Wednesday, October 2, 2013

GROUP WORK (FUTURISM MANIFESTO)

Introduction

What is a futurist?
A futurist is someone who studies the future in way to assist people in gaining understanding, anticipate and to prepare for coming changes. It is the uses of foresight to explain or describe what could happen in the future. This may include driving forces, assumption, evidence or indicators of the future. (Association professional futurist, 2013). This was how futurism came about through the minds of a futurist. Futurism, “is an artist movement originated in Italy around 1909.With aims to express the energetic, dynamic and violent quality of contemporary life, especially as embodies in the motion and force of modern machinery.” (Houghton Mufflin, 2009).

History of Futurism
Filippo Tommaso Marinetti

Futurism was an art and social movement which originated in Italy around the 20th century and was formed by Filippo Tommaso Marinetti, the father of the Futurist movement.  One could say that the Futurist movement glorified themes associated with the vision and concept of the future.  These themes include technology, speed, violence, youth, etc.
 This idea or rather this concept of Futurism was jogged by Marinetti’s near death experience, him involved in a car accident. The manifesto was written around 1909 and was published on the 20 February 1909 in the French daily newspaper, Le Figaro

­ Before moving forward we understand that the Industrial Revolution formed the foundation for the modern world were technology became rapid; we first see the steam engine being invented which lead up to the invention of the motorcar in 1885. This formed basis of their obsession in emphasising speed, violence, etc in their artwork.  The Futurist demonstrated their obsession with the concept of the future in their artwork through the use of brushstrokes, which showed continuous movement.  Futurism was one of the first movements that directly targeted the mass audience

The Ideology

The idea of development was a key driving force behind the movement of Futurism. The Futurist expressed ideas of speed, aggression, rebellion and the beauty of modern technology. Futurism captured the city life, modern machinery and it main idea was to appose the beliefs and traits of an Avant-guard era. 

Looking at the sources that we have gathered we believe that this ideology was prompted by inventions that occurred at that particular space and time. Even though it did take place during the early 19th century, the Industrial Revolution plays its role towards modern civilisation. It was the late 19th and early 20th century that saw Futurisms arrival. The three key inventions we identified were: the motorcar (1885), wireless telegraph (1895) and the airplane (1903). These inventions sparked the idea of speed, which was what the Futurists stood for. They collapsed the existence of space and time rendering it absolute.

The Futurists touched on 5 areas of experimentation:

·       Light and colour 
·       Movement and speed
·       Plastic dynamism of form
·       The interpenetration of form
·       Prismatic/ Shattering

Light and colour were rendered in an abstract manner. Plastic dynamism was expressed through the method of simultaneity and the state of capturing the subject in its mobile and immobile state brought about the quality of dynamism. A good example would be the artwork Dynamism of Dog on a Leash.  Areas such interpenetration and Shattering give the idea of closely analysing the subject hence explaining their in-depth expression of the beauty of the machine.

Giacomo Balla-Dynamism of Dog on a Leash

The telegraph was considered as the mode of communication at the time and it inspired Marinetti to instil a belief to the futurists.  To send a telegram one had keep in mind the fact that the telegraph used a “pay-per-word” method, so one would have to limit the amount of thing said when encoding a message. Marinetti encouraged poets to use this clipped like language. Poets were encouraged to skip the analogy process when expressing metaphors and artists were encouraged likewise with their artworks.  When the wireless telegraph came about Marinetti encouraged the idea of “wireless imagination”

The Victory of Samothrace
Filippo Marinetti had the opportunity to study the Victory of Samothrace as a student. This statue is a Greek marble statue depicting the goddess of victory, Nike. Marinetti compared the ancient statue (which dates back to 190 B.C.) to a speeding car. Unlike most classic sculptures this marble statue portrays a sense of being dynamic and it possesses a quality of movement. Through his analysis he believes the racing car to be more attractive and in stating this he favours the beliefs of the futurists over the beliefs of an arts and craft or Avant guard era. This also means that symbolism and aura that went with the statue has now manifested in the race car with in roaring motor.  

Filippo Tommaso Marinetti
Filippo Tommaso Marinetti was an Italian poet born on the 20 February 1876 in Egypt. He went under the name Emilio Angelo Carlo before changing it. Marinetti began his education in 1884 in France where he studied law at the University of Pavia. His wealthy father was the one who commanded him to pursue a career in law. At the age of seventeen he created his first magazine called ‘Le Papyrus’. In 1898 he published his first poem ‘The Cup-Bearer’ and the next year he got his degree.  His interests thou were in law so he relocated to Paris to purse a career in poetry.
On October 15, 1908 he was involved in an accident that inspired him to invent futurism, and arts-and-literature movement. The following year in on the 20th of February Marinetti published ‘The Founding and Manifesto of Futurism’ in a number of Italian newspapers and also the Paris newspaper, Le Figaro. He became a prominent typographer and implemented onomatopoeia in his works.
In 1911 Italian biplanes raided provinces of the Ottoman Empire and Marinetti explains that the lack concern shown by the Arabs towards the biplanes was reflected by society’s attitude toward Futurism.
Analysis of artwork
The Futurists wanted to break away from the Classical and Renaissance styles that dominated Italy at the start of the twentieth century. The movement was striving to portray speed and forceful dynamism. The goal for the work was to depict a synthetic continuity of motion.

For some, the sculpture shows a striding into the future. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. Its undulating surface seems to transform before the eyes of the viewer. One can say the Boccioni sculpted a future-man: masculine, dynamic and driven in his stride.

The face of the sculpture is abstracted into a cross, suggesting a helmet, which is appropriate reference for the ‘war-hungry’ Futurists. The figure doesn’t appear to have arms, though wing like forms appear from the back. These protrusions are not necessarily part of the figure itself since Boccioni sculpted the figure and its immediate environment. The air displaced by the figure’s movements is rendered in forms no different than those of the actual body. For example, the flame-like shapes that begins at the calves and shows the air swirling away from the body in motion.

Boccioni continued the theme of human movement seen in his paintings such as “Dynamism of a Soccer Player, 1913”. Movement was a key element for Boccioni and the other futurists, as the technology of transportation allowed people to experience even greater speeds. The blurry, fleeting, fragmentary sight created by this new velocity.
This is a very unique type of art. The bronze sculpture has three-dimensional traits, yet it upholds a different trait. It is able to capture and stop time and movement. It can be compared to Eadweard Muybridge’s “Female Semi-Nude in Motion”.

Boccioni is very successful in presenting two-dimensional effects. He cloaked the true figure in the clothing of atmospheric effects, thus the work is no longer just an object but also the forces that act upon the subject. Just as a picture captures a scene, Boccioni locks this one moment onto this “box”. The time is very finite. It has captured only one moment of a series of events.
Report on delegation of tasks and presentation
Digapeng was assigned to analysing the artwork and Ntsako was responsible for the Aesthetics of the movement. Khani was dealing with the history of the movement and overview of Futurism while Morena was responsible for the ideology of the movement. Ditiro was the key artist of the movement and the PowerPoint presentations
The research was shared amongst the group members and each had to gather findings on their particular task. For the actual presentation Khani did the introduction of the and talked about the history of Futurism. Morena followed with a discussion of the movements’ ideology.
Ditiro gave a background of the key artist and talked about the aims of the movement. Khani further explained the aesthetics of the movement and Digapeng gave the analysis of the chosen artwork. For the second part of the presentation Digapeng introduced the group manifesto and Ditiro explained what the movement is about.
Ntsako was not present on the day of the presentation.

Group Members
Mapiti Ditiro Shayi MGI 2010-1746
Morena Moletsane MGI 2011-1989
Digapeng Mothibe MGI 2011-0098
Khanimambo Mkhombo MGI 2010-0634
Ntsako Mabunda MGI 2010-0210

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