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02Futurism, Dada, Constructivism.Pptx Futurism Boccioni, Unique Forms of Continuity in Space, bronze, 1913 Nike (Victory) of Samothrace, 2nd cent. BC marble, Louvre “A roaring car …is more beautiful - Movement / speed than the Victory of (Bergson on time/duration) Samothrace.” (F.T.Marinetti, Futurist - Body-machine Manifesto, 1909) Umberto Boccioni, Futurist Evening in Milan, 1911 Luigi Russolo, Noise makers (Intonarumori), 1910-­‐1913 Depero, Marine�, Cangiullo, 1914 Giacomo Balla, An�-­‐ Neutral Clothing Manifesto, 1914 Marinetti, founding and manifesto of Futurism, Le Figaro, Paris, February 20, 1909 -­‐ Art as poli�cs -­‐ Against the idea of “Culture” -­‐ Celebra�on of technology/modernity From: Filippo Tommaso Marine�, The Foundin and Manifesto of Futurism, Published in LE FIGARO of Paris, February 20, 1909 1. We want to sing the love of danger, the habit of energy and rashness. 2. The essen�al elements of our poetry will be courage, audacity and revolt. 3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-­‐gun fire, is more beau�ful than the Victory of Samothrace. 5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit. 6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusias�c fervor of the primordial elements. From: Filippo Tommaso Marine�, The Foundin and 7 Beauty exists only in struggle. There is no Manifesto of Futurism, Published in LE FIGARO of masterpiece that has not an aggressive character. Paris, February 20, 1909 Poetry must be a violent assault on the forces of unknown, to force them to bow before man. 8 We are on the extreme promontory of the centuries! 1. We want to sing the love of danger, the habit of What is the use of looking behind at the moment energy and rashness. when we must open the mysterious shu�ers of the 2. The essen�al elements of our poetry will be impossible? Time and Space died yesterday. We are courage, audacity and revolt. already living in the absolute, since we have already 3. Literature has up to now magnified pensive created eternal, omnipresent speed. immobility, ecstasy and slumber. We want to exalt 9 We want to glorify war — the only cure for the world — militarism, patrio�sm, the destruc�ve gesture of movements of aggression, feverish sleeplessness, the anarchists, the beau�ful ideas which kill, and the double march, the perilous leap, the slap and contempt for woman. the blow with the fist. 10 We want to demolish museums and libraries, fight 4. We declare that the splendor of the world has morality, feminism and all opportunist and u�litarian been enriched by a new beauty: the beauty of cowardice. speed. A racing automobile with its bonnet 11 We will sing of the great crowds agitated by work, adorned with great tubes like serpents with pleasure and revolt; the mul�-­‐colored and polyphonic surf of revolu�ons in modern capitals: the explosive breath ... a roaring motor car which nocturnal vibra�on of the arsenals and the seems to run on machine-­‐gun fire, is more workshops beneath their violent electric moons: the beau�ful than the Victory of Samothrace. glu�onous railway sta�ons devouring smoking 5. We want to sing the man at the wheel, the ideal serpents; factories suspended from the clouds by the axis of which crosses the earth, itself hurled along thread of their smoke; bridges with the leap of its orbit. gymnasts flung across the diabolic cutlery of sunny 6. The poet must spend himself with warmth, rivers: adventurous steamers sniffing the horizon; great-­‐breasted locomo�ves, puffing on the rails like glamour and prodigality to increase the enormous steel horses with long tubes for bridle, and enthusias�c fervor of the primordial elements. the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusias�c crowds. Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912 .
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