An Analysis Of Mark Antliff's The Fourth Dimension And Futurism

Mark Antliff, “The Fourth Dimension and Futurism: A Politicized Space,” The Art
Bulletin, Vol. 82, No. 4 (Dec. 2000), pp. 720-733.

1. What does Antliff explore, with respect to the Futurists' incorporation of aesthetic theories of time and space? Whose notions of temporality and intuitive consciousness does the author analyze? (p. 720)

Antliff explores the futurists’ incorporations of aesthetic theories of time and space into a utopian campaign to transform the consciousness of the Italian citizenry and inaugurate a political revolt against Italy’s democratic institutions.
The author analyzes the notions of temporality and intuitive consciousness of
Linda Henderson, which are derived from Henri Bergson.

2. According to Antliff,
Which early Futurist works not only forged a similar rapprochement of nationalism and Sorelian violence, but also bear comparison to the themes developed in the syndicalist journal La Demolizione? (p. 728)

The two Futurists works ‘Revolt’ by Luigi Russolo and ‘Funeral of the Anarchist
Galli’ by Carlo Carra not only forged a similar rapprochement of nationalism and
Sorelian violence, but also bear comparison to the themes developed in the syndicalist journal La Demolizione.

18.According to Antiliff, in how does Carra’s Funeral of the Anarchist Galli
(1911) transcribe the proletarian battle into abstract pictorial form? (p. 730)

Carra’s ‘Funeral of the Anarchist Gallo (1911) transcribes the proletarian battle into abstract pictorial form by painting conveying the energy of the battle with “the sheaves of lines corresponding to all the conflicting forces, following the general laws of violence.” Carra’s “force lines” had a psychological effect on the viewer so that he or she is “obligated to struggle himself with the personages in the picture.”

19. According to Antliff, what did Boccioni's choice of the striding image of a heroic male for his Unique Forms of Continuity in Space may well have reflected? (p.