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Topic: Manifesto of the Futurists

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	Emma Lindsay - Paper 2
		In the Manifesto of Futurist Painters, the authors declare that they will "Support and glory in [their] day-today world, a world which is going to be continually and splendidly transformed by victorious Science," (Manifesto of Futurist Painters).
		Futurist art often idealizes technology through primarily non technological means such as painting or writing, but Luckyanova downplays her use of technology even when it plays a crucial role in the creation of her piece.
		The Futurists treated technological progress with a great reverence; in the Manifesto of the Futuist Painters they even refer to "Science" with a capital S lending it a sort of divine significance.
	web.mit.edu /elindsay/www/PaperRewrite (1496 words)

	Futurism (art) - Wikipedia, the free encyclopedia
		The Italian poet Filippo Tommaso Marinetti was the first among them to produce a manifesto of their artistic philosophy in his Manifesto of Futurism (1909), first released in Milan and published in the French paper Le Figaro (February 20).
		The car, the plane, the industrial town were all legendary for the Futurists, because they represented the technological triumph of man over nature.
		The Futurists' glorification of modern warfare as the ultimate artistic expression and their intense nationalism allowed those of them who survived World War I to embrace Italian fascism.
	en.wikipedia.org /wiki/Futurism_(art) (631 words)

	Photography Going Back to the Futurists' Revolution (Site not responding. Last check: 2007-11-05)
		Futurist art and theory strongly influenced art everywhere, and by the mid-1920's, Futurist performances were held in numerous European cities and New York.
		Yet Futurist artists were the first, or among the first, to incorporate photographs into nonphotographic artworks and to take notice of the impact photography and film would have on the course of art.
		Futurist performance, which ranged from concerts composed of noises to mechanical dances to aerial ballets, laid the foundations for Dada performance and indeed for performance art today.
	www.avantgardes.com /exhib.folder/progold.html (850 words)

	Transhuman History (Site not responding. Last check: 2007-11-05)
		As a "design" for the future, it is paramount that society develops a keener, more futuristic sense of life, and aim toward creating a world that fluidly adapts to change.
		It is the inclusively of all of humanity that will create a futuristic culture that evolves beyond arguable human restraint and hostility, territories and obsessions, labeling and segregating.
		Futurists will reason with progress and culture will anticipate major ideological shifts culminating in a somatically privileged class.
	www.transhuman.org /transhistory.htm (3244 words)

	Italian Futurism
		That the manifesto was first written in French and published in the Parisian newspaper Le Figaro before any of the new Futurist art existed, typified Marinetti's understanding of the power of the media to work for him and disseminate his ideas.
		Futurism was the first attempt in the 20th century to reinvent life as it was being transfixed by new technologies and conceive of a new race in the form of machine-extended man. Futurism succinctly reiterated a cognate set of ideas which reverberates all through a multitude of forms in 20th century art expression.
		This they defined in their technical manifestos of consisting of four basic types: realistic, analogical, abstract (the 'sound of a state of mind'), and psychic harmony (the fusion of two or three of the abstract representations).
	cotati.sjsu.edu /spoetry/folder6/ng63.html (1120 words)

	art is dead - modern art - futurism
		The manifesto was a downright rejection of modern arts effort to portray artwork.
		The manifesto of 1909 served Futurism in its goal to tame conventional mannerism.
		Other than protesting their government, the Futurists were also heavily involved in the fields of science and philosophy.
	freespace.virgin.net /paul.adams6/artisdead/modernart/futurism/artisdead_modernart_futurism.html (862 words)

	Futurist Programmers
		The Futurist's goal was to celebrate modern technology and to free Italian art from the psychology of the past.
		The Futurists can be credited with the development of performance art and concrete poetry.
		The Italian Futurists sought to free all artistic expression from the heavy religious atmosphere that controlled most art produced in Italy.
	www.sgi.com /misc/grafica/future (478 words)

	Futurism
		In this manifesto, Marinetti originates the term "Futurism", which reflected his emphasis on discarding the static and unimportant art of the past and rejoicing in the turbulence, originality, and creativity in art, culture, and society.
		Futurists held meetings, gave speeches, boycotted, and employed many other types of demonstration in order to further their political position.
		Russolo and another Futurist Piatti designed instruments called "Intonarumori" which were of the classes of sounds and were specially designed for performances of these types of compositions.
	www-camil.music.uiuc.edu /Projects/EAM/Futurism.html (1748 words)

	Civilization -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-11-05)
		Some futurists believe that civilization is undergoing another transformation, and that world society will become an (Click link for more info and facts about informational society) informational society.
		The (Click link for more info and facts about Kardashev scale) Kardashev scale classifies civilizations based on their level of technological advancement, specifically measured by the amount of energy a civilization is able to harness.
		(Founder of modern communism; wrote the Communist Manifesto with Engels in 1848; wrote Das Kapital in 1867 (1818-1883)) Karl Marx believed that the beginning of civilization was the beginning of (A feeling of being oppressed) oppression.
	www.absoluteastronomy.com /encyclopedia/c/ci/civilization.htm (4243 words)

	How the Futurists got the picture \| Art And Architecture \| Arts \| Telegraph
		There was Futurist painting, of course, Futurist sculpture, Futurist poetry and Futurist cookery - of which the tenets were that Italians would no longer be allowed to eat pasta, use knives and forks, or give after-dinner speeches.
		Futurist photography was, of course, yet another of the spin-offs of Futurist art, but it had a troubled relationship with the main movement.
		The Futurists loved all things mechanical, noisy, modern, technological and fast, so you might assume that they would be in favour of photography.
	www.telegraph.co.uk /arts/main.jhtml?xml=/arts/2001/01/24/bamart24.xml (827 words)

	The Italian Futurist Book
		For this reason, Futurism introduced the use of the manifesto as a public means to advertise its artistic philosophy, and also as a polemic weapon against the academic and conservative world.
		For the Futurists, book-making was in fact the result of a precise theory to adhere to when conceiving their books.
		Futurist books led to the future (hence the name of the movement), functioning as emblems of technical and cultural progress, and using all possible media of serial production in the mechanic age.
	www.colophon.com /gallery/futurism (1177 words)

	Futurism: Manifestos and Other Resources
		The Futurists loved speed, noise, machines, pollution, and cities; they embraced the exciting new world that was then upon them rather than hypocritically enjoying the modern world’s comforts while loudly denouncing the forces that made them possible.
		The Manifesto of the Futurist Painters, by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini
		Futurist Reconstruction of the Universe, by Giacomo Balla and Fortunato Depero
	www.unknown.nu /futurism (489 words)

	Emma Lindsay - Paper 2
		In the Manifesto of Futurist Painters they declare that they will "Support and glory in [their] day-today world, a world which is going to be continually and splendidly transformed by victorious Science." The MAS.110 pictures, however, simply reflect upon the nature of our technology.
		This seems to be the opposite of many futurist paintings, which idealize technology through primarily non technological means while this image downplays the use of technology, despite the fact that it was created on the computer.
		However, for the futurists "Science" was something to be greatly appreciated, yet was also something fundamentally out of their control.
	web.mit.edu /elindsay/www/paper2 (1346 words)

	Futurist Programmers
		The Futurist's goal was to celebrate modern technology and to free Italian art from the psychology of the past.
		Futurist movements related to sculpture, theater, architecture, fashion, and music followed.
		The Italian Futurists sought to free all artistic expression from the heavy religious atmosphere that controlled most art produced in Italy.
	www.graficaobscura.com /future/index.html (478 words)

	Multimedia – From Wagner to Virtual Reality
		The Italian poet F.T. Marinetti, chose the Parisian public as the target for his 1909 Futurist Manifesto of "incendiary violence," calling for an end to all art that refused to embrace the social transformation brought by technology in the new century.
		It was in cinema that Marinetti and his colleagues saw the potential for a form of expression that reflected the speed and energy of the times.
		In the Futurist Cinema manifesto of 1916, they declared cinema could be the most dynamic of human expressions because of its ability to synthesize all of the traditional arts, unleashing a form that was totally new.
	www.artmuseum.net /w2vr/timeline/Futurist.html (168 words)

	Literary Encyclopedia: Futurism (Site not responding. Last check: 2007-11-05)
		Thus, from the first manifesto onwards, the Futurists vied to devise the most sneering attacks on the culture of museums, regarded as akin to cemeteries for art, and to outline the purest aesthetics of speed, modernity and power.
		The 1909 manifesto's opening narrative of departure and rebirth, as Marinetti races off in his automobile only to crash into a ditch filled with factory waste, with its subsequent aestheticisation of the industrial and the urban, set the pattern for the imagery and tone of all subsequent Futurist works.
		Hence, many Futurist poems retain fairly traditional forms, only distinguished by an extravagant use of machine imagery and terminology which is explicitly opposed to the language of nature conventionally used in lyrical verse, and where technology ultimately informs the poem's subject matter – crowds, cars, aeroplanes, trains – more than its form.
	www.litencyc.com /php/stopics.php?rec=true&UID=450 (633 words)

	Mark Harden's Artchive: "Futurism"
		Originally the manifestoes were subscribed to also by Aroldo Bonzagni and Romolo Romani, but they soon dropped out, and Gino Severini (1883-1966), working in Paris, and Giacomo Balla (1871-1958), in Rome, joined Boccioni, Carrà, and Russolo to form the closely knit group of Futurist painters.
		Manifestoes were published also for music, first in July 1912 by Ballila Pratella, and Russolo devoted much of his time to experiments with music created by a battery of noise machines.
		The young architect Antonio Sant'Elia joined forces with the Futurists in 194 and republished his stirring proposals for a modem architecture, first used in an exhibition catalogue of that year, as a manifesto of Futurist architecture.
	www.artchive.com /artchive/futurism.html (848 words)

	[No title]
		So to be perfectly honest, the futurists are not special: they merely desire, so very vocally, the continuation of a trend that has been progressing for centuries.
		How ironic that a futurist criticizes Mahler as over-the-top, when that kind of extremism (merely in another direction) is exactly the thing (and apparently the ONLY thing), that futurists desire.
		How appropriate that the article is titled a 'manifesto', as the futurists can't keep their musical aims contained in their actual music.
	www.music.columbia.edu /~daniglesia/writing/futurist.htm (1283 words)

	village voice > books > Manifesto: A Century of Isms edited by Mary Ann Caws: Drawing on the textual output of ...
		Fittingly, it was the Italian futurists who peddled the manifesto rush in its purest, fiercest form, with their fevered calls for total aesthetic renewal in painting, music, sculpture, poetry, and even cuisine (Filippo Tommaso Marinetti wanted to replace pasta with more, ah, rigorous dishes, such as perfumed sand).
		Futurist texts all seem to be written from inside that grandiose delirium: It's almost as if they became hooked on the body's own natural stimulants.
		The futurist exaltation of "the dynamic of the male vertical" is a barely concealed figure for a kind of priapism of the spirit.
	www.villagevoice.com /books/0120,reynolds,24748,10.html (1267 words)

	Tumultuous Assembly (Getty Center Exhibitions)
		Futurists followed this with manifestos calling for the reinvention of everything from painting, music, and architecture to cooking, warfare, and government.
		Between 1913 and 1920, a number of Italian Futurist journals flourished, with pages devoted to what Futurists called parole in libertà, or "words-in-freedom." In order to mimic the speed and dynamism of contemporary life, this new kind of poetry rejected conventional grammar and punctuation and employed devices from non-linguistic domains.
		Creative typography was central to the Futurists, who believed the visual qualities of letters and words should be elements of a poem's meaning.
	www.getty.edu /art/exhibitions/tumultuous (1013 words)

	ART FOR A CHANGE: Back To The Futurists (Site not responding. Last check: 2007-11-05)
		However, while the Futurist vision of a machine world was brilliantly expressed aesthetically, it was doomed to ultimate failure because it was coupled with fascist ideology.
		In retrospect it’s easy to be dismissive of the Futurists for their close connections to Benito Mussolini, but their rhetoric was remarkably similar in tone to things I hear and read today.
		The Futurist glorification of patriotism, love of the military, empire and strong leadership, along with a militant disdain for pacifists and feminists - begs the question, "How do you know you are not a fascist?" Perhaps we’ll find the answer by studying the Wolfsoniana collection of artworks prompted by Italy’s bygone totalitarians.
	www.art-for-a-change.com /blog/2006/02/back-to-futurists.html (467 words)

	Futurism Art
		The Futurists were avid proponents of violence and conflict and their powerful and bold promotions of their movement confirmed this attitude.
		The Futurist's was filled with the hope of enlisting additional numbers of poets and artists to their cause.
		Many of the original signers of the 1910 manifestos had significantly toned down their rebellious ideas and the new inductees lacked a common bond and the artistic principles that had propelled the original group of Futurists.
	www.virtualology.com /virtualmuseumofart/hallofartmovements/futurismart.com (2131 words)

	Film Studies, School of Philosophical, Anthropological and Film Studies
		Throughout the history of the cinema, radicals and reactionaries alike have used the film manifesto as a means of stating key their aesthetic and political goals.
		Despite the wide variety of ideological and political points-of-view put forth in film manifestoes, the rhetorical stances adopted by the writers--which foregrounded both an urgent call to arms and a profoundly undialectical form of argumentation--lead to a certain similarity in the cinematic manifesto genre.
		Because of the programmatic, proclamatory nature of most manifesto writing--which is an unavoidable occurrence, precisely because of the inflammatory nature of the discourse involved--the intended outcomes of manifestoes were, for the most part, hopelessly doomed; yet this hopelessness added to the nihilistic romance of dramatic intervention in the public sphere.
	www.st-andrews.ac.uk /filmstudies/research/projects/smmanifestoes.htm (663 words)

	Gino Severini Biography / Biography of Gino Severini Biography Biography
		Gino Severini (1883-1966) was one of the leading painters of the Italian futurist movement, which proposed a radical renovation of artistic activity in keeping with the dynamism of modern mechanized life.
		He was one of the five artists who signed the Futurist Manifesto in 1910, and he took part in the historic exhibitions of the futurist group in Paris, London, and Berlin.
		Severini's pictures, painted in Seurat's clear colors, influenced the cubists to lighten their palette, and his personal contribution was to combine the futurist program with the analytical and geometrical spirit of cubism.
	www.bookrags.com /biography-gino-severini/index.html (539 words)

	Salon.com Books \| Loudmouths and legends
		"Manifesto: A Century of Isms," edited by Mary Ann Caws, gathers together the glorious, the histrionic and the just plain nutty pronouncements made by various artists and loudmouths at the outbreak of modernism.
		Caws says that on principle she ruled out secondary, merely critical selections: the manifestos and statements included had to be "written by a practitioner of the particular art movement." But this artists-only rule is not absolutely enforced.
		In her introduction, Caws notes that "If the Postmodernist manifesto shrugs off [Modernist] nostalgia, it has often a kind of dryness that undoes its energy": her words certainly apply, not just to the language poets but to many of book's more contemporary manifestos.
	archive.salon.com /books/feature/2001/05/16/manifestos/print.html (3609 words)

	Untitled Document
		Important to understanding the Futurists' perception and use of simultaneity is the meaning given by context to various terms associated with the discussion.
		Ultimately, simultaneity in the art of the Futurists was a synthesis of scientific and philosophical thought combined with a visual and felt sense of the energy of the machine age: a concurrence of space, time, and energy.
		Marinetti's original manifesto declares the Futurists' intent "to glorify" energy and to "(hurl) forth in violent gushes of action and productiveness." Communicating movement was an essential element to Futurist art and in the discourse on dimension.
	www.csuchico.edu /art/contrapposto/contrapposto00/pages/themecontent/ritcher197.html (1138 words)

	Sound Opinions Message Board -> Talk for my class
		Luigi was very proud of not having a musical tuition as he claimed that this meant that he was free of all bias in the field of music.
		Luigi’s manifesto was called ‘The Art Of Noises’ and in it, he proposed to utilise 6 different sections of noises in his orchestra.
		The Dadaists used random noise instead of the calculated noise of the futurists, as randomness is one of the foundations of Dada.
	www.soundopinions.net /forum/index.php?showtopic=4658 (1627 words)

	thought papers
		Your response can be personal in nature (e.g., "I find Marinetti's futurist manifesto irresponsible"), or, even better, it can present your interpretation of how a key passage relates the the entire text (e.g., "the act of murdering moonshine is essential for the futurists' masculinist gender politics").
		Section one of the manifesto serves to illuminate the serendipity involved in Marinetti's discovery of the principles of futurism.
		Insomnia, speed, courage, danger and modern transportation are not only constitutive for the futurist car crash, but also find their way into the value system (this is particularly the case with points one through five) that Marinetti hopes to cultivate into war, destruction and revolution (points nine through eleven).
	www.unc.edu /~relangst/avantgarde/thoughtpaper.html (743 words)

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