Tuesday, January 05, 2010

Futurism and Fascism

"Building design" by Antonio St'Elia 1888-1916

"Futurism arose as part of the general artistic ferment that characterised the intellectual life of Europe, and particularly France, in the period before 1914. This was a period of spectacular advance of capitalism, which was developing the productive forces at a dizzying pace. Europe and the USA were industrialising rapidly. Industry was advancing at the expense of agriculture, the proletariat at the expense of the peasantry. Old ideas were crumbling. In the field of science the basis was being laid for a twin revolution, connected with relativity theory and quantum mechanics. The human mind was gradually penetrating beyond the world of appearance and discovering a deeper reality in the sub-atomic world, where the laws of the ordinary world of sense perception do not apply. The sensation existed that this was a new age, an age of progress in which the machine was king. Out of this idea arose the cult of the modern..." Italian Futurism and Fascism How an artistic trend anticipated a counterrevolutionary tendency - by Alan Woods, London, April 23, 2003

Hmm...does this remind you a bit of the Zeitgeist movies? I'm thinking about the ending of Zeitgeist II, a scene in which a technology-based future is depicted as a new Utopia.


Boccioni's Materia

Related links:

Technical Ecstasy: Futurism and Dystopia Grand Strategy: The View from Oregon 28 February 2009

The Futurism Art Movement (1909 - 1914) www.keithgarrow.com

"The original opposition to Liberalism came from the aristocracy. In feudal times the interests of Church, State and Commerce were all tied together into one generally mutually supporting entity. The aristocracy held exclusive rights to property, usually passed down by family lineage. The aristocracy owned the land and controlled the government. Because the aristocracy owned the land and also held rights to all the general avenues of trade, by controlling harbors, bridges, etc, they received much of their income from rents on land, taxes, and tariffs on the State regulated trade." Redefining the Political Spectrum - The Rational Spectrum - by R. G. Price - June 20, 2004 www.rationalrevolution.net

"The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carrà's Woman with Absinthe (1911), Severini's Self-Portrait (1912), and Boccioni's Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist painting - e.g. Severini's Dynamic Hieroglyph of the Bal Tabarin (1912) and Russolo's Automobile at Speed (1913)" Futurism on WIkipedia

"The intention of Dada art – often called anti-art – was to expose the ridiculous pretensions of a society that countenanced World War I by producing nihilistic and antirational art...In Paris Dada was one of the sources of surrealism, officially launched in 1924. Several artists (including Picabia) participated in both movements. The two movements shared an antirationalist outlook, but while Dada was nihilistic (believing in nothing, or denying all reality), surrealism was more positive in spirit."Dada on Free Dictionary

Techno-utopianism - Wikipedia