Furtism (?dates?)
See also:  [Modernism]

Futurism

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               {Photograhy}

 

Photograhy

A connection with the idea of stop-motion 
photragraphy and the futurist philo's....

[Frizot, P. 253]

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  In the strict context of the fixed image,
  Marey's chrono-photography remained a 
  simple curiosity until the double question
  of representation of time and energy - the
  invisble -- emerged in the Furturist milieu.
  As Giovanni Lista, has conclusively shown
  Marey's example was first perceived by the  
  futurist painters as both a model and a
  scientific limitation that had to be 
  transcended by personal experessiveness.
  Only subsequently, did it orient them towards
  a re-deployment of photgraphic practice in
  conjunction with the idea of speed. Thus,
  we find that as early as the first manifesto
  of Futurist painting, that there is a 
  reference to Marey (April, 1910). Boccioni,
  the prinicipal theortician of Futurist
  painting, also knew the work of Bergson,
  who sometimes supports his arguments by
  reference to chrono-photography [!!], while
  Marey's writings were published and known
  in Italy. 

  But Futurist ideas were not confined to 
  the deconstruction of movement. Rather,
  they were aiming to activate the vital
  force within the space of the picture:
  A modern tremor, the effect of speed.
  The three States of Mind paintings
  by Boccioni in 1911 mix the optical 
  scanning of movement ala Marey with a
  vapourising of the image not unklike
  the transcendental photographs of the
  period -- the direct transference of the
  energy of the object onto the plate.
  However, the dynamism on which Boccioni
  was working, as with Severini (Dynamism  
  of a Danser, 1912) and Balla (Dynamism
  of a Dog on a Leash, May 1912), was not
  limited to the chrono-photographic model.
  The replication of formswas introduced
  not so much to given an optical 
  reconstruction of movement as to evoke
  in the picture the vital intensity of
  the kinetic phenomenon."


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References:

   Photographie futuriste italienne,
   1911-1939, Nusee d'Art Modernd
   de la Ville de Paris, 1979.

   Futurismo e Fotographia, Milan, 
   Multhipla, 1979.

  Lista, G. (). Photographie futuriste,
         P. 7.











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Reference
=========
Frizot, Michel(1998). A New History of Photography.   
        Milan: kOnemann.  ISBN 3.8290.1328.0, LCCN #
The Usual Suspects

Mario & Oswald de Andrad
Alejandro Xul Solar (aka "Xul")`