Furtism (?dates?)

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A connection with the idea of stop-motion photragraphy and the futurist philo's.... [Frizot, P. 253] BEGIN BLOCK QUOTE 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." END BLOCK QUOTE 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. END BLOCK QUOTE 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")`