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And we must invent dynamic designs to go with them and express them in equally dynamic shapes: triangles, cones, spirals, ellipses, circles, etc.
--
unpublished 'Futurist Manifesto of Men’s clothing', Balla (dedicated to Marinetti), 1914; as quoted in "Futurism", ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 148

 

Giacomo Balla

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To appreciate the nature of fractals, recall Galileo's splendid manifesto that "Philosophy is written in the language of mathematics and its characters are triangles, circles and other geometric figures, without which one wanders about in a dark labyrinth." Observe that circles, ellipses, and parabolas are very smooth shapes and that a triangle has a small number of points of irregularity. Galileo was absolutely right to assert that in science those shapes are necessary. But they have turned out not to be sufficient, "merely" because most of the world is of infinitely great roughness and complexity. However, the infinite sea of complexity includes two islands: one of Euclidean simplicity, and also a second of relative simplicity in which roughness is present, but is the same at all scales.

 

Benoit Mandelbrot

 

A permanent state of transition is man's most noble condition. When we say an artist is in a state of transition, many believe that we are belittling. In my opinion when people speak of an art of transition this indicates a better art and the best that art can give. Transition is a complete present which unites the past and the future in a momentary progressive ecstasy, a progressive eternity, a true eternity of eternities, eternal moments. Progressive ecstasy is above all dynamic; movement is what sustains life and true death is nothing but lack of movement, be the corpse upright or supine. Without movement life is annihilated, within and without, for lack of dynamic cohesion. But the dynamism should be principally of the spirit, of the idea, it should be a moral dynamic ecstasy, dynamic in relation to progress, ecstatic in relation to permanence.

 

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It should also be born in mind that the research on ‘movement’ and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).

 

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But Schacht was infinitely more reasonable than the Nazis. He was fundamentally a dynamic, changeable person. In the beginning, therefore, it was quite logical that he should be attracted by the dynamic, dramatic, short-term ideas of the Nazis. As I said, Schacht has intelligence, but is not particularly a man of principle, although I think he believes he is. But it is reasonable to assume that later on he differed with the Nazis. He was too intelligent to go along to the extremes, which they pursued in their folly.

 

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