The straight line and the circle are the parents of design, form the basis of art; there is no limit to their coherent variability. Open your arms to the dilapidated; rehabilitate them. Painter and poet Mina Loy has been associated with most of the literary and artistic movements of the early 20th century: dadaism, surrealism, futurism, feminism, modernism and post-modernism. IN pressing the material to derive its essence, matter becomes deformed. But to color your ambient with your preferences. “Aphorisms on Futurism” was first published in photographer Alfred Stieglitz’s … Forget that you live in houses, that you may live in yourself—. The Future is limitless—the past a trail of insidious reactions. May your egotism be so gigantic that you comprise mankind in your self-sympathy. DIE in the Past Live in the Future. Let the Universe flow into your consciousness, there is no limit to its capacity, nothing that it shall not re-create. LOVE of others is the appreciation of oneself. He can compress every aesthetic principle in one line. HE can compress every aesthetic principle in one line. The velocity of velocities arrives in starting. You prefer to observe the past on which your eyes are already opened. But to color your ambient with your preferences. The futurists, fueled by an impatience with a society they perceived as overly loyal to history, and as a result insufficiently active and innovative, hoped to apply recent advances in industry, machinery, and war to the literary and artistic communities. Misery is in the disintegration of Joy; Intellect, of Intuition; Loy’s brief time with the futurists marks the greatest creative output of her career. CONSCIOUSNESS cannot spontaneously accept or reject new forms, as offered by creative genius; it is the new form, for however great a period of time it may remain a mere irritant—that molds consciousness to the necessary amplitude for holding it. Die in the Past AND form hurtling against itself is thrown beyond the synopsis of vision. Loy’s brief time with the futurists marks the greatest creative output of her career. Leap into it—and it Explodes with Light. IN pressing the material to derive its essence, matter becomes deformed. She grew up in Munich, London, and Paris, and in 1907 moved to Florence, where she grew close to Filippo Marinetti, leader of the futurist movement there. THE Futurist must leap from affirmative to affirmative, ignoring intermittent negations—must spring from stepping-stone to stone of creative exploration; without slipping back into the turbid stream of accepted facts. For the smallest people live in the greatest houses. Love the hideous in order to find the sublime core of it. But in the Future, by inspiring the people to expand to their fullest capacity, the great man proportionately must be tremendous—a God. Loy sees the female body as a site of resistance, and advocates affirmation and growth rather than destruction. Making place for whatever you are brave enough, beautiful enough to draw out of the realized self. The movement, which ran from 1909-1944, was marked by a series of manifestos published by its members. And so these sounds shall dissolve back to their innate senselessness. BUT in the Future, by inspiring the people to expand to their fullest capacity, the great man proportionately must be tremendous—a God. Destroy them, and you cease to be at the mercy of yourself. FORGET that you live in houses, that you may live in yourself—. AND form hurtling against itself is thrown beyond the synopsis of vision. LET the Universe flow into your consciousness, there is no limit to its capacity, nothing that it shall not re-create. MISERY is in the disintegration of Joy; The velocity of velocities arrives in starting. MAN is a slave only to his own mental lethargy. There are no excrescences on the absolute, to which man may pin his faith. HERE are the fallow-lands of mental spatiality that Futurism will clear—. Mina Loy online is a collection of poems and essays written by Mina Loy (1882-1966). LOOKING on the past you arrive at “Yes,” but before you can act upon it you have already arrived at “No.”. The Futurist must leap from affirmative to affirmative, ignoring intermittent negations—must spring from stepping-stone to stone of creative exploration; without slipping back into the turbid stream of accepted facts. Not to be a cipher in your ambiente, But to readjust activity to the peculiarity of your own will. IN pressing the material to derive its essence, matter becomes deformed. Cease to build up your personality with the ejections of irrelevant minds.
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