Friday, July 31, 2009
Thursday, July 30, 2009
Monday, July 27, 2009
Manifesto of Futurism
- We intend to sing the love of danger, the habit of energy and fearlessness.
- Courage, audacity, and revolt will be essential elements of our poetry.
- Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggresive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap.
- We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.
- We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
- The poet must spend himself with ardor, splendor, and generosity, to swell the enthusiastic fervor of the primordial elements.
- Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
- We stand on the last promontory of the centuries!... Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
- We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
- We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
- We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.
Friday, July 24, 2009
Thursday, July 23, 2009
Wednesday, July 22, 2009
Saturday, July 18, 2009
Friday, July 17, 2009
Tuesday, July 14, 2009
Saturday, July 11, 2009
Thursday, July 9, 2009
I am in the process right now of converting a video file, from a film called Koyaanisqatsi. It is a Godfrey Reggion film. The film consists entire of images and musical score. I guess the meaning of the word connotes a need for a change in lifestyle. The movie is shot in slow motion and time-lapse styles. It is actually kind of intoxicating to watch. I can only take it 2 minutes at a time. He wants to display human beings in a way that makes them seem somewhat distant. Does that make sense? It is a way at looking at ourselves, and seeing something alien. We watched part of it in class (in connection with an Architecture Discussion, trust me it fit somehow).
I've walked around BYU campus and driven along University Avenue and seen scenes in time-lapse. It is weird how you can change your little view of the world, for a limited time, and make it maybe closer to someone else's reality, or imagination.
I liked the film and the discussion about architecture. It was actually interesting to find out where today's architectural style comes from. I read the book, From Bauhaus to Our House (Wolfe) which gave a brief history of the past century of architecture. To know that "cookie cutter" housing and "steel box" buildings with glass were 'in', really intrigues me. Nowadays, it seems like people want to be strictly original (I call this trendy, it's repugnant) and do not want straight lines on straight foundations. I guess 'elaborately simple' could be our post-modern style. But architectures were once "scolded" or at least shunned, to a degree, for exhibiting any sort of originality outside of a steel box building with window. Things change.
Tomorrow, if you are interested, you can tune in for my reactions from "Ballet Under the Stars". It should be quite gripping.