Relevant bibliographies by topics / Futurisme – Influence

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Academic literature on the topic 'Futurisme – Influence'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Futurisme – Influence"

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Williams, Gavin. "A Voice of the Crowd: Futurism and the Politics of Noise." 19th-Century Music 37, no. 2 (2013): 113–29. http://dx.doi.org/10.1525/ncm.2013.37.2.113.

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Abstract In his 1913 manifesto “L'arte dei rumori” (The Art of Noises), Futurist painter Luigi Russolo exhorted readers to “walk across a great modern metropolis with ears more attentive than eyes.” For Russolo, attentive listening to the urban environment enacted a visionary aurality: the city was a mine for “new” noises, such as rumbling motors and jolting trams. However, Russolo's embrace of noise—much like that of Futurist painter Umberto Boccioni and Futurist poet Filippo Tommaso Marinetti—was undeniably a product of its time and place. This article excavates the sounds of 1913 Milan as a
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Wood, Jamie. "‘On or about December 1910’: F. T. Marinetti's Onslaught on London and Recursive Structures in Modernism." Modernist Cultures 10, no. 2 (2015): 135–58. http://dx.doi.org/10.3366/mod.2015.0106.

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Many accounts of the formative years of English modernism rely on Futurism's own questionable record of F. T. Marinetti's visit to London in the spring of 1910 as the catalyst for an avant-garde revolution in Anglo-American literature that led through Roger Fry's revolutionary Post-Impressionist exhibition to Imagism, and onto Vorticism. New evidence presented here, however, supports the position advanced by a number of scholars that Marinetti did not visit until after Fry's exhibition. We can now quite precisely date Marinetti's important ‘Futurist Speech to the English’ to Tuesday 13 Decembe
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Avdeev, Vasilii Aleksandrovich, and Svetlana Vital'evna Lavrova. "The image of a machine in Italian futurism: manifests, music, painting." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 47–68. http://dx.doi.org/10.7256/2453-613x.2021.3.35341.

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The 20th century became a new epoch in the development of the European civilization which projected images begotten by the process of technological transformation of reality into an artistic space. The quick growth of technologies and the industrialization of all spheres of life were reflected in the works of artists in urbanized images of reality. One of these images was a machine as an embodiment of speed and technical progress. Being a central motive of the main idea of the Italian futurism (the most dynamic branch of modernism), the image of a car penetrated into all artistic spheres of th
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GIULIODORI, Lucio, Valentina ULIUMDZHIEVA, Elena NOTINA, and Irina BYKOVA. "Thinking beyond, living beyond: Futurism." WISDOM 15, no. 2 (2020): 176–87. http://dx.doi.org/10.24234/wisdom.v15i2.346.

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Living in the future, constantly thinking over it, incessantly inventing it, anticipating it, more than a Weltanschauung, a state of consciousness. It’s not about predicting rather living the prediction, experimenting with it, chasing the words to describe it, imagining the machines to produce it.
 The futurists’ undertaking was fueled by an overwhelming desire to overcome their present time through art and influence, by dint of its momentum, the society, culture and life that thrived around it, shifting their current world and the one to come by virtue of an overflowing power of insights
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Gewirtz, Julian. "The Futurists of Beijing: Alvin Toffler, Zhao Ziyang, and China's “New Technological Revolution,” 1979–1991." Journal of Asian Studies 78, no. 1 (2019): 115–40. http://dx.doi.org/10.1017/s0021911818002619.

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This article examines former Chinese Premier and General Secretary Zhao Ziyang's policies to respond to a “New Technological Revolution,” which resulted from a most unlikely influence: the prominent American writer Alvin Toffler and other futurists. Drawing on previously unstudied materials and internal Chinese sources, this article demonstrates how Zhao and other senior Chinese officials interpreted and deployed these ideas to advocate for distinctive and influential policies. This policy vision of actionable futurism shaped science and technology policy during the 1980s—especially the major
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Aptekman, Marina. "The problem of language and reality in Russian modernism: The conception of mirotvorchestvo in A. Remizov’s Rossiya v pis’menah." Sign Systems Studies 31, no. 2 (2003): 465–82. http://dx.doi.org/10.12697/sss.2003.31.2.08.

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Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one cou
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Park, Sun Hee. "The Influence of 1960's Futurism on Modern Make-up." International Journal of Costume and Fashion 8, no. 2 (2008): 11–19. http://dx.doi.org/10.7233/ijcf.2008.8.2.011.

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Gorrillot, Bénédicte. "Illisibilité ou dis-lisibilité de l’écriture poétique française contemporaine : le cas de Christian Prigent / Il-Legibility or Dis-Legibility in French Contemporary Poetry: Christian Prigent." Aletria: Revista de Estudos de Literatura 26, no. 3 (2017): 253–72. http://dx.doi.org/10.17851/2317-2096.26.3.253-272.

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Résumé: Cette étude interroge l’illisibilité dont est fréquemment accusée une certaine poésie française contemporaine (depuis 1968), notamment liée aux influences avant-gardistes héritées de la première moitié du 20e siècle européen (Futurisme, Dada, Surréalisme, Lettrisme) ou à celles du Modernisme dit « américain » (de Cummings à Burroughs). Elle prend pour cas exemplaire l’écriture du polygraphe Christian Prigent, prolongeant les réflexions menées lors du colloque de San Diego de 2008 dont les actes sont parus en 2014 sous le titre : L’Illisibilité en questions (autour de Michel Deguy, Jean
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Merwin, Ted. "I. Loïe Fuller's influence on F. T. Marinetti's futurist dance." Dance Chronicle 21, no. 1 (1998): 73–92. http://dx.doi.org/10.1080/01472529808569297.

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Bylieva, Daria, and Victoria Lobatyuk. "The image of the sun in the art of the beginning of the 20th century." OOO "Zhurnal "Voprosy Istorii" 2021 (March 1, 2021): 200–205. http://dx.doi.org/10.31166/voprosyistorii202103statyi10.

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The publication discusses the use of the image of the Sun as an adversary that must be defeated in the early 20th century in Russia. The authors analyze this phenomenon in the context of the conquest of natural forces with the help of scientific and technological progress and the approval of new art, focusing on the landmark work of the period under consideration “Victory over the Sun” by the poet Alexei Kruchenykh and composer Mikhail Matyushin. The work also analyzes the influence of electrification on the development of cosmism and futurism in Soviet Russia.
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Dissertations / Theses on the topic "Futurisme – Influence"

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Iconomopoulou, Christina. "Le spectacle populaire, les mouvements cubisme-futurisme et leur alliance esthétique dans le ballet Parade." Paris 4, 1998. http://www.theses.fr/1998PA040061.

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Le ballet Parade, présenté pour la première fois en 1917, fut le résultat de la collaboration créative entre Jean Cocteau, Erik Satie, Pablo Picasso et Léonide Massine. A travers une analyse menée en profondeur, l'auteur instaure des correspondances éloquentes entre l'esthétique de plusieurs distractions populaires en vogue durant les années '10 à Paris, et l'élaboration du livret, du rideau et des costumes, de la musique et de la chorégraphie du spectacle, sans pour autant délaisser les aspects de parade -tels que le décor et les costumes-constructions des managers, le grimage d'un des protag
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Harrison, Andrew. "D.H. Lawrence's futurism : influence and innovation after Sons and Lovers." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302088.

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Scheidker, Barbara Eileen. "Cultural influences on the piano music of Les Six /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103425p.

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Books on the topic "Futurisme – Influence"

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Bargehr, Brigitte. Marketing in der öffentlichen Verwaltung: Ansatzpunkte und Entwicklungsperspektiven. M & P Verlag für Wissenschaft und Forschung, 1991.

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Futurismo: L'avanguardia delle avanguardie. Giunti, 2009.

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Un secolo futurista. Nemapress, 2009.

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Nazzaro, Gian Battista. Futurismo e politica. JN editore, 1987.

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Harrison, Andrew. D.H. Lawrence and Italian futurism: A study of influence. Rodopi, 2001.

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D.H. Lawrence and Italian futurism: A study of influence. Rodopi, 2003.

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Giovanna, Tomassucci, and Tria Massimo, eds. Gli altri futurismi: Futurismi e movimenti d'avanguardia in Russia, Polonia, Cecoslovacchia, Bulgaria e Romania : atti del convegno internazionale, Pisa, 5 giugno 2009. Plus-Pisa University Press, 2010.

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Bossaglia, Rossana. Antonio Fiore: Un futurista d'oggi. Edizioni Bora, 1999.

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Mayakovsky's cubo-futurist vision. Rice University Press, 1986.

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Mafarka il futurista: Epos e avanguardia. Gedit, 2005.

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Book chapters on the topic "Futurisme – Influence"

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Froula, Christine. "Goldie’s “War and Peace”." In Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.003.0004.

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This chapter explores the influences of Futurist aesthetics and music, Aristophanes's comedy “Peace,” and Beethoven's “Ode to Joy” in Goldsworthy Lowes Dickinson's unpublished 1914 play “War and Peace,” the prologue of which was performed at the Omega Club using Winifred Gill's puppets in spring 1917 as a benefit for Belgian refugees.
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Timonina, Alexandra. "La matrice espressiva nel livre d’artiste di Iliazd." In Testo e immagine. Un dialogo dall’antichità al contemporaneo. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-362-5/004.

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Due to the involvement of Iliazd in a range of major artistic movements, from Russian Futurism to Dada during its Parisian period, his work may be considered within a range of different study frameworks. These experiences led to an interest in printed art and later to publishing. The ‘architecture’ of the books he produced was influenced by the character of the zaum poetry he practised in his early years. His contribution to the genre of modern artist’s book is unquestionable, although it has not enjoyed the attention of much scholarship. This paper seeks to analyse the expressive devices in Iliazd’s mature work in illustrated books and to trace their origins, showing how they led to the emergence of liberal and original correspondences between writing and visual forms.
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Costin, Jane. "Sculpture." In The Edinburgh Companion to D. H. Lawrence and the Arts. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0023.

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A brief history of declining interest in sculpture helps this chapter to contextualise why Joseph Epstein, Eric Gill and Henri Gaudier-Brzeska believed the only way forward for this art lay in a return to the ancient skill of direct-carving. Discussion of these sculptors’ relationship to direct-carving is related to Lawrence’s parallel ambition to ‘break down the boundaries between verbal and visual expression’ as evidenced by The Rainbow. Reviewing the sculptural efforts of Lawrence’s close friend, Mark Gertler, suggests how they impacted on Women in Love, through Lawrence’s depiction of the sculptor Loerke and the expression of ideas associated with Futurism, Deutscher Werkbund and Vorticism. This leads to the suggestion that the Vorticist sculptor, Gaudier, may have had more effect on Women in Love than has hitherto been recognised. The chapter concludes with evidence of Lawrence’s influence, primarily through Lady Chatterley’s Lover, on the sculptors Barbara Hepworth and Henry Moore.
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"The (R)Evolution of Modern Italian Painting: Divisionism and its Influence on the Futurist Avant-garde." In 2017. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110527834-028.

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Dahlgren, Anna. "Modernism in the streets." In Travelling Images. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126641.003.0003.

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Chapter 2 considers the introduction of modernist aesthetics in Sweden in the early 1930s in the image communities of marketing and visual art. The main focus is the Stockholm Exhibition held in 1930 in which marketing and advertising played an integral part in the presentation of modern architecture, design and visual art. The exhibition area hosted the first large presentation of modernist visual art in Sweden and was simultanoeusly a decisive event for the introduction of modernist window displays. From the late 1920s and onwards window displays were clearly being influenced by avant-garde modernist art such as cubism, futurism and constructivism. This is evident in the designs themselves but it was also spelled out in professional journals and handbooks. In the commercial context pure marketing rationales and arguments were linked to the modernist aesthetic.The modernist design in window displays was not unique to Sweden around 1930. However, this is an instructive case as the reception of modernist images differed widely between the two image communities. Within marketing aesthetics the Stockholm exhibition marks the breakthrough for modernism. But simultaneously, the art field was very resistant to modernist aesthetics and the Art Concret exhibition proved to be a complete fiasco.
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Maani, Kambiz E. "Systems Thinking and the Internet." In Encyclopedia of Information Science and Technology, First Edition. IGI Global, 2005. http://dx.doi.org/10.4018/978-1-59140-553-5.ch482.

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Despite our most impressive advances in science and technology, our prevailing worldview and the way we work and relate are deeply rooted in the thinking that emerged during the Renaissance of the 17th century. This thinking was influenced by the sciences of that era and, in particular, by Newtonian physics. Newton viewed the world as a machine that was created to serve its master—God (Ackoff, 1993). The machine metaphor and the associated mechanistic (positivist) worldview, which was later extended to the economy, the society, and the organization, has persisted until today and is evident in our thinking and vocabulary. The mechanistic view of the enterprise became less tenable in the 20th century, partly due to the emergence of the corporation and the increasing prominence of human relation issues in the workplace. As the futurist Alvin Toffler (1991) declared, “the Age of the Machine is screeching to a halt” (Toffler, 1991).
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Hanson, Robin. "Assumptions." In The Age of Em. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198754626.003.0009.

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The concept of whole brain emulation has been widely discussed in futurism ( Martin 1971 ; Moravec 1988 ; Hanson 1994b , 2008b ; Shulman 2010 ; Alstott 2013 ; Eth et al. 2013 ; Bostrom 2014 ) and in science fiction ( Clarke 1956 ; Egan 1994 ; Brin 2002 ; Vinge 2003 ; Stross 2006 ) for many decades. Sometimes emulations are called “uploads.” Let me now try to be clearer about the technological assumptions whose consequences I seek to explore. When I refer to a “brain” here, I refer not just to neurons in a head, but also to other supporting cells in the head, and to neurons and key closely connected systems elsewhere in the human body, such as the systems that manage hormones. Using that terminology, I assume, following a wellestablished consensus in the cognitive and brain sciences, that “the mind is just the brain” ( Bermúdez 2010 ). That is, what the brain fundamentally does is to take input signals from eyes, ears, skin, etc., and after a short delay produces both internal state changes and output signals to control muscles, hormone levels, and other body changes. The brain does not just happen to transform input signals into state changes and output signals; this transformation is the primary function of the brain, both to us and to the evolutionary processes that designed brains. The brain is designed to make this signal processing robust and efficient. Because of this, we expect the physical variables (technically, “degrees of freedom”) within the brain that encode signals and signal-relevant states, which transform these signals and states, and which transmit them elsewhere, to be overall rather physically isolated and disconnected from the other far more numerous unrelated physical degrees of freedom and processes in the brain. That is, changes in other aspects of the brain only rarely influence key brain parts that encode mental states and signals. We have seen this disconnection in ears and eyes, and it has allowed us to create useful artificial ears and eyes, which allow the once-deaf to hear and the once-blind to see. We expect the same to apply to artificial brains more generally. In addition, it appears that most brain signals are of the form of neuron spikes, which are especially identifiable and disconnected from other physical variables.
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Conference papers on the topic "Futurisme – Influence"

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Lipnjak, Gorana. "Utjecaj robotike i umjetne inteligencije na kvalitetu života u budućnosti." In Kvaliteta-jučer, danas, sutra (Quality-yesterday, today, tomorrow), edited by Miroslav Drljača. Croatian Quality Managers Society, 2021. http://dx.doi.org/10.52730/ivbg2105.

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Sažetak: Suočeni smo s činjenicom da se nove tehnologije razvijaju izuzetno brzo i utječu na ljudske živote kako u poslovnom tako i u privatnom životu. Novi izumi i inovacije predstavljaju se gotovo svaki tjedan. Uz adekvatnu primjenu umjetne inteligencije i robotike i svijet može postati kvalitetnije mjesto za život. Međutim, povijest je pokazala da nove tehnologije ne pružaju samo prednosti i nove mogućnosti, već i nove troškove i prijetnje. U radu će biti prikazani pojedini utjecaji na promjene ljudskog djelovanja i ponašanja u bližoj i daljoj budućnosti. Prednosti se očekuju u području oču
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Gambini, M., G. L. Guizzi, and M. Vellini. "H2/O2 Cycles: Thermodynamic Potentialities and Limits." In International Joint Power Generation Conference collocated with TurboExpo 2003. ASMEDC, 2003. http://dx.doi.org/10.1115/ijpgc2003-40128.

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In this paper, the thermodynamic potentialities and limits of the H2/O2 cycles are investigated. Starting from the conventional gas turbine and steam turbine technology, the paper qualitatively tackles problems related to a change of oxidizer and fuel: from these considerations, an internal combustion steam cycle (ICSC) is analyzed where steam, injected in the combustion chamber together with oxygen and hydrogen, is produced in a regenerative way and plays the important role of inert. A proper parametric analysis is then performed in order to evaluate the influence of the main working paramete
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