As an object among others, the miniature refers to a self-contained casing, made of embedded items, allowing a magnified internal vision of the street and the simultaneous enactment of the present, caught in its living synthesis (rather than just a snapshot)--along the lines of
Boccioni's painting ideal to represent not "a fixed moment in universal dynamism" but rather "the dynamic sensation itself" ("Technical Manifesto of Futurist Painting" 27).
"States of Mind--The Farewells" by Umberto
Boccioni, explores the "states of mind in a modern, mechanized society" that Rollin illustrates using bitonality, with the right hand on black keys and the left hand on white keys.
(4) As for the Italian Futurists, it is enough to point out that Filippo Tommaso Marinetti, Umberto
Boccioni, Luigi Russolo, Antonio Sant'Elia, Ugo Piatti, and Mario Sironi all volunteered for military service in a bicycle battalion in 1914-15.
The first tavola, "Con
Boccioni a Dosso Casina," describes the difficult night of 26-27 October, spent by Marinetti at the head of a lookout party very near the Austrian trenches; its focus is on the many night noises constantly unsettling him and his comrades.
Rudquist's analytical side appeared most clearly in a work that shows 13 'inside out' vases in a row, almost like a Eadward Muybridge motion-study sequence but with a morphological emphasis and some of the dynamism of the Italian Futurist Umberto
Boccioni's Development of a Bottle in Space.
Individual topics include traces of transmutation in contemporary visual art, Bellini's Turkish Drawing, the Ottoman east and west meeting in Romania in the early Enlightenment, the rise of panoramic stadium paintings, speed in
Boccioni's works, Miyazaki, desire-imagery, spatial disappearances, Botany Carcinoma, computers in urban space, appearing and disappearing on the Net, role playing games in a secondary world, corporeal experience in visual reality, diaspora and youth culture in Web 2.0, the artist as spy, tourism and transgression, mapping the phantasmagoria,, the Other as fantasy, borders and limits, hearing the pathway, Ataman's video installations, digital light, and On Elsewhere.
Vibratory modernism:
Boccioni, Kupka, and the ether of space.
Before this turn toward fascism, however, the artists Umberto
Boccioni, Carlo Carra, Luigi Russolo, and Gino Severini aligned themselves with Marinetti, signing the separate "Manifesto of Futurist Painters" in 1910 (7).