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Essays on futurisum art
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Today, it is still possible to see the elements of the futurist art movement influencing and shaping our world. Futurism describes something that is futuristic. It not only conveys an idea of extraordinary technological development in every social and aesthetic respect but also directly implants people’s perception through emotions and feeling, giving them a new vision of life. Obviously, the movement of futurism suggests the notion of a segment of time from the past, present, and future.
In the essay, I will look at futurist aesthetics, practices, and conceptual representation in the medium of art, where mainly focusing on the interiority of abstraction, motion (rhythm/repetition), continuity through the depiction of text, movement, and architecture that influencing us today.
The Italian poet Filippo Tommaso Marinetti, who is the founder of Futurist Manifesto. He published the manifesto on the front page of the most prestigious
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We no longer believe in the monumental, the heavy and static, and have enriched our sensibilities with a taste for lightness, transience, and practicality.” 9 The practices of futurism in architecture like using steel, concrete, and glass to express the modernism in the 20th century. However, by comparing today’s futurist architecture practices and conceptual representation, the form and structure become more and more complex due to human new innovation and technology. “The Plug-in City” in Figure 5, designed by Peter Cook in 1964, who is the member of Archigram. It is a digital drawing that proposes a suppositional city with a modular housing which shows a new generation. “Archigram’s radical suggestion to reveal infrastructural elements and reverse traditional building hierarchies,” 10 and they believe there is no limitation of the form and structure, but also the selection of materiality has different symbolic
He suggests that the use of “electronic imaging prevents imagining and promotes thinking about architecture rather than bring architects, contractors, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). This is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian, technical lines showing edges, corners and joints these technographic drawings reveal both the symbolic and instrumental representations of the future building.. it is to make visible what is invisible”. Ridgway remarks, “The fact that any of this could be considered contentious indicates that extent to which architects have become alienated from the heart of their profession” (279). He asserts, “Part of any technography must be an acknowledgement of the historical context of construction knowledge. This is not only so we can better understand our rich architectural ancestry, but because it re-establishes a connection with the origins of our profession in building” (279). Rather than a “miniature projected representation of an imagined building, details are drawn as poetic constructions themselves, following the logic of drawing and not building and representing the “built detail symbolically, in addition to instrumentally. The symbolic and practical are one and the same thing” (280). “What are the symbolic qualities we are trying to embody in our buildings and how would we represent them in drawings?” becomes the question (278). These drawing “may not be easy or straightforward to understand or interpret.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
Even though an individual’s response is subjective, hermeneutical aesthetics focuses on interpretive incompleteness as part of the way human, viewers of artworks included, are in the world. An artwork is always experienced in the present from a particular present point of view and its interpretation is the transmission of meanings across time. In this way the artworks discussed in this thesis bear witness to particular historical events and allow for possible projections of those past events into the future. Contemporary life is permeated with a diversity of visual information. In such an atmosphere the hermeneutic approach provides a way of understanding the applications of the meaning we make of visual input. In light of it, the responsibility of both artist and viewer is among the issues discussed in the last part ‘Beyond Horizons’. Here the perspective moves to weave together the threads of ideas and issues that have been identified in the ‘Fusion of Horizons’ section, and reflects on aspects that reverberate beyond the shifting possibilities within the
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
What does the term aesthetic mean? How many different theories and concepts are there? What can be classified as aesthetic? The primary objective of this study is to introduce the meaning of the word aesthetic and give specific examples of aesthetic in art from period of Symbolism. Symbolism was an art movement originated in late nineteenth century in France as reaction to Realism and Impressionism. The leading focus of Symbolism was to
Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation of one’s self.
Ever since the arrival of the Renaissance, new ways of approaching art physically and emotionally have been introduced by some of the most prominent men of the rebirth and by many lesser known people. The innovators of the Renaissance have brought into the art world many new characteristics and techniques to paintings and sculptures. From experimentation, to observation, to getting in touch with the human body and mind, artists of the time period were able to learn and build upon that knowledge. The information and innovations they contributed sculpted the modern world of creativity for us to learn, use, and develop our own styles for future generations in the light of artistic encouragement.
The aesthetic form may be “tentatively define[d] as the result of the transformation of a given content (actual or historical, personal or social fact) into a self-contained whole,”. Art, when created in accordance to the aesthetic form, is the channeling of an experience into a subjective format, i.e. a novel, a painting, a piece of music, or any of the many different art forms. The reality of an event is translated into the chosen medium, and in this sublimation of the event, it is modified in accordance to the “demands of the art form” and the subjective perspective of the individual. The re-presentation of this event serves to “invoke the need for hope- a need rooted in the new consciousness embodied in the work of art”. When an event or object becomes the subject of a piece of art, it is necessarily changed according to the restrictions of the art form, artist, and veiwer. This change creates a new reality in where the event may take on a new meaning, thus challenging the original content of the event. This meaning is further influenced by subjectivity of the
The aesthetic movement was an artistic and literary movement that was centered on the saying “art for art’s sake” and arguing that art was not to be utilitarian or practical. The movement wanted art to exist for the sake of its beauty alone, and that it did not need to serve any political or didactic purpose. The pieces of art created by the artists in the movement did not tell stories or sermons; their art was visual, delightful, hinting at sensual desires; their poetry was pure. The proponents of the movement say that the experience of art is the most intense experience available in life and that nothing should be allowed to restrict it. The intensity of the aesthetic experience is the dominant goal in human life. If there are morally unwanted things of art, they do not really matter in contrast to this all-important experience which art can give.
...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.
Many great changes affected Italy throughout the second Industrial revolution. It demonstrates how Marinetti, the author of the Futurism Manifesto, experienced the beginning stages of industrialization in Italy. Marinetti discussed his visions of life and art during the machine period. Futurism is defined as a movement that was devoted to "the enthusiastic glorification of scientific discoveries and modern machines".
Conceptual art is an avant-garde art form which began in the mid-1960s and was stimulated by Marcel Duchamp’s DADA movement and the minimalist movement. It focuses more specifically towards the concept behind the artwork rather than the aesthetics and physical product whilst embodying the notion that art can exist as an idea even with the absence of a physical object to represent its’ concept. It initially instigated when artists pushed the limits to minimalism and questioned the next reduction to art – would it be no art at all, or as it turned out to be, art which exists as an idea. Duchamp’s idea was that the art process and the emotional output was far more important than the final product, influenced the development of Conceptual art and allowed artists to document their works as an input to the final outcome. As Conceptual art is rarely linked to an object, it is associated with the acknowledgement of human actions and the effects, responses and consequences. Through the close study of Robert Smithson’s ‘Spiral Jetty,’ George Segal’s ‘Walk, Don’t Walk,’ and Kenneth Dewey’s ‘Museum Piece,’ reveal the ideas of Duchamp’s DADA art in their respective forms of Conceptual art.
Prozorov, Sergei, 2010, " Why Giorgio Agamben is an optimist" in Philosophy and Social Criticism, Vol. 39(9), 2010, Sage, University of Helsinki, Finland.
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
Now that we have explored my past, present, and future experiences with diversity, it is time to see how they are present within and effect each other. Firstly, let’s look into how my future is present in my past. The most obvious portion of my future that is in my past is my willingness and efforts to love and include everyone and to spread this world view. It took a fellow classmate of mine to demonstrate to my third grade self that we are all human beings and we all deserve to be treated as such. In my future, I aspire to demonstrate this world view to my students and inspire them to treat each other accordingly. This aspiration directly reflects my world view struggles I went through in third grade, for I want to help my students come to