Afrofuturisms Joslin, Isaac Vincent
2023, Letnik:
96
eBook
As a philosophical, literary, and visual aesthetic, Afrofuturism has been predominately defined through Anglophone, diasporic expressions. In Afrofuturisms Isaac Vincent Joslin reorients and expands ...this critical discourse toward colonial and postcolonial Francophone literature and film originating from continental Africa.
We often hear that the ‘end of the world’ is approaching – but whose world, exactly, is expected to end? Over the last several decades, a popular and influential literature has emerged, in ...International Relations (IR), social sciences, and in popular culture, on subjects such as ‘human extinction’, ‘global catastrophic risks’, and eco-apocalypse. Written by scientists, political scientists, and journalists for wide public audiences,1 this genre diagnoses what it considers the most serious global threats and offers strategies to protect the future of ‘humanity’. This article will critically engage this genre to two ends: first, we aim to show that the present apocalyptic narratives embed a series of problematic assumptions which reveal that they are motivated not by a general concern with futures but rather with the task of securing white futures. Second, we seek to highlight how visions drawn from Black, Indigenous and People of Color (BIPOC) futurisms reimagine more just and vibrant futures.
This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for thefuturisti. As well as being a material tool ...in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for thefuturisti. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.
Back to the futurists Adamowicz, Elza; Storchi, Simona
2015., 20131130, 2013, 2015-11-01
eBook
This collection of essays aims to reassess the activities and legacy of the Italian Futurist movement from an international and interdisciplinary perspective. -- .
Depero futurista 1913-1927 es el libro (auto)publicitario de Fortunato Depero y Fedele Azari que conmemoraba los tres lustros de la militancia futurista del primero. Reconocido por su encuadernación ...con tuercas que permitían desmontarlo, recomponerlo y añadir o restarle material, promocionaba la editorial Dinamo Azari y la Casa d´Arte Depero representado una filosofía que recogía el trabajo de Depero, vislumbraba los intereses de Azari y se proyectaría en la dimensión comercial de la década siguiente a favor de un arte potentemente publicitario.Este artículo reconstruye el proyecto de colaboración entre Depero y Azari para la elaboración del libro-máquina partiendo del referente de la visualidad de la literatura futurista vinculada a la segunda serie de Poesía. Rassegna internazionale diretta de F. T. Marinetti (1906-1909) que se concretaría en las palabras en libertad –y a su cualidad sonora– que investigaban Russolo, Cangiullo y Carrà, base teórica de la onomolengua, la primera experiencia literaria diferenciada de Depero. Asimismo, recorre su proceso conceptual e influencia en otros modelos futuristas y de la vanguardia internacional.La investigación se ha realizado mediante la documentación original del proyecto –a través de las cartas entre Depero y Azari–, los libros originales y facsímiles contenidos en el Fondo Depero del Archivio del´900 del Mart Rovereto y la revisión bibliográfica y hemerográfica de ambos autores. Depero futurista 1913-1927 es un trabajo nodal en la trayectoria futurista de Depero y Azari que iniciaba la política de libros-objeto desarrollada en los años de connivencia con el fascismo. El artículo concluye que el libro fue un modelo paradigmático y uno de los grandes libros del futurismo y de la vanguardia europea del siglo XX.
The relation between avant-garde and modernism has always been an issue in dispute, partly because the hypothetical nature of the terms makes them hard to cover the all-encompassing artistic reality, ...and partly because discussion of their relation is always in a macroscopic perspective, which makes it difficult to produce detailed and concrete research results. This paper compares Russian futurism and symbolism to analyze the similarities and differences between avant-garde and modernism in terms of their ontological, artistic, and linguistic views in creation. It has, to some extent, obtained a relatively clear answer to the relation between avant-garde and modernism.
In Totò’s proletarian mask, in his incessant gesticulation, in the linguistic paradoxes that characterise it, the traces of a stratified comic culture are instinctively condensed: from Aristophanes ...and Plautus to the commedia dell’arte, from medieval jesters to jonglerie. All debts that have been variously indicated and investigated by scholars and that have as their common denominator the technique of improvisation codified in 1699 by the Palermitan jurist Andrea Perrucci, author of the treatise Dell’arte rappresentativa premeditata. Add to this the Marinettian allure that can be discerned in the mechanicalness of the movements and in the disarticulation of the body, which brings to mind the studies of Fortunato Depero who, in the 1910s, was interested precisely in the mechanical aspects of theatrical acting. The «physicofollia», with its examples of fast, irreverent and polyexpressive theatricality that Marinetti posed as a condition for a renewal of the theatre, provided multiple cues for overturning the modes and structures of traditional theatre and for introducing into contemporary dramaturgy those elements of estrangement that we will find in the work of Luigi Pirandello, Bertolt Brecht, Samuel Beckett, Eugène Ionesco and in surrealism.
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