Editing Future (section)

===Futurism===
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{{Main|Futurism}}

Futurism as an [[art movement]] originated in [[Italy]] at the beginning of the 20th century. It developed largely in [[Italy]] and in [[Russia]], although it also had adherents in other countries—in England and Portugal for example. The Futurists explored every medium of art, including [[painting]], [[sculpture]], [[poetry]], [[theatre]], [[music]], [[architecture]], and even [[gastronomy]]. Futurists had passionate loathing of ideas from the past, especially political and artistic traditions. They also espoused a love of [[speed]], [[technology]], and [[violence]]. Futurists dubbed the love of the past ''passéisme''. The car, the plane, and the industrial town were all legendary for the Futurists because they represented the technological triumph of people over [[nature]]. The ''[[Futurist Manifesto]]'' of 1909 declared: "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."<ref name="futurmanifest">{{cite web|url=http://www.italianfuturism.org/manifestos/foundingmanifesto/|title=The Founding and Manifesto of Futurism|date=22 August 2008|publisher=italianfuturism.org (Originally published on [[Le Figaro]], [[Paris]], February 20, 1909)}}</ref> Though it owed much of its character and some of its ideas to [[political radicalism|radical political movements]], it had little involvement in politics until the autumn of 1913.<ref>Martin, Marianne W., p .186</ref>

Futurism in Classical Music arose during this same time period. Closely identified with the central Italian Futurist movement were brother composers [[Luigi Russolo]] (1885–1947) and [[Antonio Russolo]] (1877–1942), who used instruments known as ''[[intonarumori]]''—essentially [[sound box]]es used to create music out of noise. Luigi Russolo's futurist manifesto, "[[The Art of Noises]]", is considered one of the most important and influential texts in 20th-century musical aesthetics.<ref>{{Cite book |last1=Warner |first1=Daniel |last2=Cox |first2=CChristoph |title=Audio Culture: Readings in Modern Music |publisher=Continiuum International Publishing Group LTD |year=2004 |location=London |isbn=0-8264-1615-2 |page=10}}</ref> Other examples of futurist music include [[Arthur Honegger]]'s "[[Pacific 231]]" (1923), which imitates the sound of a steam locomotive, [[Sergei Prokofiev|Prokofiev]]'s "[[Le pas d'acier (Prokofiev)|The Steel Step]]" (1926), [[Alexander Mosolov]]'s "[[Iron Foundry]]" (1927), and the experiments of [[Edgard Varèse]].

[[Futurism (literature)|Literary futurism]] made its debut with [[Filippo Tommaso Marinetti|F.T. Marinetti]]'s ''[[Futurist Manifesto|Manifesto of Futurism]]'' (1909). Futurist poetry used unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). Futurist theater works have scenes a few sentences long, use nonsensical humor, and try to discredit the deep-rooted dramatic traditions with parody. Longer literature forms, such as novels, had no place in the Futurist aesthetic, which had an obsession with speed and compression.

Futurism expanded to encompass other artistic domains and ultimately included painting, sculpture, ceramics, [[graphic design]], industrial design, interior design, theatre design, textiles, drama, literature, music and architecture. In architecture, it featured a distinctive thrust towards [[rationalism]] and [[modernism]] through the use of advanced building materials. The ideals of futurism remain as significant components of modern [[Western culture]]; the emphasis on youth, speed, power and technology finding expression in much of modern commercial [[film|cinema]] and commercial culture. Futurism has produced several reactions, including the 1980s-era literary genre of [[cyberpunk]]—which often treated technology with a critical eye.