Category Archives: Futurism

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American futurism gets pretty dark during bad economic times. Many people start to see technology as the enemy, like they did in the 1930s and 1970s. And people generally feel less optimistic for the future.

But new research shows that it's not just futurism that becomes more gloomy during economic recessions. When the economy stinks, all authors start to adopt a more depressing vocabulary.

A recent study out of London took different "mood words" that were then broken up into six categories: anger, disgust, fear, joy, sadness, and surprise. From there the researchers made what they call a "literary misery index" to gauge the relative number of positive moods against the negative moods in 20th century books.

Not surprisingly, books released after periods of economic distress use language that reflect a general malaise. The Great Depression of the 1930s and the recession of 1970s saw an explosion of downer books on their heels much like the various forms of popular futurism from these eras.

From the new study:

Visually, the literary misery index seems to respond to major phases of the 20th century: literary misery increased after the economic Depression, then declined after the post-War years, then rose again after the recession of the 1970s, and declined again following on from the economics recovery of the late 1980s.

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"When we looked at millions of books published in English every year and looked for a specific category of words denoting unhappiness, we found that those words in aggregate averaged the authors' economic experiences over the past decade," Professor Alex Bentley of the University of Bristol, a lead author of the new study said in a statement.

"In other words, global economics is part of the shared emotional experience of the 20th century," Bentley explained.

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When The Economy Stinks, Our Books Get More Depressing

While most fashion aficionados are currently looking to CBGB and the 1970s for style inspiration, a different set of punks are eyeing H.G. Wells and the 1870s. Theyre called steampunks, a term coined some 20 years ago by science-fiction author K.W. Jeter to describe a cult aesthetic movement inspired by 19th century sci-fi and fantasy that envisioned what a modern world would look like if steam power fueled technology. Think Sherlock Holmes, 20,000 Leagues Under the Sea and Will Smiths 1999 camp classic Wild Wild West all squeezed into one kooky corset.

In Anatomy of Steampunk: The Fashion of Victorian Futurism, author Katherine Gleason dissects the fantastical subculture and its subscribers people from all walks of life who create elaborate characters and costumes, made up of topcoats, lace and other Victorian trappings paired with goggles, gadgets and mechanical bits.

But everyday steampunks arent the only ones captivated by the likes of Captain Nemo. From Alexander McQueen to Olivier Theyskens, fashion designers have long flooded high-end runways with top hats, voluminous gowns and swashbuckling styles that have trickled down to highly wearable retail versions. Even Marc Jacobs went Victorian vamp for spring, sending models across a post-apocalyptic landscape in embroidered lace gowns and appliqud jackets sure to earn a steampunk hashtag on Pinterest.

The style subculture is DIY by nature, and as Gleason emphasizes, there are no set rules or limitations to the look. Out of the shock of the old explodes the rebellion of the new, writes New York-based steampunk speaker Diana M. Pho in the books introduction. All you need is an inventive spirit and a little punk spunk.

Rule the Seven Seas in a seasonal style blooming with feminine detail. Helene Berman wool-blend peplum military coat, $370 at julesb.com

No corset? No problem. A trompe loeil tee will do just fine. Love Moschino printed cotton T-shirt, $134 at farfetch.com

Protect you most important thingamajig so your life runs like clockwork. Steampunk cog iPhone 5 case, $24.50 at cafepress.com

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Steampunk fashion will gear you up for a reimagined past

Blonde Redhead - Futurism Vs. Passeism Part 2 (drum cover)
Album: In an Expression of the Inexpressible (1998)

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Now that the sixth generation Ford Mustang has been revealed, the worst kept secret in Detroit is that theres a new F-150 on the way, too.

Ford wont talk about it, but the 13th-generation pickup is expected to make its debut at the North American International Auto Show in January and hit the road later in 2014.

Its rumored to be the most cutting-edge version of the F-Series yet, offering a selection of turbocharged engines, an extensive use of aluminum in its construction, and possibly a 10-speed transmission at some point in its lifecycle, all in the name of fuel economy.

Whats more certain is that its look will be inspired by the Ford Atlas concept that was unveiled at the 2013 NAIAS. Its a bold design filled with modern touches, but not exactly what youd describe as a work of futurism.

Sixty years ago, things were different.

Back in 1953, Fords designers sketched a couple of proposals that were straight out of the atomic age, and were recently dug out of the archives for FoxNews.com.

The first is of a stepside pickup appropriately hard at work at the observation bunker of a ballistic missile launch pad. It features a half-cabover layout similar to a 1970s Econoline van, its blunt nose complimented by square yet smooth bodywork, with large radius curves and flush door handles. Those air in the front fenders? Who knows where they led, but theyd show up again on the 1965 Mustang.

It was a vast departure from the production truck of the day, to be sure, although the third generation model that arrived in 1957 did retain its forward-leaning rear roof pillar and was the first F-Series to integrate the hood and fenders, and use a clamshell hood.

Whats more interesting today, however, is its front-end style. While the grille and lighting arrangement is similar to the 1953 F-Series, its surrounded by a large hexagonal enclosure thats the spitting image of Fords current family face, and an eerie premonition of the Atlas design.

Even more frightening, however, is a proposal for a van also created in 1953. The hearse-like profile and protruding, vampire-fang headlights giving it a dark and dreary demeanor enhanced by the desolate setting of the sketch.

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Ford trucks of future passed

Gazing Into Eternity (Trance Mix) - 432hz
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For those whove seen the buzziest of buzzy holiday movies, Spike Jonzes Her, youprobably left the theater with much to think about. One of the biggest questions, at least from a filmmaking standpoint: How did Jonze and his team arrive at the future we see on the screen?

Infinitely relatable though gently different, the Los Angeles of Jonzes unspecified future occupies a new and exciting place in cinematic history--and the history, as it where, of futurism itself. Hers L.A. is a million miles from Blade Runner, but it also not entirely a utopia. What looks bright and cheery can also conceal a dark undertow.

Perhaps the best evidence of this worlds complexityare the words being used to describe it, which according to a quick survey ofarticles on the film include the not-exactly-compatible phrases of utopian, dystopian, near-dystopian, gentrified dystopia, both utopian and dystopian and--why not--neither dystopian nor utopian.

PHOTOS: Holiday movie sneaks 2013

With this in mind, The Times set out to discover how, and why, the world was created. We conducted interviews with the five key people who helped Jonze shape the movies look and feel. It is a team that in most instances have worked with Jonze for years, going back to his 1990s wunderkind days, even as what its members do here is astonishingly forward looking. Over the next five days we will run a separate conversation with each of these players, exploring the rich psychological and philosophical reasons for their choices and the challenges they had to overcome after making them.

Today, costume designer Casey Storm.

Movies Now: One of the things that stands out right away in the filmbesides those much-discussed high-waisted pantsis how basic clothes looks in the future, how simple, how unfuturistic. Was that very much a part of your discussion?

Casey Storm: When we first started talking about how to depict the future we immediately disliked anything you usually see in movies about the future. We wanted to use updated elements of things we know rather than project things we didnt. We didnt want to guess.

MN: Because so many of those movies do just thatthe clothes and the whole movie has this sheen to it, black-and-silver uniforms, latex, lots of bootsalmost as though theres some unofficial rule in a costume-designer handbook that mandates that.

CS: I think with a lot of other movies the logic is that with technology taking over our lives that it creates distance. And when theres distance you lose warmth and end up with coldness. And the way you depict coldness is you use clothes and colors that suggest coldnessblacks and silvers and whites and blues. Or I guess thats the thought progression. We thought what really made more sense, what could very likely be happening, is access. You can choose from everything in the world, so clothes become more individual. The word "bespoke" kept coming up. If you had all the things in the world, what would you gravitate to? For a lot of people it would be something warm and comfortable. So thats what we tried to create.

Excerpt from:
Five days of 'Her:' How Spike Jonze created the future

ABSTRACTION For a guide to non-objective art see: Abstract Paintings: Top 100. For a list of styles/periods, see: Abstract Art Movements.

Futurist Painting

The Futurism movement was highly aspirational, though its ideas were neither original nor revolutionary. In general, 20th century painters associated with the Futurist movement worshipped scientific progress, glorifying speed, technology, the automobile, the airplane and industrial achievement. Established traditions were thrust aside in pursuit of victory over nature. When it came to establishing a new Futurist aesthetic, however, a visual idiom with which to express their concerns, Marinetti and the other artists were more hesitant.

To begin with they borrowed the methods of Neo-Impressionism (a general reference to Divisionism), in which forms are broken down into dots and stripes capable of depicting the glitter of light or the blur of high speed movement - see The City Rises (1910-11, Museum of Modern Art, New York) by Boccioni, and Leaving the Theatre (1910-11) by Carlo Carra. Both painters were influenced by Italian Divisionism and the paintings of Vittore Grubicy De Dragon (1851-1920). Following this, Carra and Boccioni visited Severini and Marinetti in Paris (to get a better feel for the avant-garde), where they fell under the influence of analytical Cubism, after which they adopted the methods (fragmented forms, multiple viewpoints, powerful diagonals) of the Cubists - see Dynamic Hieroglyphic of the Bal Tabarin (1912, MoMA NYC) by Gino Severini, as well as his masterpiece Pan-Pan at the Monico (1911-12, original lost, copy in the Pompidou Centre, Paris). Often, Cubist techniques would be combined with urban and political subject matter, often on a large scale - see Funeral of the Anarchist Galli (1910-11, MoMA NYC) by Carlo Carra. Although some Futurist works were relatively static, such as Woman with Absinthe (1911) by Carra, and Matter (1912) by Boccioni, the phenomenon of speed is a constant Futurist theme - see Dynamism of a Dog on a Leash (1912, Allbright-Knox Gallery, Buffalo, USA) by Giacomo Balla. However, Balla eventually went over to abstract art, producing work with no obvious reference to the idea being expressed - see his The Car has Passed (1913, Tate, London). For this kind of geometric abstraction see concrete art.

Futurist Sculpture

In 1912, Umberto Boccioni, the only sculptor among the Futurists, published his own Manifesto - Futurist Painting Sculpture: Plastic Dynamism (Pittura scultura Futuriste: Dinamismo plastico), which expounded his Bergson-type ideas on intuition, inner being and the relationship of form, motion and space. The following year Boccioni produced his masterpiece Unique Forms of Continuity in Space (1913, casts in MoMA New York, Tate London and elsewhere). This work vividly depicts the movement of the body, and illustrates his theory of "dynamism", a theme he also explored in other works like Synthesis of Human Dynamism (1912), Spiral Expansion of Speeding Muscles (1913) and Speeding Muscles (1913).

Exhibitions

Futurist art was first exhibited at a show of modern art in Milan (1911). The first purely Futurist show was in early 1912 at the Galerie Berhein-Jeune in Paris. The show then travelled to the Sackville Gallery London, the Sturm Gallery Berlin, and afterwards to Amerstam, Zurich and Vienna, generating widespread publicity for the movement, thanks largely to Marinetti's promotional flair.

Influence on Contemporary Artists

Italian Futurism had a visible impact on artists across Europe, including the Vorticists in Britain, the Dada movement in Zurich and Berlin, Delaunay's Orphism (Simultanism), Art Deco, American Precisionism, and Surrealism, while futurists in Russia had a strong effect on Rayonism and Constructivism. Russian Futurism began in 1912 with the publication of its manifesto A Slap in the Face For Public Taste. Members included the Russian artists David Burlyuk (1882-1967), Vladimir Mayakovsky (1893-1930), Mikhail Larionov (1881-1964), Natalia Goncharova (1881-1962), Kazimir Malevich (1878-1935) the founder of Suprematism, Velimir Khlebnikov and Alexei Kruchenykh (1886-1968). The movement endured longer in Russia, becoming closely associated with revolutionary politics, and influenced several other Russian art movements.

Read this article:
Futurism : Italian Modern Art Movement - Visual Arts Encyclopedia

"Russian Futurists" redirects here. For the band, see The Russian Futurists.

Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Futurist Manifesto". Russian Futurism may be said to have been born in December 1912, when the Moscow-based literary group Hylaea (Russian: [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson, and quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911)[1] issued a manifesto entitled A Slap in the Face of Public Taste.[2] Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kiev, Kharkov, and Odessa.

Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky, according to them, should be "heaved overboard from the steamship of modernity". They acknowledged no authorities whatsoever; even Filippo Tommaso Marinettiwhen he arrived in Russia on a proselytizing visit in 1914was obstructed by most Russian Futurists who did not profess to owe him anything.

In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets contributed by Malevich.

Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be'). They found significance in the shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone",[3] known as zaum.

With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed the meaningless slaughter of the Great War and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously.

After the Bolsheviks gained power, Mayakovsky's grouppatronized by Anatoly Lunacharsky, Lenin's minister of educationaspired to dominate Soviet culture. Their influence was paramount during the first years after the revolution, until their programor rather lack thereofwas subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends (Aseyev, Pasternak).

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Russian Futurism - Wikipedia, the free encyclopedia

D. Carbone - Acid Futurism (Original Mix) [Planet Rhythm]
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