Category Archives: Futurism

The Reformation preachers unanimously identified the papal system as the Antichrist, and the Roman Church as Babyloncausing a mass exodus of believers out of the Catholic institution.

Because Rome realized that the Reformation could jeopardize her position as a religio-political power, she employed five strategies in what became known as the Counter Reformation. One of those strategies was the creation of futurism and preterism, two different interpretations of the prophecies in Daniel and Revelation. These interpretations contradicted the reformers' stance of historicism.

The Oxford Handbook of Eschatology says that futurism argues that Revelation looks beyond the first century to the period immediately before the end times. Thus the book was not written for those who received it, but for those living much later. Jesuit scholars after the Reformation refined this approach to prove that current attempts to identify the Pope as the Antichrist could not possibly be true since the Antichrist will not be revealed until far into the future, just before the Parousia (Christs Second Coming)."i

The same book explains that preterism sees Revelation only in terms of its immediate historical context: Revelation [is] described [as] the plight of Christians in the late first century, and its apocalyptic symbols pointed directly to [the city of] Rome as the churchs persecutor...Most modern [preterist] interpreters...insist that the book was never intended to predict conditions or events beyond the first century.ii

According to futurism, the Antichrist is still to come. According to preterism, the Antichrist was in the past. However, this is not Biblical, as Jesus spoke in Matthew 24 of the great apostasy taking place in the future. Both of these false systems disagree with the reformers belief that the fulfillment of Biblical prophecy is taking place throughout history.

Throughout the Counter Reformation, preterism and futurism diverted attention away from prophecies identifying the Roman Church as Babylon and the papal system as the Antichrist.

Here is a diagram to help us understand how these false interpretations were created and spread. In this diagram, you can see that the 1260 years of the Dark Ages was the period of papal supremacy prophesied in Daniel and Revelation.iii

Francisco Ribera In 1585 Jesuit scholar Francisco Ribera (1537 - 1591) appears. He started the futurist interpretation by publishing a 500-page commentary on the book of Revelation. Ribera took the last week (seven day-years) of the 70-week prophecy of Daniel 9:25, divided it into two 3 year periods, and applied it to a future Antichrist, while avoiding any application to the papal system.

Robert Bellarmine Riberas views would have fallen away quickly if not for Robert Bellarmine (1542 - 1621), a cardinal who promoted Riberas ideas. His lectures were published as Polemic Lectures Concerning the Disputed Points of the Christian Belief Against Heretics of This Time. Froom describes these lectures as the most detailed apology of the Catholic faith ever produced. Froom also says they became the arsenal for all future defenders and expositors.iv

Luis de Alcasar The diagram shows Jesuit scholar Luis de Alcasar (preterisms creator) in 1604. His book, Investigation of the Hidden Sense of the Apocalypse, was published in 1614. Froom states this:

Applying the New Jerusalem to the Catholic Church, Alcazar contended that the Apocalypse describes the twofold war of the church in the early centuriesone with the Jewish synagogue, and the other with paganismresulting in victory over both adversaries. Revelation 1 to 11 he applied to the rejection of the Jews and the desolation of Jerusalem by the Romans. Revelation 12 to 19 Alcazar allotted to the overthrow of Roman paganism and the conversion of the empire to the church, the judgment of the great Harlot being effected by the downfall of pagan idolatry; Revelation 20 he applied to the final persecution by Antichrist, and the day of judgment; and chapters 21 and 22, referring to the New Jerusalem, he made descriptive of the glorious and endless triumphant state of the Roman church.v

The Roman Church produced two contradictory interpretations of end-time prophecy, neither of which were true to Scripture.

In his book Truth Matters, Professor Walter Veith explains the following:

To counter the stand of the Reformers, the Catholic Church launched the counter-reformation spearheaded by the Jesuit Order. The doctrines of Preterism and Futurism, published by Alcasar and Ribera, two Jesuit priests, in 1585, redefined the reformation position on the Antichrist and shifted the emphasis away from the papacy to the Greek king Antiochus Epiphanus IV and to some tyrant who would persecute the Jews some time in the future.vi

Further, Professor Veith observes that by accepting these alternative approaches to Biblical prophecy, the Protestant world...saw in it an opportunity to cease hostilities with Rome.vii

Here the true danger is exposed: if Protestantism ceases to protest against the falsehoods of Rome, then there is no opposition to the Roman plans, and no check against the corruption of Biblical Christianity found in the Roman Catholic system. The Dark Ages can come again with a vengeance.

Want to learn more? Here is a list of informative resources from Walter Veith and Victor Gill:

Total Onslaught DVD series Rekindling the Reformation DVD series Professor Veiths bookTruth Matters These resources and many more are available from the Amazing Discoveries online store.

i. Jerry L. Walls, The Oxford handbook of eschatology (Oxford University Press, 2007).

ii. ibid.

iii. This diagram is adapted from a similar diagram on page 508 of Le Roy Edwin Froom, The Prophetic Faith of Our Fathers Volume 2 (Washington DC: Review and Herald, 1948).

iv. Le Roy Edwin Froom, The Prophetic Faith of Our Fathers Volume 2 (Washington DC: Review and Herald, 1948).

v. ibid.

vi. Walter Veith, Truth Matters (Amazing Discoveries, 2002).

vii. ibid.

Excerpt from:
Futurism and Preterism - Amazing Discoveries

These are the two movements, with more or less abstract tendencies, that first influenced the majority of experimental artists in this country, beginning about 1913 when both movements were at their height.

Cubism and Futurism, both of which had a great influence in the United States derives from the researches of Cezanne and Seurat. The beginnings of Cubism date back to about 1908 under the twin aegis of Picasso and Braque.

In the case of Cubism, the primitivist, instinctual content of Gauguin's and van Goh's paintings and the later discovery of the barbaric, expressive power of Negro sculpture played an important part in such an early cubist picture of Picasso's as his Les Demoiselles d'Avignon. And however much Picasso and his cubist followers tended to limit their researches to the still life, they never divorced themselves completely from the sentimental, even romantic, implications of their chosen subject matters the paraphernalia of the studio, musical instruments, the guitar, mandolin and violin and the characters out of the old commedia dell'arte associated with such instruments, Harlequin, Columbine and Pierrot.

Despite such emotional or non-rational elements in cubist painting, however, its rational motivation must still be said to have remained uppermQst. It consisted in a process of analytical abstraction of several planes of an object to present a synthetic, simultaneous view of it.

And by directing the formal planes of this synthetic view towards the observer rather than making them retreat by traditional perspective principles into an illusionistic space, the picture frame no longer acted as a window leading the eye into the distance but as a boundary enclosing a limited area of canvas or panel. In the so-called analytical phase of Cubism, painting tended also to be monochromatic, presumably to avoid as much as possible any sensuous or naturalistic reference to color.

The leading Cubists, Picasso and Braque, refused to take abstraction further than this point and actually in time climbed down from their pinnacle of analytical experiment to a more decorative, sensuous plateau. They left the final step of total geometrical abstraction to others.

Another proto-abstract movement, an anti-rational offshoot of Cubism, Futurism was launched by the Italian Futurists about 1910. Rebelling against the cubist analysis of static form, the Futurists were above all inspired by the dynamism of the machine, which they proceeded to glorify and to make a central tenet in their artistic credo. Man to the Futurist must accept the machine and emulate its ruthless power. By way of emulation they attempted to paint movement by indicating abstract lines of force and schematic stages in the progress of a moving image. And furthermore, in some instances they sought to involve the observer in their pictures by viewing movement from an interior position-the inside of a trolley car, for example-thus denying, as the Cubists did, formal laws of perspective.

Where the Cubists strove to eliminate three-dimensional space and thus bring the image in the picture closer to the observer, although still at a distance, the Futurists attempted to suck the observer into a pictorial vortex. The greatest difference between these two proto-abstract movements, however, is that the one, Cubism, is concerned with forms in static relationships while Futurism is concerned with them in a kinetic state.

Furthermore, the Cubists, with few exceptions, paid no attention to the machine, as such, while the Futurists, as we have said, glorified it.

The cubist movement, significantly, had no overt political implications and indulged in no manifestoes.

The Futurists, on the other hand, worshipped naked energy for its own sake and in their writings pointed forward to the power-drunk ideology of Fascism.

The Cubists, it may be said, immured themselves from any contact with the public by shutting themselves up in their studio laboratories.

The Futurists came out into the market place and demagogically attempted to appeal to the man in the trolley car. If their pictures today seem dry and doctrinaire to some of us, the ideological appeal of Futurism and its political partner, Fascism, was, we are all uncomfortably aware, quite the reverse.

Furthermore, the generally rational-minded Cubist contented himself as we have noted with the still-life materials of his studio for subject matter and abstract dissection, whereas the futurist picture falls mainly into the category of landscape and figure compositions, however urban and mechanical the emphasis.

Davis' Lucky Strike abstract art from 1921 is a good example of Cubism.

Read the rest here:
Cubism and Futurism Abstract Art - imodern.com

Futurist architecture is an early-20th century form of architecture born in Italy, characterized by strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was a part of Futurism, an artistic movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. A cult of the machine age and even a glorification of war and violence were among the themes of the Futurists (several prominent futurists were killed after volunteering to fight in World War I). The latter group included the architect Antonio Sant'Elia, who, though building little, translated the futurist vision into an urban form.[1]

In 1912, three years after Marinetti's Futurist Manifesto, Antonio Sant'Elia and Mario Chiattone take part to the Nuove Tendenze[3] exhibition in Milano. In 1914 the group presented their first exposition with a "Message" by Sant'Elia, that later, with the contribution of Filippo Tommaso Marinetti, became the Manifesto dellArchitettura Futurista ("Manifesto of Futurist Architecture").[2] Also Boccioni unofficially worked on a similar manifesto, but Marinetti preferred Sant'Elia's paper.

Later in 1920, another manifesto was written by Virgilio Marchi, Manifesto dellArchitettura FuturistaDinamica ("Manifesto of Dynamic Instinctive Dramatic Futurist Architecture").[2]Ottorino Aloisio worked in the style established by Marchi, one example being his Casa del Fascio in Asti.

Another futurist manifesto related to architecture is the Manifesto dellArte Sacra Futurista ("Manifesto of Sacred Futurist Art") by Fillia (Luigi Colombo)[2] and Filippo Tommaso Marinetti, published in 1931. On 27 January 1934 it was the turn of the Manifesto of Aerial Architecture by Marinetti, Angiolo Mazzoni and Mino Somenzi.[2] Mazzoni had publicly adhered to futurism only the year before. In this paper the Lingotto factory by Giacomo Matt-Trucco is defined as the first Futurist constructive invention.[2] Mazzoni himself in those years worked on a building considered today a masterpiece[4] of futurist architecture, like the Heating plant and Main controls cabin at Santa Maria Novella railway station, in Florence.

The Art Deco style of architecture with its streamlined forms was regarded as futuristic when it was in style in the 1920s and 1930s. The original name for both early and late Art Deco was Art Modernethe name "Art Deco" did not come into use until 1968 when the term was invented in a book by Bevis Hillier. The Chrysler Building is a notable example of Art Deco futurist architecture.

After World War II, Futurism was considerably weakened and redefined itself thanks to the enthusiasm towards the Space Age, the Atomic Age, the car culture, and the wide use of plastic. For example, this trend is found in the architecture of Googies in the 1950s in California. Futurism in this case is not a style, but a rather free and uninhibited architectural approach, which is why it was reinterpreted and transformed by generations of architects the following decades, but in general it includes amazing shapes with dynamic lines and sharp contrasts, and the use of technologically advanced materials.

Pioneered from late 60s and early 70s by Finnish architects Eero Saarinen;[5][6] and Alvar Aalto,[7] American architect Adrian Wilson[8] and Charles Luckman;[9][10] Danish architects Henning Larsen[11] and Jrn Utzon;[12] the architectural movement was later named Neo-Futurism by French architect Denis Laming. He designed all of the buildings in Futuroscope, whose Kinemax is the flagship building.[13] In the early 21st century, Neo-Futurism has been relaunched by innovation designer Vito Di Bari with his vision of cross-pollination of art and cutting edge technology for a better world applied to the project of the city of Milan at the time of the Universal Expo 2015.[14] In popular literature, the term futuristic is often used without much precision to describe an architecture that would have the appearance of the space age as described in works of science fiction or as drawn in science fiction comic strips or comic books. Today it is sometimes confused with blob architecture or high-tech architecture. The routine use of the term futurism although influenced by Antonio Sant'Elia's vision of Futurist architecture must be well differentiated from the values and political implications of the Futurist movement of the years 19101920. The futurist architecture created since 1960 may be termed Neo-Futurism, and is also referred as Post Modern Futurism or Neo-Futuristic architecture.

Originally posted here:
Futurist architecture - Wikipedia, the free encyclopedia

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See the article here:
Futurism | Definition of Futurism by Merriam-Webster

Events, by definition, are occurrences that interrupt routine processes and routine procedures; only in a world in which nothing of importance ever happens could the futurologists dream come true.

Futurism, or futurology, is the study, or hypothetical study, of what might become of the human race and our relationship with technology and our environment. It is quite often difficult to discern between the realistic, the science woo, and the science fictional elements of the works of futurists.

The first use of the term "futurism" appeared during the early 19th century in reference to a specific brand of Christian eschatology that teaches that many parts of the Bible, especially the Book of Revelation, will take place in the future.[1] Obviously, futurism still holds some influence in modern Christianity considering all the cranks still banging on about the end times.

The term "futurist" was not explicitly used in reference to a number of 19th century science fiction writers such as Jules Verne and H.G. Wells, though modern futurists claim to draw inspiration from them.[2]

The original futurist movement was born in early 20th century Italy which was known for exalting art, technology, and violence. One of the key documents of the early futurist movement was The Futurist Manifesto, published in 1909 by Filippo Tommaso Marinetti.[3] This positioned Marinetti as the leader of the Italian futurist movement and eventually the head of the Futurist Political Party formed in 1918. Many of the futurists were also Italian nationalists and became fascist ideologues and supporters of Benito Mussolini.[4]

One of the many strains of futurist music (see the next couple sections) came out of the Italian movement. Musician Balilla Pratella wrote an article Manifesto of Futurist Musicians[5] in 1910. In it, he addresses young musicians (because "only they can understand what I have to say"), encouraging them to ditch commercialism, academia, closed competitions, critics, sacred music, librettist/composer partnerships, vocal centrism, and quite a few other things he believes are holding back musical innovation. Typical of the movement, Pratella adopts a vitriolic tone, never taking a moment's breath to stop painting the "traditionalists" as mortal enemies of music.

Pratella was forgotten over time and 20th-century classical music lived on.

Modern futurism came to be characterized by a more scientific (or scientistic, as some might say) bent while still retaining its artistic elements. Ossip K. Flechtheim called for a field of "futurology" beginning in the 1940s in an attempt to "scientifically" predict the future based on history.[6]Future Shock, by Alvin Toffler is known for being one of the most influential popularizations of futurism. Nowadays the field is rife with anyone who can get the media to call them futurists.

Futurist themes were embraced by a number of African-American artists, especially musicians, in the mid-20th century. This style eventually came to be known as "Afro-futurism." Sun Ra, a jazz pianist and bandleader, is known as the progenitor of this style.[7]. A number of other musicians have become associated with Afro-futurism, including Parliament-Funkadelic, Model 500 and DJ Spooky.

The current incarnation of futurism is known as transhumanism, a somewhat loosely knit movement that has gained a few wealthy financial benefactors in Silicon Valley. Many transhumanists are "Singularitarians" who posit a coming "technological singularity" in which an artificial intelligence is built that exceeds human intelligence and initiates an explosion of technological advancement. Transhumanists are also proponents of pseudoscientific, dubious, or otherwise problematic technology, such as cryonics and mind uploading. Ray Kurzweil is probably the most famous transhumanist around today.

The movement that came to be known as "cyborg feminism" or "cyberfeminism" takes its inspiration from Donna Haraway's 1985 essay "A Cyborg Manifesto." Haraway rebutted the idea that science and technology are inherently patriarchal or capitalistic. Cyberfeminism tends to concentrate on the intersection of gender roles and technology.[8] Another movement with some overlap with cyberfeminism is "postgenderism," which advocates for technological advances in service of erasing gender (and sexual dimorphism too).[9] Both of these movements also have some overlap with transhumanism.

There was a strain of '80s electronic synthesizer pop of this name, which they got from the Italian ones. It went "ZOMG MACHINES EXIST" in a new wave sort of manner with silly haircuts and eyeliner. Examples include Visage and Depeche Mode. In the early 2000s, industrial bands VNV Nation and Apoptygma Berzerk invented the name "futurepop" for their version of this.[10] Even more confusingly is a resurgence in 80s-sounding synth-music thanks to films like Drive and videogames like Hotline Miami with a number of names, like "Synthwave" or "Retro-Synth."[11] So "future" means "retro," except...

It's basically an aesthetic used in art and design built on all those failed futurist predictions leading to styles such as "steam punk" or "diesel punk."

Originally posted here:
Futurism - RationalWiki

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

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Dark Roasted Blend: Category: Futurism