Technical Manifesto of Futurist Painting

by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini

extracts.....full manifesto here http://www.unknown.nu/futurism/techpaint.html

Our growing need of truth is no longer satisfied with Form and Color as they have been understood hitherto.

The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself.

Indeed, all things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.

Rene Almanza

Rene Almanza, mexican artist http://www.renealmanza.net/

Will Barras

English artist and illustrator

http://willbarras.com/

Kofie One

'urban' artist Kofie One. check it

http://www.keepdrafting.com/

Alice in Chains- Would?

Umberto Boccioni

“All things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”
– Umberto Boccioni, ‘Futurist Painting: Technical Manifesto’ (1910)

Umberto Boccioni, Charge of the lancers, 1915.

Umberto Boccioni, Unique Forms of Continuity in Space, 1913

We're in this together......

Nine Inch Nails - We're In This Together. (The Fragile, 1999) Directed by Mark Pellington

Issey Miyake

Claude Heath

Gundam

Shin Musha Gundam.

Musha Gundam (武者 頑駄無) are Gundam units modelled after samurai, ninja, or other forms of feudal Japanese warriors. Inheriting the base SD Gundam design, typical design element include changing beam sabre into katana, sheath that act as a gun, removable armour suits etc.

The Garden of Earthly Delights, Heironymus Bosch

Three Studies for Figures at the Base of a Crucifixion, Francis Bacon

from wikipedia:

Three Studies for Figures at the Base of a Crucifixion is a 1944 triptych painted by the Irish-born artist Francis Bacon. The work is based on the Eumenides—or Furies—of Aeschylus' The Oresteia, and depicts three writhing anthropomorphic creatures set against a flat burnt orange background. The triptych summarises themes explored in Bacon's previous paintings, including his examination of Picasso's biomorphs and his interpretations of the Crucifixion and the Greek Furies. Bacon did not realise his original intention to paint a large crucifixion scene and place the figures at the foot of the cross.

The Three Studies triptych is generally considered Bacon's first mature piece; he regarded his works before the triptych as irrelevant, and throughout his life tried to suppress their appearance on the art market. When the painting was first exhibited in 1945, it caused a sensation, and helped to establish him as one of the foremost post-war painters. Commenting on the cultural significance of Three Studies, the critic John Russell observed in 1971 that "there was painting in England before the Three Studies, and painting after them, and no one ... can confuse the two."

Krzysztof Pruszkowski

from  http://www.gallerywm.com/prusz_index.html

The Plural Vision.


Krzysztof Pruszkowski tells us about the saturation of pictures in the modern world and the short-sightedness they create. A world where pictures are at the same time over-represented and fleeting, very talkative and restrained. Pictures always competing with each other, ending up stacked upon each other and finally dissapearing in the daily stream of information issued by the media.

By subjecting his photographic topics, wether they are taken from the media or not, to "multiple superimpositions", Krzysztof Pruszkowski demonstrates the limits of the new reality. A reality which disolves the notion of time picture by picture and, in a way, accounts for the speed which characterizes some videoclips, the instant circulation of information and pictures around the world. We are no more in the order of the snapshot.


His process: to subject the picture to up to sixty or seventy superimpositions. He names it "photosynthesis" - the gathering of information which could not be covered in one shot. The process is often limited to six or seven superimpositions. The picture doubles, triples, reaches the edge of fuzziness, and provokes a conflict between global and individual, between singular and plural.

Therefore, when Krzysztof Pruszkowski addresses one of todays most difficult artistic concepts, which is the portrait, he does not provide a cohesive picture of the model, but rather the search and formulation of an individuality composed by superimposing different faces. For example Jean-Paul Sartre and Simone de Beauvoir (1984), or sometimes more generic, as if he was slowly building up a photofit (portrait-robot), like "Miss Europe" or as with "The President"(1984), with the merged portraits of six American presidents.

This is in fact the new representation of the individual within the present social code, commonly named the typical profile for job selection (profil-type des offres d'emploi). The notion of individual has gone from specific to generic, from unique to interchangeable, like the objects which have changed from original to reproduction. A plural vision of a world where "production" is a key word.........

60 passagers de 2e classe du metro. Ligne: Clignancourt-Orleans. Paris Krzysztof Pruszkowski

No Maps For These Territories

a film by Mark Neale about William Gibson. For some perplexing reason, self-styled saviour and self-righteous tax dodger Bono and his beanied sidekick The Edge are in it, just skip through their bits.

premise :

On an overcast morning in 1999, William Gibson, father of cyberpunk and author of the cult-classic novel Neuromancer, stepped into a limousine and set off on a road trip around North America. The limo was rigged with digital cameras, a computer, a television, a stereo, and a cell phone. Generated entirely by this four-wheeled media machine, No Maps for These Territories is both an account of Gibson’s life and work and a commentary on the world outside the car windows. Here, the man who coined the word "cyberspace" offers a unique perspective on Western culture at the edge of the new millennium, and in the throes of convulsive, tech – driven change.

http://v.youku.com/v_show/id_XODk5OTkzMTI=.html

Acton Chin

Forever Existence 3

Humble Pie - Black Coffee

live at the OGWT 1973

James Dawe

'One Day In The Life Of Ivan Denisovich' Endpaper for Fallon Re-published by Weidenfeld & Nicolson Aug 2009 One in a series of 9 classic Novel re-printed in hardback with die cut cover

From http://www.jamesdawe.co.uk/profile.html

"James Dawe is an Illustrator & Image Maker who grew up and still operates out of East London.James specializes in contemporary photo collage, working both digitally and analog with a tendency to assemble imagery in the form of portraits.Pride is taken in composition and interpreting the everyday in a surreal and fantastical way. "

Leonardo Calvillo

illustrations

http://www.leo.maliarts.net/scan.html

Isis- 20 minutes/ 40 years

New video for "20 minutes/ 40 Years" from the album "Wavering Radiant" by ISIS. Video directed by Matthew Santoro.

Ben Weiner

Oracle, 2007, oil on canvas, 64 x 96 inches

Darkness, 2007, oil on canvas, 64 x 96 inches

http://www.benweiner.com/work.html

Tool

Tool - Stinkfist from Ænima (1996) directed by Adam Jones

whisper[s] : wearable, handheld, intimate, sensory, personal, expressive, responsive system

http://whisper.surrey.sfu.ca/

Whisper[s] is an acronym for "wearable, handheld, intimate, sensory, personal, expectant response system." The whisper[s] research group out of Simon Frasar University's School of Interactive Art & Technology combines wearable computing, dance, music, and fashion to explore how we exist in an environment of pervasive technology. Thecla Schiphorst, Susan Kozel, Sang Mah, and Robb Lovell led the creative team to produce work that equally balances art and technology.

The wireless technology embedded in the garments trigger responses of light and sound with other garments as well as the surrounding environment. Therefore, wearers (re)learn how to engage with each other and their surroundings through play and exploration. The use of natural fabrics is a welcome change from the tendency to overdo the futuristic feel of many wearable technology examples. These netwroks are imagined as extensions of the body - cyberpathways as extensions of neurological systems, muscle and skin.

Meatbook - 'Tangible and Visceral Interaction'

from http://meatbook.iat.sfu.ca/index.html

'The Meatbook, an interactive art installation, explores the use of a novel tangible interace to provoke a visceral response in the viewer. The Meatbook presentes the symbiosis of the mechanical and the organic as it simultaneously juxtaposes the conflicting materiality of these media. Sensors, motors and other mechanics are used to animate the meat, generating movements specifically designed to produce visceral, even cathartic responses from the user. By simultaneously generating revulsion and fascionation, the user undergoes an embodied experience in which the alien and the familiar come together in the form of a book.'

Diane Gromala

Aaron Levisohn

Jinsil Seo

Jayme Cochrane

Anton and Giulio Bragaglia- 'A glacial reproduction of reality'

Anton & Giulio Bragaglia, The Slap, (1912)

"We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved only in the area of movement which produces sensation, the memory of which still palpitates in our awareness” Giulio Bragaglia (1913)

Idris Khan

“every…Bernd and Hilla Becher Prison type Gasholders” Idris Khan 2004.

A series of images he made by superimposing Bernd and Hilla Becher’s photographs of industrial buildings, while digitally manipulating them to emphasise certain details or to enhance areas of light and shade. In his own words- 'it’s obviously not about re-photographing the photographs to make exact copies, but to intervene and bring a spectrum of feelings - warmth, humour, anxiety - to what might otherwise be considered cool aloof image. You can see the illusion of my hand in the layering. It looks like a drawing. It’s not systematic or uniform. The opacity of every layer is a different fallible, human decision'

After Eadweard Muybridge ‘Human and Animal Locomotion’ Idris Khan (2005).

The above image is a combination of Muybridge's motion studies into a single image.

In Khan's own words his images are 'a playful emblem of our own departure from the corpse of photography, burdened with what the Futurist Anton Guilio Bragaglia once referred to as its ‘glacial reproduction of reality'.

Tool - Vicarious

music video for the american band Tool for the song 'vicarious' from their most recent 10,000 days album.

http://www.youtube.com/watch?v=UUXBCdt5IPg

Rob Sheridan

With Teeth

Bleedthrough

The Slip

American graphic designer noted for his long running visual collaborations with Trent Reznor/Nine Inch Nails.

http://www.rob-sheridan.com/

Theo Jansen

Animaris Percipiere


http://www.youtube.com/watch?v=WcR7U2tuNoY&feature=related

Open Country: Bryan May's 3D village, BBC Radio 4

http://www.bbc.co.uk/programmes/b00nhn1n

Queen guitarist Brian May uncovers the story of an Oxfordshire village captured in time by Victorian photographic pioneer T.R. Williams.

Edward T Hall- Theory of Proxemics and The Anthropology of Space

Edward T Hall's Proxemic Diagram, 1966

Arne Quinze

'Rebirth', Installation at Hotel Le Royal Monceau, Paris, 2008

http://www.arnequinze.tv

Baroness- The Blue Record

http://www.myspace.com/yourbaroness

Rene Magritte, Hegel's Holiday

René Magritte's Hegel's Holiday (1958).

Magritte to the critic Suzi Gablik: "My latest painting began with the question: how to show a glass of water in a painting in such a way that it would not be indifferent? Or whimsical, or arbitrary, or weak – but, allow us to use the word, with genius? (Without false modesty.) I began by drawing many glasses of water, always with a linear mark on the glass. This line, after the 100th or 150th drawing, widened out and finally took the form of an umbrella. The umbrella was then put into the glass, and to conclude, underneath the glass. Which is the exact solution to the initial question: how to paint a glass of water with genius. I then thought that Hegel (another genius) would have been very sensitive to this object which has two opposing functions: at the same time not to admit any water (repelling it) and to admit it (containing it). He would have been delighted, I think, or amused (as on vacation), and I call the painting Hegel's Holiday. "

Lynn Fox

prosthetics 01

oceania, (still)

http://www.lynnfox.co.uk/

Data Is Nature

http://dataisnature.com

Dataisnature is a weblog of research containing information and links covering the following topics - Robot Art, Algorithmic and Procedural Art, Computational Aesthetics, Glitch Aesthetics, Vj’ing, Video Art, Computational Archaeology and similar subjects. Check it

Rapatronic Photographs

Developed by Dr. Harold Edgerton in the 1940s, the Rapatronic photographic technique allowed very early times in a nuclear explosion's fireball growth to be recorded on film. The exposures were often as short as 10 nanoseconds, and each Rapatronic camera would take exactly one photograph. A bank of four to ten or more such cameras were arranged at tests to record different moments of early fireball growth.

Lebbeus Woods

'metastructure'

http://lebbeuswoods.wordpress.com/

Tadashi Kawamata

Toronto, 1989

Venice Bienale, 1982

from http://www.csw.art.pl/new/2001/kawamata_e.html

Kawamata creates projects which border on installation and architecture, his artistic interventions are focused on urban sites. The artist refers to the relationship between the artistic creation /material/ existing space, by composing the work into the existing environment and building a structural connection. Kawamata's works are ingenious simulations of urban situations - roads, bridges, passages, "private" spaces - they are unreal, unrealistic and non-functional objects. The artist relates to the urban chaos of modern cities which is invisible at first glance because it is hidden behind rational, planned structures. Kawamata builds over existing urban objects, facades and interiors with complicated labyrinths of scaffolding, creating a resemblance of architectural "cancer". He defies the rules of logic and symmetry, the laws of architectural rhythm and multi-level hierarchy, questioning the systems of habits linked to utility and aesthetics. His projects provoke associations with the polymorphous and equivocal nature of fractals.

Kawamata also introduces other elements into his installations, which are derived from the specific nature of the sites where he builds his objects. In France he built works with the use of thousands of chairs. In the old synagogue in Metz (Les chaises de traverse, 1998) he installed a structure which penetrated from the outside to inside the architectural object. The installation was spread out in space, located at bus stops over a distance of 25 kilometres, with chairs which connected the installation site with the distant city centre. Kawamata's projects which are currently implemented in Japan are strictly connected with the urban situation of cities and particular regions.

Sam Messenger

http://www.sammessenger.com/works-on-paper.html

Chiharu Shiota

'Waiting'

http://www.chiharu-shiota.com/

Augmented Reality

http://www.youtube.com/watch?v=MTsdh9TdzgM