The Fourth Dimension and Futurism: A Politicized Space

Antliff, Mark

doi:10.1080/00043079.2000.10786959

Cited by 6 publications

(1 citation statement)

References 3 publications

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“…Martini aimed to reject the past, bring about a cultural revolution, and make it more modern. The new ideology of futurism was developed (Antliff, 2000). Itself and with great enthusiasm against the heavy legacy of art bound by cultural traditions and the transcendence of aesthetic values emanating from the myth of the machine and time.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

Modern Global Art Groups' Effects on Graphic Design

Najem

2023

JAMRSSS

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The modern era in defining the features of formal and expressive construction and achieves its functional and aesthetic goals. Hence, the research aimed to clarify the formal and organizational variables of graphic designers and their expressive performance and to compare their impact on the methods of artistic movements in the modern era. The research was based on the descriptive analytical approach of a group of samples, from which it came out with a set of results and conclusions, namely: Modern arts contributed to finding new performance standards for the aesthetic process in design, which was limited to the aesthetics of drawing and its techniques to express it to the techniques of collage and photo montage towards expressive metaphor using previously untouched materials. Achieving the formal organization of the elements with the background, whether through mathematical and engineering logic or as a coincidence industry, led to a transformation in the design process and the emergence of a new spatial relationship that directly affected a clear transformation of the design.

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Section: Theoretical Frameworkmentioning

confidence: 99%

Modern Global Art Groups' Effects on Graphic Design

Najem

2023

JAMRSSS

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Sculpture in a Spin: Surfaces in Deformation in Mat Collishaw’s The Centrifugal Soul

Chittenden¹

2019

Art Percept.

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In The Centrifugal Soul, Mat Collishaw utilises the principles of the zoetrope to create a sculpture where birds and plants appear as ghostly forms suspended outside of the sculpture’s tangible base. The technique of the zoetrope allows for the temporal aspects of a 3D-printed topology to transform perceptions of movement from space to space and from form to form as well as to choreograph an overall composition of space and the dance of display. The intersection of the material arts with optical and natural sciences encourages a sophisticated choreography of viewer perceptions that calls not only on what viewers can see but also what they cannot. My interest is to draw upon some of the conceptual and aesthetic possibilities implied by such choreographic promise in the act of perceiving sculpture. The Centrifugal Soul demonstrates a concern with surface as a site of emergence, or potentially sculpture as a site of emergence for new intensities, expanding and thickening the limits of what we can understand as surface or substance. The behaviour of these surfaces in deformation highlights imaginative possibilities for sculpture to unpack the ephemeral and fluid, including where sculpture might become a technological mediation of vision. I conclude that Collishaw choreographs the intervallic nature of image processes and technologies, and the concepts of motion, time, light and darkness potentially to shift our understanding of the identity of sculpture from an ontological foundation to an epistemological one.

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The Eleatic Bergson

Jones¹

2007

dia

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The Fourth Dimension and Futurism: A Politicized Space

Cited by 6 publications

References 3 publications

Modern Global Art Groups' Effects on Graphic Design

Modern Global Art Groups' Effects on Graphic Design

Sculpture in a Spin: Surfaces in Deformation in Mat Collishaw’s The Centrifugal Soul

The Eleatic Bergson

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