Category Archives: Futurism

Futurism was a modern art and social movement which originated in Italy in the early 20th century. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, movies, fashion, textiles, literature, music, architecture and even gastronomy.

The founder of Futurism and its most influential personality was the Italian writer Filippo Tommaso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia. This article was reprinted in the French daily newspaper Le Figaro on 20 February 1909. Marinetti was soon joined by the painters Umberto Boccioni, Carlo Carr, Giacomo Balla, Gino Severini and the composer Luigi Russolo.

Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.

Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.[3]

The founding manifesto did not contain a positive artistic programme. The Futurists attempted to create it in their subsequent Technical Manifesto of Futurist Painting. This committed them to a "universal dynamism", which was to be directly represented in painting.[4]

In practice, much of their work was influenced by Cubism, and indeed their images were more dynamic than those of Picasso and Braque. The phrase 'plastic dynamism' has been used to describe their early work.

Many Italian Futurists supported Fascism in the hope of modernizing the country. Italy was divided between the industrial north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti was one of the first members of the National Fascist Party. He soon found the Fascists were not radical enough for him, but he supported Italian Fascism until his death in 1944.

The Futurists' association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

The Futurists renewed themselves again and again until Marinetti's death.

Futurism influenced many other twentieth century art movements, including Art Deco, Vorticism, Constructivism, Surrealism and Dadaism. Futurism was, like science fiction, in part overtaken by 'the future'.

Nonetheless, the ideals of futurism remain as part of modern Western culture: the emphasis on youth, speed, power and technology is expressed in much of modern cinema and culture. Ridley Scott used design ideas of Sant'Elia in Blade Runner.

Echoes of Marinetti's thought, especially his "dreamt-of metallization of the human body", are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the "Tetsuo" (lit. "Ironman") films.

Futurism influenced the literary genre of cyberpunk. Artists who came to prominence in the first flush of the internet, such as Stelarc and Mariko Mori, produced work influenced by Futurist ideas. A revival of sorts of the Futurist movement began in 1988 with the creation of the Neo-Futurist style of theatre in Chicago, which uses Futurism's focus on speed and brevity to create a new form of immediate theatre. There are active Neo-Futurist troupes in Chicago, New York, and Montreal.

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Futurism - Simple English Wikipedia, the free encyclopedia

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.

Link:
The Multiverse: Is There Evidence For It? - Futurism

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]

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Futurism Wikipedia

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).

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Futurism - Vikipeedia, vaba entsklopeedia

Futurismul este o micare a modernismului artistic italian, celebrnd noua er a tehnologiei moderne. Iniiatorul micrii este poetul Filippo Tomasso Marinetti care, n 1909 public Manifestul futurist. Revolta futurist mpotriva tuturor tradiilor culturale merge mn n mn cu glorificarea "frumuseii vitezei", cultul mainilor i al societii contemporane. Metropolele europene, care se dezvolt ntr-un ritm alert la nceputul secolului al XX-lea, pulsnd de vuietul asurzitor al traficului rutier n care primele automobile i croiesc drum prin mulimea de pietoni, bicicliti i trsuri, expresie a dorinei de mobilitate a omului - iat cadrul n care a luat natere futurismul (din limba italian: il futuro = viitorul).

n manifestul su, Marinetti ndeamn la respingerea artei tradiionale i la lichidarea muzeelor i bibliotecilor, glorificnd curajul, revolta i rzboiul, preamrete viteza, cnt "mulimile excitate de munc", precum i realizrile tehnice ale erei industriale. Dei manifestul este publicat la Paris - cel mai important centru al avangardei timpului - el este destinat cu precdere mediilor intelectuale italiene. n acelali timp, pe zidurile oraului Milano apar afie cu limea de trei metri i nlimea de un metru, din care sare n ochi cuvntul FUTURISMO, scris cu rou aprins. ntre anii 1909-1916, apar peste cincizeci de manifeste care se refer la sfere att de variate precum politic, dans, muzic, film, sculptur, pictur sau chiar buctrie. n anul 1922, Benito Mussolini instituie dictatura fascist. n ciuda angajamentului naionalist al lui Marinetti i al ctorva tineri reprezentani ai micrii, noul regim i atac pe futuriti, acuzndu-i de depravarea tineretului. Marinetti a vizitat Romnia la invitaia avangardei literare romneti, care vedea n el pe unul din patriarhii si; el s-a declarat impresionat de incendiul provocat de explozia unei sonde de la Moreni.

Ali reprezentani ai futurismului n literatur au fost Ardengo Soffici (n acelai timp i pictor), Fortunato Depero i Gian Pietro Luciani. n 1913, Giovanni Papini se situeaz pe poziii futuriste n revista Lacerba, de exemplu cu articolul Caldo bagno di sangue (Baie cald de snge), apoi, vznd ororile rzboiului, se retrage.

In pictur, futurismul este reprezentat de ctre Umberto Boccioni, Gino Severini, Giacomo Balla, Carlo Carr i Luigi Russolo, care public pe 8 martie 1910 Manifestul picturii futuriste, mai trziu (1915), Manifestul construirii futuriste a universului. Futurismul devine, aadar, o micare interdisciplinar care intervine n toate sferele creaiei artistice. Pictura celor cinci artiti italieni futuriti este adaptat timpului n care triesc, constituindu-se n avangard artistic, corespunznd avangardei tehnologice.

Dac unui observator neiniiat mecanismele, motoarele sau bicicletele i se par lipsite de poezie, pentru futurismul italian, dinamismul, fora, geometria mainilor, viteza devin teme fundamentale. Creaia futuritilor datoreaz mult divizionismului (Pointilismului) i cubismului, i a influenat, direct sau indirect, curentele artistice ale secolului al XX-lea, ncepnd de la "cubofuturism" n Rusia (1910), pn la reprezentanii artei "chinetice" n anii aizeci.

Muzee: Peggy Guggenheim Foundation, Veneia; Pinacoteca di Brera, Milano; Colecia G.Mattioli, Milano; Muse National d'Art Moderne, Paris; Muzeul Von der Heydt, Wuppertal; National Gallery of Canada, Ottawa; Museum of Modern Art, New York; Allbright Knox Art Gallery, Buffalo.

Lucrri reprezentative n pictur: Umberto Boccioni "Dinamismul unui ciclist", (1913); Gino Severini Dansul ursului la Moulin Rouge (1913) sau "Tren blindat n aciune" (1915); Giacomo Balla Lamp cu arc (1910-1911); Carlo Carr Ieirea de la teatru (1910-1911); Luigi Russolo Dinamismul automobilului (1912-1913).

Futurismul n Romnia [1]

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Futurism - Wikipedia

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