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Marinetti rejected conventional democracy for based on majority rule and egalitarianism while promoting a new form of democracy, that he described in his work " The Futurist Conception of Democracy " as the following: " We are therefore able to give the directions to create and to dismantle to numbers, to quantity, to the mass, for with us number, quantity and mass will never be — as they are in Germany and Russia — the number, quantity and mass of mediocre men, incapable and indecisive ".
Some Related Sentences
Marinetti and for
Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell ' Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909.
These features could be used to provide features never planned for by the system's designers, such as a TCP / IP stack known as " Marinetti ".
Another immediate source of inspiration for his attitude on life was provided by Futurism, an anti-establishment movement created in Italy by poet Filippo Tommaso Marinetti and his artists ' circle.
" These developments created a definitive split in Romania's avant-garde movement, and contributed to Contimporanuls eventual fall: the Surrealists and socialists at unu condemned Vinea and the rest for having established, through Marinetti, a connection with the Italian fascists.
When the Italian futurist Filippo Tommaso Marinetti visited London in 1910, as part of a series of well-publicised lectures aimed at galvanizing support across Europe for the new Italian avant-garde, his presentation at the Lyceum Club, in which he addressed his audience as " victims of .... traditionalism and its medieval trappings ," electrified the assembled avant-garde.
The publication of the English Futurist manifesto Vital English Art, in June 1914 edition of The Observer, co-written by Marinetti and the " last remaining English Futurist " C. R. W. Nevinson, Lewis found his name, among others, had been added as a signatory at the end of the article without permission, in an attempt to assimilate the English avant-garde for Marinetti's own ends.
The sentiment of Futurists was most vocally expressed by Filippo Marinetti in the Futurist Manifesto, where he called for a rejection of the past, a rejection of all imitation — of other artists or of the outside world — and praised the virtue of originality and triumph of technology.
The Futurist poet Vladimir Mayakovsky, along these lines, said “ After seeing electricity, I lost interest in nature .” Marinetti and other Futurists glorified war and violence as a way to revolution — bringing freedom, establishing new ideas, and rallying one to fight for ones own people — and as war was shaping up in Europe, many saw it and encouraged a way to “ purify ” the culture and destroy old, obsolete elements of society.
Like Marinetti, they glorified originality and expressed their disdain for inherited artistic traditions.
In a slightly later manifesto, contemporaneous with Zang Tumb Tuuum, Marinetti sets out a vision of modern book design which would provide the template for what would become known as the artist's book, in direct contrast to the French tradition of Livre d ' Artiste.
Marinetti and on
Publishing manifestos was a feature of Futurism, and the Futurists ( usually led or prompted by Marinetti ) wrote them on many topics, including painting, architecture, religion, clothing and cooking.
" Mussolini's mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board.
The Futurist Manifesto, written by the Italian poet Filippo Tommaso Marinetti, was published in the Italian newspaper Gazzetta dell ' Emilia in Bologna on 5 February 1909, then in French as " Manifeste du futurisme " in the newspaper Le Figaro on 20 February 1909.
Marinetti visited in 1914, proselytizing on behalf of Futurist principles of speed, danger and cacophony.
On 12 June, during recitations of this manifesto and a performance by Marinetti of his poem The Battle of Adrianople, with Nevinson accompanying on drums, Lewis, T. E. Hulme, Jacob Epstein, Henri Gaudier-Brzeska, Edward Wadsworth, and five others roundly interrupted the performance with jeering and shouting.
Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
It was a periodical of a luxurious kind, each issue printed on several sorts of deluxe paper, with contributions by well-known authors, like Colette, Henry Gauthier-Villars, Laurent Tailhade, Josephin Peladan, Marcel Boulestin, Maxim Gorky, Georges Eekhoud, Achille Essebac, Claude Farrère, Anatole France, Filippo Tommaso Marinetti, Henri Barbusse, Jean Moréas and Arthur Symons.
It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti.
Marinetti and while
Futurism that was both an artistic-cultural movement and initially a political movement in Italy led by Filippo Tommaso Marinetti who founded the Futurist Manifesto ( 1908 ), that championed the causes of modernism, action, and political violence as necessary elements of politics while denouncing liberalism and parliamentary politics.
In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag.
Marinetti and work
" ( Schuller 1965, p. 34 ) Varèse also acknowledged the influence of the Italian Futurist artists Luigi Russolo and Filippo Tommaso Marinetti in the composition of this work.
Goldring edited his own literary magazine, The Tramp, in 1910, publishing early work by Wyndham Lewis, and the Futurist Marinetti.
Marinetti and Futurist
Filippo Tommaso Marinetti, author of the Futurist Manifesto ( 1908 ) and later the co-author of the Fascist Manifesto ( 1919 ).
In 1919, Alceste De Ambris and Futurist movement leader Filippo Tommaso Marinetti created The Manifesto of the Italian Fasci of Combat ( a. k. a. the Fascist Manifesto ).
The Manifesto that was written by national syndicalist Alceste De Ambris and Futurist movement leader Filippo Tommaso Marinetti.
The gap between the Imagist and Futurist groups was defined partly by Aldington's critical disapproval of the poetry of Filippo Marinetti.
It was not until 1917, after meeting with Giacomo Balla in Rome, and with Filippo Tommaso Marinetti in Naples ( who later enthusiastically praised Conti's book Imbottigliature which was about to be printed ) that Conti became part of the Futurist movement.
Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young ( as had Marinetti ), because only they could understand what he had to say.
Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914.
Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Lourié, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914.
Marinetti founded the Futurist Political Party ( Partito Politico Futurista ) in early 1918, which was absorbed into Benito Mussolini's Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party.
When Filippo Tommaso Marinetti issued his Futurist Manifesto in 1909, he chose to contrast his movement with the supposedly defunct artistic sentiments of the Winged Victory: "... a race-automobile which seems to rush over exploding powder is more beautiful than the ' Victory of Samothrace '.
Janco attended the 1930 reunion organized by Contimporanul in honor of the visiting Futurist Filippo Tommaso Marinetti, and gave a welcoming speech.
Marinetti and following
Among the thirty six founding accademics were the following Painter of Figures: Antonio Marinetti, Antonio Zucchi, Domenico Fontebasso ( the son of Francesco ), Domenico Maggiotto and his son Francesco, Francesco Ceppella, Francesco Pavona, Francesco Zugno, Gaetano Zompini, Giandomenico Tiepolo, Giuseppe Angeli, Jacopo Guarana, Jacopo Marieschi, Michelangelo Morlaiter, Pietro Antonio Novelli, Pietro Gradizi, Pietro Longhi, Tomasso Bugoni.
Marinetti and We
Marinetti was again praised by the Contimporanul group ( Vinea, Janco, Petraşcu, Costin ) in February 1934, in an open letter stating: " We are soldiers of the same army.
Marinetti and are
In the center are photographs of Filippo Tommaso Marinetti, Giovanni Gentile, Benedetto Croce, Curzio Malaparte, Gabriele D ' Annunzio's membership card of the Fascio Fiumano di Combattimento, Benito Mussolini & Gabriele D ' Annunzio, Luigi Pirandello, Ardengo Soffici, Giovanni Papini, an illustration of Oswald Spengler, Ernst Jünger, Arnolt Bronnen, Otto Abetz & Robert Brasillach, Martin Heidegger, Jean Cocteau & Arno Breker, Sacha Guitry, Arno Breker & Pierre Drieu La Rochelle, Charles Maurras, Louis-Ferdinand Céline, Roy Campbell, Henry Williamson, William Butler Yeats, Ezra Pound, Percy Wyndham Lewis, and T. S. Eliot.
Marinetti and directions
Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed ‘ Zang Tumb Tuuum .’ As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages " Caroline Tisdall & Angelo Bozzola
Marinetti and with
The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish " an immobile church with an infallible creed ", and each group dismissed the other as passéiste.
Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant garde with each.
Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti, and Futurism was, like science fiction, in part overtaken by ' the future '.
After moving there in 1907, he became acquainted with fellow Futurists, including the famous poet Filippo Tommaso Marinetti.
It was during this time that Loy became part of the Futurists community, having a sexual relationship with their leader Filippo Marinetti.
Futurism was thrown into the mix, a fact acknowledged by Janco during his 1930 encounter with Marinetti: " we were nourished by ideas and empowered to be enthusiastic.
He was invited by Filippo Tommaso Marinetti and Boccioni to join the Futurist movement and was a co-signatory, with Balla, Boccioni, Carlo Carrà, and Luigi Russolo, of the Manifesto of the Futurist Painters in February 1910 and the Technical Manifesto of Futurist Painting in April the same year.
In 1910 he signed, along with Umberto Boccioni, Luigi Russolo and Filippo Tommaso Marinetti the Manifesto of Futurist Painters, and began a phase of painting that became his most popular and influential.
Whilst Marinetti was a strong supporter of violence, the oft-repeated links with Italian fascism remain problematic.
" Futurism's complex pas de deux with Fascism is, in the end, reducible to the story of the ups and downs of the friendship between the two leaders, Marinetti and Mussolini.
Anyone who has admired a poster and found fine art wanting is in touch with the spirit of Marinetti ....