Category Archives: Futurism

Futurism Practice - Lee Coxon
More practice needed, but its a start.

By: Kevin Lee Coxon

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Futurism Practice - Lee Coxon - Video

The most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. Committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life - the beauty of the machine, speed, violence and change. Although the movement did foster some architecture, most of its adherents were artists who worked in traditional media such as painting and sculpture, and in an eclectic range of styles inspired by Post-Impressionism. Nevertheless, they were interested in embracing popular media and new technologies to communicate their ideas. Their enthusiasm for modernity and the machine ultimately led them to celebrate the arrival of the First World War. By its end the group was largely spent as an important avant-garde, though it continued through the 1920s, and, during that time several of its members went on to embrace Fascism, making Futurism the only twentieth century avant-garde to have embraced far right politics.

The Futurists were fascinated by the problems of representing modern experience, and strived to have their paintings evoke all kinds of sensations - and not merely those visible to the eye. At its best, Futurist art brings to mind the noise, heat and even the smell of the metropolis.

Unlike many other modern art movements, such as Impressionism and Pointillism, Futurism was not immediately identified with a distinctive style. Instead its adherents worked in an eclectic manner, borrowing from various aspects of Post-Impressionism, including Symbolism and Divisionism. It was not until 1911 that a distinctive Futurist style emerged, and then it was a product of Cubist influence.

The Futurists were fascinated by new visual technology, in particular chrono-photography, a predecessor of animation and cinema that allowed the movement of an object to be shown across a sequence of frames. This technology was an important influence on their approach to showing movement in painting, encouraging an abstract art with rhythmic, pulsating qualities.

Futurism began its transformation of Italian culture on February 20th, 1909, with the publication of the Futurist Manifesto, authored by writer Filippo Tommaso Marinetti. It appeared on the front page of Le Figaro, which was then the largest circulation newspaper in France, and the stunt signaled the movement's desire to employ modern, popular means of communication to spread its ideas. The group would issue more manifestos as the years passed, but this summed up their spirit, celebrating the "machine age", the triumph of technology over nature, and opposing earlier artistic traditions. Marinetti's ideas drew the support of artists Umberto Boccioni, Giacomo Balla, Gino Severini, and Carlo Carr, who believed that they could be translated into a modern, figurative art which explored properties of space and movement. The movement initially centered in Milan, but it spread quickly to Turin and Naples, and over subsequent years Marinetti vigorously promoted it abroad.

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The Italian group was slow to develop a distinct style. In the years prior to the emergence of the movement, its members had worked in an eclectic range of styles inspired by Post-Impressionism, and they continued to do so. Severini was typical in his interest in Divisionism, which involved breaking down light and color into a series of stippled dots and stripes, and fracturing the picture plane into segments to achieve an ambiguous sense of depth. Divisionism was rooted in the color theory of the 19th century, and Pointillist work of painters such as Georges Seurat.

In 1911, Futurist paintings were exhibited in Milan at the Mostra d'arte libera, and invitations were extended to "all those who want to assert something new, that is to say far from imitations, derivations and falsifications." The paintings featured threadlike brushstrokes and highly keyed color that depicted space as fragmented and fractured. Subjects and themes focused on technology, speed, and violence, rather than portraits or simple landscapes. Among the paintings was Boccioni's The City Rises (1910), a picture which can claim to be the first Futurist painting by virtue of its advanced, Cubist-influenced style. Public reaction was mixed. French critics from literary and artistic circles expressed hostility, while many praised the innovative content.

Boccioni's encounter with Cubist painting in Paris had an important influence on him, and he carried this back to his peers in Italy. Nevertheless, the Futurists claimed to reject the style, since they believed it was too preoccupied by static objects, and not enough by the movement of the modern world. It was their fascination with movement that led to their interest in chrono-photography. Balla was particularly enthusiastic about the technology, and his pictures sometimes evoke fast-paced animation, with objects blurred by movement. As stated by the Technical Manifesto of Futurist Painting, "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." Rather than perceiving an action as a performance of a single limb, Futurists viewed action as the convergence in time and space of multiple extremities.

In 1913, Boccioni used sculpture to further articulate Futurist dynamism. Unique Forms of Continuity in Space (1913) exemplifies vigorous action as well as the relationship between object and environment. The piece was a breakthrough for the Futurist movement, but after 1913 the movement began to break apart as its members developed their own personal positions. In 1915, Italy entered World War I; by its end, Boccioni and the Futurist architect Antonia Sant'Elia perished. Following the war, the movement's center shifted from Milan to Rome; Severini continued to paint in the distinctive Futurist style, and the movement remained active in the 1920s, but the energy had passed from it.

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Futurism Movement, Artists and Major Works | The Art Story

indigo_knight - Platonic Futurism (2008 Track)

By: Onur Kilickiran

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Retro Futurism tribe tekno mix by TKMDZ 2000
Mix psychedelic futist, an 2000 tribetekno vintage tribe old school vintage retro rave musique song.

By: Mre Onh

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Retro Futurism tribe tekno mix by TKMDZ 2000 - Video

Dangers of Futurism - Jesuit Promoted Chapter 5 Read by Larry Philips
How is Catholicism "East of Eden"? Worldwide interest in all things Catholic mixes with consternation over recent disclosures from within the Church. Amidst ...

By: Dave Flang

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Dangers of Futurism - Jesuit Promoted Chapter 5 Read by Larry Philips - Video

a sad history, or is it futurism?
installation by visual artist Aurelia van der Burght - De Gruyterfabriek, #39;s Hertogenbosch november 2013 sound MurkeyGoo / Krijn Hendriksen, Hans d #39;Achard mo...

By: Aurelia van der Burght De Kunstpraktijk

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a sad history, or is it futurism? - Video

A new local exhibit spotlights an influential and controversial group of early 20th century Italian artists.

"Futurism: Concepts and Imaginings" at the Boca Raton Museum of Art contains almost 40 paintings, drawings and collages from seven artists that depict the Italian Futurism movement's emphasis on portraying energy and motion.

These artists advanced a confrontational credo that embraced the new technology of the period, especially airplanes, as a path toward cultural advancement and military conquests.

"Their vision of the future was machine-driven," said museum assistant curator Kelli Bodle. "They thought machines would take over, do the work for you that you would work less."

The Italian Futurists also advocated controversial ideas like abolishing libraries and museums and supported a fascist political philosophy, Bodle said.

"They were radical idealists. They felt that there was a new age, and that as artists, rather than recycling old ideas and old themes they should be embracing new technologies and new ideas and new approaches," said museum director Steven Maklansky. "The Futurists' legacy was their aggressive pursuit of novelty and experimentation in art."

The exhibit on the museum's second floor begins with an introductory text panel explaining the artistic and political movement. On the same wall is a television screen that plays a video of an actor reciting some of movement leader F.T. Marinetti's important 1909 document, "The Futurist Manifesto."

Although exact dates for the works are unknown, they are believed to have been completed from 1930-1950, according to exhibit materials.

Pippo Rizzo's "Homage to Depero," a collage on cardboard, is one of a handful of works in this show that were completed to honor an esteemed individual. The piece features a man in a theatrical costume with sheet music in the background. In the blue sky with two white clouds is a descending black airplane trailed by its cloud of green and red smoke.

Rizzo's "Squad," an eye-catching tempera on wood painting with geometric shapes and vibrant black and blue colors, reflects the movement's fascination with military culture. The piece depicts four uniformed military members marching in lockstep, each holding a blackjack, or billy club.

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'Radical idealists' highlighted

9 hours ago Jan. 29, 2014 - 5:13 PM PST

In the nearly ten years Google has been a public company, it has been defined by a curious mixture of ambition, futurism, and unpredictability. This week, Google showed that it also knows when to move on.

The big announcement was Googles decision to offload its Motorola handset business to Lenovo for $2.91 billion. Snap reactions were easy to come by Wednesday afternoon. Those aligned with Google rivals Apple and Microsoft were quick to hoot at the bargain-basement selling price compared to the $12.5 billion Google agreed to pay for Motorola back in 2011. Those more inclined to support Google pointed out that Motorolas patents helped Google defend Android against patent attacks (to some degree) and that Googles intervention likely prevented an iconic mobile phone maker from folding completely.

(L to R): Google CEO Larry Page, Lenovo CEO Yang Yuanqing shake hands on $2.91 billion Motorola deal.

There are some nuggets of truth and gaping holes in each of those arguments. But a fundamental problem created by Googles Motorola acquisition is now solved: Google is no longer an operating system licensor that is also engaged in direct competition with its customers.

Lets look back at the week in full.

On Sunday, Google and Samsung, which was the company arguably most offended by Googles Motorola buy, worked out a global patent licensing deal. Earlier on Wednesday, Re/code reported that the companies had worked out an agreement in which Samsung would dial back its own software ambitions attendees at Samsungs Galaxy S 4 launch last March could have been forgiven for not realizing it was an Android phone and described the deal as a sea change in the relationship between the two companies.

What was the biggest obstacle to the relationship between Google and Samsung? Motorola.

It wasnt so much that Motorolas handsets were competitive: Samsung is dominating the Android handset market and leading the overall market for mobile phones. But the perception that Google intended to be a viable contender in the mobile phone business forced Samsungs mobile group to reconsider its dependency on Google.

Operating system developers who have tried to have it both ways licensing their software for a fee while also making hardware that competes with those customers have not done well. This was one of the (many) factors that sent Apple into a near-fatal tailspin in the 1990s, and forced Palm into a disastrous spin-off of its OS group in the 2000s. Once Microsoft absorbs Nokias handset business, its going to have some tough decisions to make about the future of its Windows Phone licensing model.

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With Motorola sale and Samsung peace, Google finds practical exit to an unconventional (and expensive) deal

Fans eager to return to the cyberpunk noir futurism of Shadowrun Returns will be happy to hear that developer Harebrained Schemes has finally nailed down a release date for the game's first official expansion: February 27.

Titled "Dragonfall," the expansion ditches the rain-slicked streets of Seattle in favor of a wholly new tale set in a futuristic Berlin. Instead of continuing the story of the characters seen in Shadowrun Returns, Dragonfall introduces a new team of street samurai, deckers and magic users. Not much is known of the expansion's plot, but it has been revealed that the titular "Dragonfall" is an ominous event foretold in prophecy that threatens to destroy Berlin in apocalyptic fashion.

When it debuts on February 27, Dragonfall will feature a $15 price tag. That may seem steep for an addition to a $20 game, but beyond the Dragonfall campaign the expansion also includes a swath of new weapons and items, additions to the game's content editing suite and, most crucially, the ability to save your game whenever you please. For more information, visit Harebrained Schemes' website.

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Shadowrun Returns: Dragonfall expansion arrives February 27

Electronic Music 2: Futurism
The long-awaited PART 2 is here!

By: classicalandmore1

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Electronic Music 2: Futurism - Video