Dynamic Sensation: Bergson, Futurism and the Exteriorization of Time in the Plastic Arts (original) (raw)
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When Filippo Marinetti proclaimed the death of 'time and space' in the Futurist manifesto, he was reacting, like many artists of his time, to the political and sociocultural struggles that characterised the period beginning from around 1880 to the first few decades of the 20th century. The potency which speed, the machine and the dominance of the metropolis generated during this period, and the resulting distinctive consciousness of time, presented artists with a challenge. This paper seeks to not only consider the relationships that developed between time and art during this period, but to explore the more subtle parodies, tensions and complexities faced by many artists, from various and at times opposing art movements, as they struggled to create the experience of time for the observer and in the process, create an explosion in artistic conventions.
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Ah Futurismo" shouts the recorded voice of F. T. Marinetti as the performers' stark, uplifted gestures arrest the descending light at the conclusion of Futurismo, a dance theatre production at Santa Clara University collaboratively created in 2013 by theatre artist Jeffrey Bracco and choreographer David Popalisky. This collaboration grew out of a mutual interest in the ideas, strategies, and values articulated in the pre-World War I foundational Futurist manifestos by F. T. Marinetti and how he and his collaborators implemented them through performance. Recognizing that the early Italian Futurists' embrace of speed through glorification of machines resonates with our present reliance upon technological innovation, we chose to use performance to critically investigate our relationship with speed and technology in the twenty-first century. This essay considers the implications for undergraduate students and ourselves as teaching artists of the creative choices employed in Futurismo. Our process, with its strengths and challenges, may prove useful for other artist-educators working in academic settings. What follows is a rationale for why the early avant-garde period of Futurism prior to World War I was most relevant to Futurismo's creation and thematic development. Next, we discuss how early Italian Futurist strategies and specific historical artifacts influenced the conceptualization of
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ISBN 9781501343124, 2020
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Visual Arts have started from Antiquity to confront themselves with ideas of Science. We are interested here with the “Science of Vision”, that creates those tools which make us able to represent (even if partially) the “reality” in which we live. In XX Century, Photography, Cinema and Digital Art have opened completely new possibilities of interaction. The aim of this paper is to discuss shortly this issue and present the artwork “Geometric man”.
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