the 8mm short independent film Breaking Away was exhibited at the University of Colorado's Film Studies Program.[citation needed]Stan Brackage, noted independent filmmaker of the 1970-1980s, was an influence on the cinematographic style of Breaking Away.[citation needed] The storyline of Breaking Away themes human evolution as breaking away from biological restraints and the Earth's gravity as humanity moves into space. The performance art piece was written and performed by Natasha Vita-More at Red Rocks Amphitheater. Don Yannacito, Director of Film Studies Program for independent filmmakers, filmed the performance.[8]
In 1983 a Transhuman Statement, a statement of arts for the future by Vita-More and FM-2030, established a poetic doctrine of transhumanist expression.[9]
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UK Transhumanist Association
Posted: at 5:42 am
What is the UK Transhumanist Association? It is the proper business of human beings to seek to improve themselves. To deny this is to embrace stagnation and decay. It's probably safe to say that most people want to see a future where we can live healthy, happy, useful and long lives. To achieve any such improvement in the human condition, progress must be made. Today, there are so many anti-progress groups, especially in the area of science and scientific research. Neo-Luddites and bio-conservatives seek to limit the application of scientific research often as a knee-jerk reaction to the new, without considering the substantial benefits such technologies may bring. Just think for a moment about your life; have you ever been to hospital, had an operation, taken life saving drugs? If you have then you wouldn't be reading this without being a direct beneficiary of Progress. Even if you had been perfectly healthy since birth, the chances are you wouldn't be reading this, as without Progress there would be no personal computers, and no internet. The UK Transhumanist Association is here to restore the balance and promote the benefits of Progress and advanced scientific research. We are a voluntary organisation, whose aim is to raise awareness of issues relating to the creation of a better future for everyone. Certainly we must be careful with our research and its application in the new technologies, but to deny significant benefits of these technologies just because of ill thought out `doomsday scenarios' may have the reverse effect, and accelerate the problems besetting mankind at this moment in history. We want to promote sensible, balanced discussion and policy-making in issues that will affect people's lives in the near future, issues that up to now have been dominated by hysteria and scare-mongering, issues that we cannot afford to have decided by ignorance and fear. The word "Transhumanist" embodies our belief that the human condition can be improved, through our own efforts, by a rational and compassionate application of advanced technology. This technology is being developed right now, all over the world. Our use or misuse of it will determine what kind of world we, and our children, will live in. We believe that everyone can and should understand this new technology, so that they can have a say in how it will be used. You don't need to have a PhD to understand what genetically modified food actually is, and what its potential is, both good and bad. You don't have to simply accept what the newspapers say about stem-cell therapy, because it's 'too technical' for the average person to understand. These things are no more difficult to understand, from a practical point of view, than the decisions that ordinary people make throughout their lives: Use public transport or buy a car? Eat chips or salad? Send your child to a state school or a private school? Trying to ban new technologies because we don't understand them or are afraid of them is just as bad as uncritically embracing them. We teach our children to treat fire with respect, but we don't teach them that it is inherently bad and must never be used. Fire, while being one of the most destructive and frightening technologies we have ever harnessed, is also one of the most useful, when it is used carefully and appropriately. Biotechnology, Nanotechnology, Cloning, Stem-Cell Therapy - these technologies are the fire of the future, and we must learn how to handle them safely and effectively. We aim to reach all levels of British society through a mix of lobbying, outreach and education, and networking. Lobbying Decisions in areas such as stem-cell research, biotechnology and nanotechnology are too important to be left to the (unaided) politicians. There is no shortage of pressure groups that have both a technophobic agenda and the ear of politicians sitting on crucial parliamentary committees. We aim to provide an alternative and positive approach with targeted position statements delivered where they are likely to have the most impact, i.e. the government and civil society institutions where those matters are discussed and decisions are taken. Outreach and Education Increasingly, the prospect of a "posthuman future" is debated in the media. However, there is an abundance of misconceptions regarding the use of technology for the enhancement of the human condition, as seen in the confusion generated by the ongoing cloning debate. We aim to provide expert-speakers to interested parties, professional organisations, etc, able to clarify the issues, highlight the potential benefits and dangers, and generally outline a roadmap to the future. Furthermore, we aim to organise events that provide the general public with an opportunity to find out more about cutting- edge technologies and their impact on individuals and society. Networking We aim to create networking opportunities for UK-based professionals in the relevant enabling technologies with the aim of fostering employment opportunities and cross-fertilisation of ideas. While not directly linked to any other transhumanist organisation, we have friendly and cooperative relations with the World Transhumanist Association and the Extropy Institute (see Links) and we are working towards building further constructive relationships with other, similar, groups. Please consider joining the UK Transhumanist Association to keep up to date with developments, enable you to reach a balanced and considered position towards Progress and the new technologies, and help to contribute towards a better future for us all. What is a Transhumanist? Transhumanist thought has one very simple underlying concept: That the Human Condition, as it exists now (circa 2008), can be improved upon, with the intelligent and compassionate application of technology. This concept is expanded upon in the Transhumanist Declaration which the UK Transhumanist Association has adopted as its guiding principles. These principles leave plenty of room for variation to suit different cultures, nations, sub-cultures and individuals. There is no political agenda inherent in them. They are a formalisation of a trend toward greater capabilities, a deeper understanding of the world around us, and an enhanced capacity for survival, both as a species and as individuals, that the human race has experienced since its deepest pre-history. The means to achieving these aims is also one of the oldest of human activities - technology. It is technology that sets us apart from all the other creatures on this planet. It is the activity that defines us, sustains us, and will one day enable us to reach the stars. Within these principles, Transhumanists span a wide range of ideas. Some simply want to see an end to the tyranny of nature over humankind. They want to abolish disease, suffering and involuntary death. They uphold individual rights to live longer, more productive, and happier lives for anyone who wishes to. Others want more, and think more deeply about the future of the human race, and of intelligence itself. They want to encourage the development of thinking, living machines that can help us survive a hostile universe, they look forward to the development of technologies that will enable us to transform our bodies and brains so that they are more powerful, more flexible, and longer-lasting than our current ones, which are the product of blind evolution and can be immensely improved upon with the right knowledge and some good design. Some of these ideas may sound far-fetched, even fantastical, but they are all based upon sound philosophical and scientific principles. Of course, you don't have to subscribe to, or even believe, these more far-reaching ideas in order to be in favour of a better, safer future. All you need is common-sense, some optimism, and a determination to help make the world a better place. No matter how small your part, every little helps. If you find yourself in agreement with these ideas, then you can call yourself a Transhumanist. Join whichever of our membership options you think is most suitable, and we will keep you up-to-date with the latest developments, and offer you chances to get involved with our various projects. You will also be a part of a growing world-wide community of forward-looking, optimistic and enthusiastic people who, rather than fearing a bad future, know that they are helping to build a good one.
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Transhumanist FAQ
Posted: at 5:42 am
TABLE OF CONTENTS:
1. GETTING STARTED
1.1 What do the terms extropy, transhuman, transhumanism, and singularity mean, as used in this FAQ? 1.2 Where can I find definitions words of terms frequently used and relevant to transhumanist thinking? 1.3 5 Most often asked questions about ExI
2. PHILOSOPHY
2.1 What is transhumanism? 2.2 What is the philosophy of Extropy? 2.3 What are the Principles of Extropy? 2.4 How is the philosophy of Extropy a New Enlightenment? 2.5 Is transhumanist thinking utopian? 2.6 How do I know if I a transhumanist?
3. EXTROPY INSTITUTE
3.1 What is Extropy Institute ("ExI")? 3.2 What is ExIs history? 3.3 What is ExIs Board of Directors? 3.4 What is ExIs Council of Advisors? 3.5 What is ExIs Executive Advisory/Action Team ("EAT")? 3.6 What are ExIs email lists? 3.7 What are ExIs Extro conferences? 3.8 What is ExIs Extropy: The Journal of Transhumanist Thought?
4. KEY SCIENCES AND TECHNOLOGIES
4.1 Do transhumanists favor particular technologies? 4.2 Which technologies seem especially significant right now? 4.3 Why are technologies relevant to life extension critical to transhumanists? 4.4 Why do some journalists refer to technology as "the new religion"?
5. TRANSHUMANIST FUTURES: CHALLENGES AND CONCERNS
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PostHuman by @coledrumb | Sci Fi Animated Short Film
Posted: at 5:41 am
Set in an adrenalized future of espionage, assassins, and out of control super science, PostHuman follows a genius hacker and his dog as they help an enigmatic young woman to free the remaining test subject of a black ops ESP test lab.
From America to Japan and back to Americaoh the nostalgia.Taking classic cyberpunk archetypes and filtering them through venerated anime motifs, director Cole Drumb and producer Jennifer Wai-Yin Luk have created a fast-paced, deliciously ultra-violent ode to the best of the genre, something that looks and feels more like the hey-day of Liquid Television than a conventional festival short.
Yet, a festival short it was, winning many awards on the genre circuit as well as popping up at more forward-thinking spots like Seattle International and Tallgrass. I was able to judge it as a member of the panel at the Seattle Science Fiction and Fantasy Film Festival, where its influences and execution set it apart from the competition.
For a 6min action piece, PostHuman does a pretty good job at establishing its world and characters. The fast-talking banter between our genius hacker and enigmatic super-woman is judiciously applied, forwarding the plot but not overdoing it on the exposition. The animation itself is a very polished 2D for an independent project like thisbelieve me, Ive seen many independently done anime ripoffs, and the level of motion here is excellent. Drumb has internalized the style of this type of work as well, rather than simply aping character designthe macro-closeups and angled framings are spot on, as are the gruesome effects of our test subjects telekinesis.
However while we havent seen this kind of work, on this scale, distributed in this way, these ARE well-established elements. Ghost in the Shell, Akiraare undoubtedly influences, even the character design of Terence recalls a more grizzled Ichigo from Bleach.This is of course the central conundrum of the sci-fi calling card shorts that we often feature on this siteshould the novelty of independent production and free web distribution cause us to gloss over a lack of originality? Does something need to result from the resultant publicity in order to justify THIS shorts existence?
At least in this case I dont feel the need judge harshly. As a huge animation fan, there isnt enough big-boob, big gun fare to satisfy me, and the idea of a web series, a TV show, anything that is operating in this storytelling space, is intrinsically exciting. Nothing is announced yet, but be sure to visit the films website to learn how to follow the project as it inevitably evolves.
~
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Our Posthuman Future – Wikipedia, the free encyclopedia
Posted: at 5:41 am
Our Posthuman Future: Consequences of the Biotechnology Revolution is a 2002 book by Francis Fukuyama. In it, he discusses the potential threat to liberal democracy that use of new and emerging biotechnologies for transhumanist ends poses.
From the back cover of the paperback edition:
A decade after his now-famous pronouncement of "the end of history", Francis Fukuyama argues that as a result of biomedical advances, we are facing the possibility of a future in which our humanity itself will be altered beyond recognition. Fukuyama sketches a brief history of man's changing understanding of human nature: from Plato and Aristotle's belief that humans had "natural ends" to the ideals of utopians and dictators of the modern age who sought to remake mankind for ideological ends. Fukuyama argues that the ability to manipulate the DNA of all of one person's descendants will have profound, and potentially terrible, consequences for our political order, even if undertaken with the best of intentions.
Publication history
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Becoming More Than Human: Technology and the Post-Human …
Posted: at 5:41 am
Humans have always imagined states of existence different from the ones that they experience in their everyday lives. In fact, the pervasive feeling of dissatisfaction with our physical constraints could be seen to be the main motivating factor for religious as well as scientific thought. From ancient mythologies to modern popular culture, humans have created myriad images of transformations of the body and mind into forms that allow them to interact with the world differently.
Why do humans search for perfection? This is by no means an easy question to answer: in fact it directs us to the numerous definitions that have been given to the question what makes us human? Dostoyevsky, after spending some time in a Siberian prison, came to the conclusion that the human is the creature that can adapt to anything (Dostoyevsky 1985). This is a significant definition because it highlights the human propensity to change in response to external circumstances with both positive consequences (it helps us to survive), and negative ones (it induces us to blindly accept injustice). The harsh situation in which this definition was created also points to a major incentive that humans have for adapting: to avoid suffering the suffering that comes from disease, isolation, poverty, oppression and prejudice.
We could therefore say that one reason that humans search for perfection, and for what the spiritually inclined would call transcendence, is because they are not only aware of suffering (arguably most animals are), but also, and more importantly, because they critically reflect on their suffering, and can recognize and reflect on the suffering of others. Deliberately changing what we are means, in many ways, letting go of what makes us suffer.
Transhumanism (or Human Plus, H+) is a social and philosophical movement that explores the uses of technology for the positive transformation of human capacities, and the social, political and ethical implications that such a transformation would carry. Its ideological uniqueness lies in an almost existentialist interpretation of science: while acknowledging the value of the scientific method based on the principles of precision, objectivity and falsifiability it foregrounds its relevance for social justice, self-determination and personal fulfilment, in other words, for improving the human condition. In transhumanism, therefore, science is owned differently than in humanism, where it was a symbol of human intellect, ingenuity and a key to the truth. The transhumanist perspective, generally, begins with the question of human experience and then takes an activist approach, looking to science to find how it can alleviate suffering and thereby improve this experience.
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Futurism : Italian Modern Art Movement – Visual Arts Encyclopedia
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ABSTRACTION For a guide to non-objective art see: Abstract Paintings: Top 100. For a list of styles/periods, see: Abstract Art Movements.
Futurist Painting
The Futurism movement was highly aspirational, though its ideas were neither original nor revolutionary. In general, 20th century painters associated with the Futurist movement worshipped scientific progress, glorifying speed, technology, the automobile, the airplane and industrial achievement. Established traditions were thrust aside in pursuit of victory over nature. When it came to establishing a new Futurist aesthetic, however, a visual idiom with which to express their concerns, Marinetti and the other artists were more hesitant.
To begin with they borrowed the methods of Neo-Impressionism (a general reference to Divisionism), in which forms are broken down into dots and stripes capable of depicting the glitter of light or the blur of high speed movement - see The City Rises (1910-11, Museum of Modern Art, New York) by Boccioni, and Leaving the Theatre (1910-11) by Carlo Carra. Both painters were influenced by Italian Divisionism and the paintings of Vittore Grubicy De Dragon (1851-1920). Following this, Carra and Boccioni visited Severini and Marinetti in Paris (to get a better feel for the avant-garde), where they fell under the influence of analytical Cubism, after which they adopted the methods (fragmented forms, multiple viewpoints, powerful diagonals) of the Cubists - see Dynamic Hieroglyphic of the Bal Tabarin (1912, MoMA NYC) by Gino Severini, as well as his masterpiece Pan-Pan at the Monico (1911-12, original lost, copy in the Pompidou Centre, Paris). Often, Cubist techniques would be combined with urban and political subject matter, often on a large scale - see Funeral of the Anarchist Galli (1910-11, MoMA NYC) by Carlo Carra. Although some Futurist works were relatively static, such as Woman with Absinthe (1911) by Carra, and Matter (1912) by Boccioni, the phenomenon of speed is a constant Futurist theme - see Dynamism of a Dog on a Leash (1912, Allbright-Knox Gallery, Buffalo, USA) by Giacomo Balla. However, Balla eventually went over to abstract art, producing work with no obvious reference to the idea being expressed - see his The Car has Passed (1913, Tate, London). For this kind of geometric abstraction see concrete art.
Futurist Sculpture
In 1912, Umberto Boccioni, the only sculptor among the Futurists, published his own Manifesto - Futurist Painting Sculpture: Plastic Dynamism (Pittura scultura Futuriste: Dinamismo plastico), which expounded his Bergson-type ideas on intuition, inner being and the relationship of form, motion and space. The following year Boccioni produced his masterpiece Unique Forms of Continuity in Space (1913, casts in MoMA New York, Tate London and elsewhere). This work vividly depicts the movement of the body, and illustrates his theory of "dynamism", a theme he also explored in other works like Synthesis of Human Dynamism (1912), Spiral Expansion of Speeding Muscles (1913) and Speeding Muscles (1913).
Exhibitions
Futurist art was first exhibited at a show of modern art in Milan (1911). The first purely Futurist show was in early 1912 at the Galerie Berhein-Jeune in Paris. The show then travelled to the Sackville Gallery London, the Sturm Gallery Berlin, and afterwards to Amerstam, Zurich and Vienna, generating widespread publicity for the movement, thanks largely to Marinetti's promotional flair.
Influence on Contemporary Artists
Italian Futurism had a visible impact on artists across Europe, including the Vorticists in Britain, the Dada movement in Zurich and Berlin, Delaunay's Orphism (Simultanism), Art Deco, American Precisionism, and Surrealism, while futurists in Russia had a strong effect on Rayonism and Constructivism. Russian Futurism began in 1912 with the publication of its manifesto A Slap in the Face For Public Taste. Members included the Russian artists David Burlyuk (1882-1967), Vladimir Mayakovsky (1893-1930), Mikhail Larionov (1881-1964), Natalia Goncharova (1881-1962), Kazimir Malevich (1878-1935) the founder of Suprematism, Velimir Khlebnikov and Alexei Kruchenykh (1886-1968). The movement endured longer in Russia, becoming closely associated with revolutionary politics, and influenced several other Russian art movements.
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Futurism : Italian Modern Art Movement - Visual Arts Encyclopedia
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Russian Futurism – Wikipedia, the free encyclopedia
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"Russian Futurists" redirects here. For the band, see The Russian Futurists.
Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Futurist Manifesto". Russian Futurism may be said to have been born in December 1912, when the Moscow-based literary group Hylaea (Russian: [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson, and quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911)[1] issued a manifesto entitled A Slap in the Face of Public Taste.[2] Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kiev, Kharkov, and Odessa.
Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky, according to them, should be "heaved overboard from the steamship of modernity". They acknowledged no authorities whatsoever; even Filippo Tommaso Marinettiwhen he arrived in Russia on a proselytizing visit in 1914was obstructed by most Russian Futurists who did not profess to owe him anything.
In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets contributed by Malevich.
Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be'). They found significance in the shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone",[3] known as zaum.
With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed the meaningless slaughter of the Great War and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously.
After the Bolsheviks gained power, Mayakovsky's grouppatronized by Anatoly Lunacharsky, Lenin's minister of educationaspired to dominate Soviet culture. Their influence was paramount during the first years after the revolution, until their programor rather lack thereofwas subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends (Aseyev, Pasternak).
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Russian Futurism - Wikipedia, the free encyclopedia
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