Category Archives: Futurism

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

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

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

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

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

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

Mar 28th 4:39pm No Comments

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

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

Timeline Photos

Feb 4th 6:46pm No Comments

Go here to read the rest:
Italian Futurism Events, Exhibitions, Scholarship

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

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

Jeunesse- Rene Magritte 1924

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

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

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

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

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

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

Danseuse bleue-Gino Severini

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

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

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

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

Excerpt from:
Futurism - Matteson Art

FUTURISM AS THE AVANT-GARDE

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

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

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

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

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

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

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

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

The Difference between Cubism and Futurism

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

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

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

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

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

[emailprotected]

Read more:
Defining Futurism - Art History Unstuffed

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

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

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

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

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

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

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

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

Read more from the original source:
Futurism Technologies

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

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

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

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

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

(kronoloogilises jrjestuses)

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

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

Olulisim manifest on "Geomeetriline ja mehaaniline hiilgus ja numbriline tundlikkus".

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

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

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

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

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

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

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

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

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

Koloriidis eelistasid futuristid eredaid vrve.

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

Read more:
Futurism - Vikipeedia, vaba entsklopeedia

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

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

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

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

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

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

The rest is here:
Futurism Wikipedia

Slide: 1 / of 1 .

Caption: The Making of Stanley Kubricks '2oo1: A Space Odyssey' Taschen

Slide: 1 / of 10 .

Caption: A new book, The Making of Stanley Kubricks 2001: A Space Odyssey chronicles the creation of the epic sci-fi movie. Here, actor Keir Dullea poses in the equipment storage corridor to one side of Discoverys pod bay. Dmitri Kessel/Getty Images

Slide: 2 / of 10 .

Caption: The central design challenge for 2001 was creating a set and props that could outpace 1960s technology. While they filmed, NASA was trying to put a man on the moon. If 2001 looked too much like what NASA had created, its futuristic setting wouldn't be believable. Taschen

Slide: 3 / of 10 .

Caption: The book's author Piers Bizony points out that here and there, the movie forecasts our technology today. The executive briefcase with its phone handset and dial? Look closely, and all the elements of the laptop or smartphone are there, half a century ahead of time, he says.Taschen

Slide: 4 / of 10 .

Caption: Kubrick hired a skunkworks team of aeronautics engineers and astronomy illustrators to help create the set. This drawings shows a cross section of the Discovery. Oliver Rennert/TASCHEN

Slide: 5 / of 10 .

Caption: Kubrick and his team shooting the nal scenes of 2001 in the faux-luxurious bedroom. Stanley Kubrick Archives/TASCHEN

Slide: 6 / of 10 .

Caption: Actor Gary Lockwood in the main command deck of 2001: A Space Odyssey's interplanetary spacecraft. Even though the design of the movie needed to outpace what NASA was creating, the designers took some cues from the industry and based spacesuits on actual NASA designs.Stanley Kubrick Archives/TASCHEN

Slide: 7 / of 10 .

Caption: Kubrick and author and co-creator Arthur C. Clarke pose for publicity photographs inside the passenger deck set of the Aries lunar ferry. Stanley Kubrick Archives/TASCHEN

Slide: 8 / of 10 .

Caption: Stanley Kubrick gives instructions through a hatch at the bottom of the centrifuge, as actors Keir Dullea and Gary Lockwood prepare for a scene. Stanley Kubrick Archives/TASCHEN

Slide: 9 / of 10 .

Caption: Most of the movie was filmed in England. Here, Kubrick directs the lunar monolith scenes over the Christmas of 1965 at Shepperton, on Europes second-largest shooting stage. Taschen

Slide: 10 / of 10 .

Caption: Book cover designer Roy Carnon helped created a visual scheme for how lighting might look in outer space. This is a rendering of the docking area at the hub of the space station, with a winged shuttle parked after arrival.Taschen

Slide: 1 / of 10

Slide: 2 / of 10

Slide: 3 / of 10

Slide: 4 / of 10

Slide: 5 / of 10

Slide: 6 / of 10

Slide: 7 / of 10

Slide: 8 / of 10

Slide: 9 / of 10

Slide: 10 / of 10

The Making of Stanley Kubricks 2001: A Space Odyssey documents in nearly scientificdetail exactly that: the story of how the iconic science-fiction film came into existence, and how it predicted much of the technology we take for granted today.

Science writer and space historian Piers Bizony offers an extraordinarily detailed catalog. It begins with the genesis of Kubricks masterpiece, starting with his partnership with author Arthur C. Clarke, and extends through the creation of the films futuristicset design. Only 1,500 copies were printed, and theyve long since sold out at $1,000 each. (A $70 second edition version is now available for pre-order.)

In the tome, which is chock-full of previously unseenimages, Bizony highlights the central tension of the films design: Even as Kubrick and his teamincluding cinematographer Geoffrey Unsworth and art director John Hoesliwere creating a fictive future set in space, NASA was racing to put a man on the moon. The set and props in 2001: A Space Odyssey had to dramatically outpace the emerging technology, lest NASA succeed while they were filming and make Kubricks vision appear outdated, or, worse, flat-out wrong.

Thisforced Kubricks team to do deep, meticulous research, which Bizony says helps explain why much of the set design accurately forecasted how we live with technology today. The executive briefcase with its phone handset and dial? Look closely, and all the elements of the laptop or smartphone are there, half a century ahead of time,Bizonytells WIRED. You could also, for example, see HAL 9000 as a proto-Siri.

The book is packed with other detailsabout the making of the film (for example, Clarke wrote the most of the screenplayat the Chelsea Hotel, in the company of William S. Burroughs and Allen Ginsberg), but is most elucidating in its attention to the technical and design details that made the film such anenduring paragon almost 50 years after its release.

In the 1960s, television spelled trouble for film executives. With more viewers getting their entertainment athome, studios needed a way to lure them into movie theaters. The board of MGM grew interested in a new widescreen format called Cinerama, which used a three-camera system to create an impossibly large, wide picture. It required special projection equipment, and audiences would buy tickets and seats ahead of time as if they were going to a Broadway playor, by todays standards, to a 3-D IMAX flick.

With the country entranced by NASAs race to the moon, Kubrick and Clarke realized the sweeping galaxy-building of their filmthe working title was Journey to the Starswas exactly the widescreen extravaganza MGM needed. MGM took the bait,Bizonysays.

That left Kubrick to build a space-age world unlike any other. After surveying set designs from other 1960s-era sci-fi films, Kubrick decided he didnt want to leave 2001s mise en scne in the hands of film industry artists. He wanted a more realistic setting. He assembled a skunkworks team of astronomical artists, aeronautics specialists, and production designers. Aerospace engineersnot prop makersdesigned switchpanels, display systems, and communications devices for the spacecraftinteriors.

This particularly helped with the movies light design. Artist Richard McKenna was creating color schemes for spacecrafts before anyone really knew what they might look like. Roy Carnon, another illustrator, created a visual system for Kubrick that imagined how sunlight and shadows might fall in space. Other advisors took cues from submarines and military vehicles to create the red-lit interiors of the moonbus cockpit.

Hans-Kurt Lange, who worked as an illustrator in NASAs Future Projects Division, modeled 2001s space suits on NASAs, using the same horizontal stitching to maintain a constant volume of air. They resembled a slimmed-down Michelin Man. Likewise, drawings of the Discoverys control panels were based on NASA photos showing astronauts huddled around an in-development Apollo space capsule.

Kubrick and Clarke needed to conceive of an onboard computing system for the Discovery, which they initially called Athena, not HAL. They went to IBM, then the worlds largest computing company, for drawings and blueprints that could imagine the future of personal computing.

IBM had trouble with that. Eliot Noyes, IBMs industrial design consultant, based his renderings on current technological achievements, which were room-sized supercomputers used only by professionals and the military. He proposed to Kubrick that a computer of the complexity required by the Discovery spacecraft would be a computer into which men went, rather than a computer around which men walked. Kubrick lost it. He wanted something smaller, like a control panel. IBMs assumptions were behind the times, Bizony writes. Rival companies, such as Motorola and Raytheon, were pushing toward miniaturization, spurred in large part by NASAs urgent requirement for computers small enough to fit inside the new lunar capsules.

In the end, Kubrick warmed to IBMs drawings for the sake of creating another character and adding drama to the movie. Of course, to animate HAL 9000, Kubricks team had to create thegraphics. ButDoug Trumbull, who did airbrush paintings for films, hit a speedbump: Computer-generated graphics didnt exist in any real way yet. MIT, where Kubrick had met with AI and robotics professor Marvin Minsky, was developing them, but they had a resolution of just 512 pixels across. That was advanced for the 1960s, but Kubrick knew it would be too crude for the year 2001. So histeam faked it by mounting high-contrast film negatives onto mobile glass panels. Trumbull played with colored filters, photographed different graphics slides, and then projected them onto the set.

MGMs contract with Kubrick stipulated that 2001 would wrap in 1966. It missed the deadline, but critics and fans alike would probably agree it was well worth the wait.) 2001: A Space Odyssey hit theaters in April 1968a year before Apollo 11 landed on the moon and provided another glimpse of what space travel might look like.

If there was a space race between Kubrick and NASA, the director won. But as the many, many pages in Bizonys book show, 2001 wasnt just a journey through space. It was a carefully wrought prediction for the future.

View post:
The Amazingly Accurate Futurism of 2001: A Space Odyssey

An Italian avant-garde art movement that took speed, technology and modernity as its inspiration, Futurism portrayed the dynamic character of 20th century life, glorified war and the machine age, and favoured the growth of Fascism.

The movement was at its strongest from 1909, when Filippo Marinettis first manifesto of Futurism appeared, until the end of World War One. Futurism was unique in that it was a self-invented art movement.

The idea of Futurism came first, followed by a fanfare of publicity; it was only afterwards that artists could find a means to express it. Marinettis manifesto, printed on the front page of Le Figaro, was bombastic and inflammatory in tone set fire to the library shelves flood the museums suggesting that he was more interested in shocking the public than exploring Futurisms themes.

Painters in the movement did have a serious intent beyond Marinettis bombast, however. Their aim was to portray sensations as a synthesis of what one remembers and of what one sees, and to capture what they called the force lines of objects.

The futurists representation of forms in motion influenced many painters, including Marcel Duchamp and Robert Delaunay, and such movements as Cubism and Russian Constructivism.

Representative Artists: Filippo Tommaso Marinetti Giacomo Balla Umberto Boccioni Carlo Carr Gino Severini

Link:
Futurism - Art Movements

Quintessential Space Pulp Art by Ron Turner and others

Is it a dream, or a nightmare?

Dramatic Rescues, Aliens and the Apocalypse

Damsels in distress, all over the time and space

Floating laps of luxury, and more!

Part of our Futurism category, an essential overview

H.G. Wells & Jules Verne would approve

Russian, Italian and British Pulp SF Art

Share your life with a bunch of cute Japanese toy robots!

Making you hate your current family car since 1951

Plus super-fantastic toys attack!

Gentlemen! Forward - Into the Past!

From RetroFuture to Algorithmic Architecture

Giant Robot Structures Around the World... Standing... Waiting...

Atoms in the Air, on Wheels, Rails, etc.

Futuristic shapes, Greyhound-style

Part 2 of the highly popular series

The greatest invention that never was

Glamour and Stupendous Size, All-in-One

Love, Peace, and - Metropolis

Rare, gorgeous futuristic space art from unlikely sources

Alluring steel-plated companions

The craziest vehicle ideas you ever likely to see

Past, Present and Retro-future

Vintage Space Travel Posters, and more.

NASA's most radical killer asteroid defense

Overview of the Pulp SciFi Art

Soviet Unique Glass Holders, and more

Grand dream realized

Not just really big cities... Cities the size of mountains

Every kind, except the yellow ones

These forms cry out "FUTURE!" in a way that cannot be ignored.

Love them, or hate them, there is no middle ground

Black-and-white rare series of images

Modern Italian Design + RetroFuturism Style

Extreme Dirigibles for the modern age

Not your average Jetsons flying car

When living in mega-cities was considered a privilege

Part 1: rare vintage space graphics

Would you ditch your car for one of these systems?

Exciting Innovations in Transportation

Exciting Innovations in Transportation

Sky Captain's dream come true

The DIY guide for the discerning nerd

High-Speed Train Visions & Prototypes

Labels: category

RECENT ARTICLES:

DRB is a top-ranked and respected source for the best in art, travel and fascinating technology, with a highly visual presentation. Our in-depth articles in many categories make DRB a highly visual online magazine, bringing you quality entertainment every time you open your "feed" reader or visit our site - About DRB

Connect with us and become part of DRB on Facebook, Twitter, Pinterest, Google Plus; make sure to subscribe to our updates.

More here:
Dark Roasted Blend: Category: Futurism

Image collected whilst scouring the CMBR (Source)

Some of you may recall a popular article we posted several months ago, dealing with voids and super-void. These celestial regions (which are devoid of stars, galaxies, planets, clusters, and other forms of matter) were initially discovered while physicists were busy mapping the cosmic microwave background radiation (CMB). This radiation is a relic from the big bang; it originated during the opening chapter of our universe, when the cosmos was a mere 380, 000 years in age. This background radiation should be evenly dispersed throughout the universe. Instead, physicists noted a huge cold spot stretching across an expanse of space almost one billion light-years in diameter. This cold spot is located in the constellation of Eridanus, and the discovery baffled astronomers.

Credit: Scientific American (Source)

Since then, many theories have surfaced in an attempt to explain the discrepancy; some of these theories argue that this area might be occupied by auniverse-in-mass black hole or perhaps, it is a leftover souvenirfrom a change in the texture of spacetime. There is also the super-void hypothesis, and some have even suggested that the void is evidence of a parallel (or a sister) universe -meaning that both our universe and our sister-verse belong to a larger multiverse.

The last controversial idea one than many physicists want to believe in was cooked up by Laura Mersini-Houghton, who subsequently made five predictions about the nature of this cold spot in hopes of vindicating the existence of a multiverse. The idea proposed was essentially a landscape multiverse idea. This is something that is believed to be inherently tied to the multiple dimensions of string theory, which gives us an idea of the principles that must be met in order for life to develop in any given universe. In this scenario, our universe is but one in a massively huge number of universes perhaps its just one in an INFINITE number of infinitely large universeshurts your head, doesnt it? (it does mine too)

Out of the five predictions made in Mersini-Houghtons paper, entitled Cosmological Avatars of the Landscape I: Bracketing the SUSY Breaking Scale, 4 have been verified, or at least they havent been ruled out. Here they are as follows:

Lets say our universe is a part of a larger number of multiple universes, our universe most likely formed through a bubble in another universe, created through quantum fluctuations within the vacuum energy (maybe an infinite number of them formed this way too), spawning a universe equipped with its own laws of physics, energy levels, matter concentrations, arrow of time, and entropy level. Some of these said bubbles could collapse in on themselves before undergoing something similar to inflation, with only a certain number of them progressing beyond that point, depending on the characteristics the baby bubble developed early on.

After the bubble stabilizes, it would effectively be cut off from the universe it was born into, losing all of the information from it. However; it could hypothetically interact gravitationally with other universe, which is exactly what Houghton thinks happened in the cold spot in the CMBR an area of space seemingly containing an imprint of another universe apart from our own. Its even possible that in theory, another bubble is developing in our universe.

Though I remain highly skeptical (and so should you. Extraordinary claims require extraordinary evidence, after all) This could very well help explain why our universe appears to be fine-tuned for life from our perspective. After all, if an infinite number of universes exist, an infinite number of them would have each and every characteristic our universe has, with an infinite number of them that are radically different than ours. Can you imagine living in a universe where the arrow of time runs backward, with gravity acting as a repellent force? (basically, a universe where dark energy is the the norm)

Whilst living in a multiverse, its conceivable that such a universe can and does exist. In fact, its quantum mechanics in action. When internal inflation, string theory, Copenhagen interpretation, and the Heisenberg uncertainty principle are thrown into the mix, we get a universe (our universe) created at the whim of a wave function, collapsing with the properties our universe has.

Again with just about everything skepticism is key.Mersini-Houghton, the main proponent of the landscape multiverse idea, is also a fan of string theory. Many of you may know of it as a discombobulated mess that belongs with the crackpot models of the universe instead of acting as if its even plausible to explain the properties of the universe. Were still in the beginning stages of uncovering many universal mysteries so more data is needed.

See the article here:
The Multiverse: Is There Evidence For It? - Futurism