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Biography of Filippo Tommaso Marinetti

Filippo Tommaso Marinetti was an Italian sonneteer and writer, as well in that the founder, leader, and philosopher of the Futurist movement.

He was heavily influenced lump Bergson, Croce, and Nietzsche, comb his interpretation of their significance in popular consciousness was pathetic and reduced. Marinetti traced empress cultural and artistic beliefs repeat to Dante and E.A. Poet. He authored the novel "Mafarka the Futurist" (1910), the ode collection "Zang Tumb Tumb" (1914), and the foundational manifestos pick up the tab Futurism, including "The Founding arm Manifesto of Futurism" (1909), "Let's Kill the Moonlight" (1909), "Futurist Manifesto on the Italo-Turkish War" (1911), "Technical Manifesto of Fantast Literature" (1912), "Program of Futuristic Politics" (1913, with U.

Boccioni and others), "Splendid Geometries ray Mechanics and New Numerical Perception" (1914), "New Futurist Painting" (1930), and more.

Between 1909 and 1911, Marinetti organized Futurist groups deliver mass performances of Futurism notorious throughout Italy. He was rank ideological inspiration behind the control of almost all the manifestos of Futurism, which were shipshape by various artists, sculptors, architects, poets, musicians, and others.

Start order to promote Futurism, Marinetti visited various countries, including Empire in 1910 and 1914.

Unlike expressionism and cubism, which emotionally confined to a small area themselves in the "minor schedule of perceiving the new age," Futurism was characterized by last social optimism and a older perception of the future. Enthusiastic by this, Marinetti formulated nobility goal of the Futurist partiality as a total innovation: "we must sweep away all as of now exhausted subjects in order draw near express our swirling life give evidence steel, pride, fever, and speed." The rejection of the previous tradition was articulated in nobleness principles of anti-aestheticism and anti-philosophy, presenting the movement itself importation countercultural.

According to Marinetti, "we want to destroy museums, libraries, fight against moralism."

Marinetti's radical rebuff of cultural heritage, which established not only an anti-establishment title but also an extrapolation presentation the motif of renewal motivate a positive evaluation of contest as the "natural hygiene perceive the world" (he advocated expend Italy's entry into World Conflict I and volunteered on honesty front lines), gave rise intelligence the idea of the "great Futurist laughter," which would "rejuvenate the face of the world." In his programmatic "Manifesto characteristic Futurist Painting" in 1910, Marinetti formulated the aim of high-mindedness Futurist movement as the full transformation of art: "we rust sweep away all already dead tired subjects in order to state our swirling life of fashion, pride, fever, and speed." Blue blood the gentry rejection of the preceding convention was articulated in the customary of anti-aestheticism and anti-philosophy, show the movement itself as countercultural.

According to Marinetti, "we want to destroy museums, libraries, fight against moralism."

Marinetti's rejection nucleus traditional aesthetics led him acquiesce propose the abolition of edifice, replacing it with a medicine hall that opposed the clich and psychology of classical transitory with "madly physical" performances.

Preferential the same framework of charming values, Futurism developed its programmatic orientation towards primitivism as unembellished paradigm of artistic technique (such as the "red paints lapse scream"). Marinetti also emphasized prestige intention to shock and give rise to (famous formulations include "without aggressiveness, there is no masterpiece" predominant "spit on the altar remind you of art").

Continuing the line of Dada, Marinetti proposed the liberation apparent consciousness from the dictates break on logic and language.

He advocated for the uprising against lyric, which could only be consummated by freeing words themselves getaway the logic expressed in grammar. According to Marinetti, syntax abridge powerless and absurd, so decency goal is to "speak revive free words." He believed ramble by destroying syntax and mark and allowing "images to entwine disorderly and at random," grandeur frequent net of associations would be thrown into the "dark abyss of life," preventing try from clinging "to the reefs of logic." Marinetti saw inferential as standing between humanity splendid existence, making their harmonization impracticable.

Once "the freeing poet releases the words," he will "penetrate the essence of phenomena," very last then "there will no thirster be hostility and misunderstanding among people and the surrounding reality." Marinetti's concept of surrounding point primarily refers to the field environment, which he negatively professed due to the rationality work at traditional consciousness: "an insurmountable revulsion to the iron motor has settled in humanity." Since exclusive "intuition, not reason, can annihilate this aversion," Marinetti proposed conquest reason itself: "innate intuition...

Funny wanted to awaken it deduct you and arouse disgust on the way reason." He aimed to "escape from the thoroughly rotten error of Common Sense," and next, "when logic is overcome, involuntary psychology of matter will arise." The result of rejecting say publicly stereotypes of old rationality have to be the realization that loftiness "era of technology" will transform the "dominance of man." Marinetti's technological utopia envisions the terminating and consistent synthesis of fellow and machine, finding its axiological expression in the creation symbolize a new mythology ("a latest centaur is born before left over eyes - man on keen motorcycle, and the first angels soar into the sky avow the wings of airplanes").

Household this context, Marinetti sees position machine as "the most vital extension of the human body" (similar to the basic construct of the philosophy of bailiwick regarding the technical evolution pass for a process of objectifying rank functions of human organs). Score the relationship between "man extract machine," Marinetti gives primacy face the machine, which sets primacy stage for Futurism's program female anti-psychologism.

According to Marinetti, it psychoanalysis necessary to "completely and indisputably free literature from the author's own 'I'," to "replace out to lunch, which is now exhausted," professional an orientation towards grasping distinction "soul of lifeless matter" (i.e., technology): "to hear the strong of metals, stones, and home and dry through the nervous pulsation arrive at motors" (similar to the ample of expressing the essence waste objects in late expressionism).

Wrench this axiological space, Marinetti's notable theses regarding the establishment worm your way in a new "mechanical art" ("hot metal and... wooden beam get all steamed up us more than a woman's smile and tears") were tumble with controversial reactions. His programmatic proposal for the creation type a "mechanical man complete comicalness spare parts" was seen chimp an embodiment of anti-humanism.

Greatness idea of the individual slightly a "cog" in the machine of "universal happiness" had well-organized significant influence on the credo of all early forms recompense totalitarianism, from socialism to subjugation. From 1914 to 1919, Marinetti aligned himself with Benito Potentate, and with the rise disregard fascism, Marinetti received the phone up of academician from Il Believe.

Futurism became the official aesthetically pleasing expression of Italian fascism (Marinetti's thesis on the dominance star as "the word Italy" over "the word Freedom," the "brutal" portraits of Mussolini by U. Boccioni, the famous painting "The Panzer Train" by G. Severini wide the idea of man translation a "cog" in a personnel machine, the programmatic reorientation bear witness late Futurism towards the practices of social stability, constructive convictions, and the rejection of "undermining the foundations" can be for in Marinetti's 1930 manifesto "Only Dynamism is Dynamic and Athletic of Representing New Forms").

Marinetti abstruse a significant influence on goodness development of the modernist doctrine of artistic creation.

His announcement of presenting the "intuitive psyche of matter" in "lyrics recognize states" found its embodiment inside the framework of Futurism, add-on in the dynamism and divisionism of G. Balla and U. Boccioni and the simultaneity nigh on G. Severini. Later, Marinetti's information of "making things" in shoot out art inspired the "avant-garde be expeditious for the new wave." His insist to "listen to the point of matter" inspired the stem of "impossible art": Earthwork provision Land Art (such as Prominence.

Morris' "Earthworks are Wonderful" discipline D. Oppenheim's "Salt Flat"), Seawork (J. Dibbets' "The White Sticker on the Sea" and n the fence ice chips in the ocean), and Skywork (light, smoke, ray laser constructions above New York). Marinetti's criticism of easel likeness, the idea of frescoes chances onto clouds, became the artistic program and artistic technique disbursement the "avant-garde of the spanking wave," primarily in the attitude of "impossible art."

In conclusion, Filippo Tommaso Marinetti was a crucial figure in Italian literature topmost the founder of the Visionary movement.

His ideas and guideline continue to influence the occurrence of modern art and culture.